His affable disposition and gentle manners do not reflect the robustness and timbre of his voice. The moment he closes his eyes and starts singing, he is lost in another world. It is then that Masroor Fateh Ali Khan, noted Pakistani qawwali and Sufi singer, takes an entirely different persona. Notes flow like a gentle stream, while the richness of the singing booms across without requiring any accompaniment. Masroor resorts to this quite often while explaining his finer points of singing as we meet for lunch at the Circus restaurant in South Extension where he is to perform. On drawing attention to the similarity of his voice to that of his legendary uncle, Nusrat Fateh Ali Khan, Masroor blushes and in all humility says “ Nahiji Ustadji to bane hi teh gaane aur sangeet ke liye. Hum to bas thoda bahut gaa lete hain.” Is it modesty that forbids him from accepting the compliment? “I don’t take it as a matter of pride but rather a great honour when compared by the people. I hope to live up to their expectations.”
Trained in urban planning, Masroor took to singing quite late in life, arriving at the scene much after his uncle and cousin Rahat Fateh Ali Khan. Despite that he seemed to have carved a niche for himself. His first recording “Allah, Allah Subhaan Tari Allah” made the people sit up and notice him, while “Kuli Apni Noo Aag Laage Ke” written by S. M. Saddiq gave him a distinct identity. His “Mahiya Vey”, which was at the top of the BBC chart for three consecutive weeks, still remains popular among audience. On changing track, he says: “With the atmosphere at home charged with music, it was not unusual for me to be drawn to music. I fulfilled my parents’ wish of getting educated and after working for three years decided to become a full time musician. My wife supported me though initially the parents were reluctant but later agreed on realising my passion for music.”
The Pakistani artist, a regular visitor to India, has numerous fans as evident from the number of well attended shows he does in the Capital and other places. “The people here give me love like no other country. It is like home away from home. Be it the people, cuisine, culture or music, I do not find anything strange,” he comments.
Interestingly, while studying, Masroor made it an effort to be tutored in music by his uncle whenever the latter was in town. “Busy with performances and recordings, I would ensure to call on him on his convenience to learn the intricacies and nuances of singing. I would practice for three to four hours every day. Ustadji would proceed only after I mastered my previous lessons. In that sense he was very strict.”
Learning from the legend must have been an experience in itself. Taking a bite of paneer tika dipped in pudina chutney and sipping Diet Coke, Masroor recalls that his uncle treated family members at par with other students. “He would not allow any liberty. Unable to learn a palta in Raag Malkauns , he got angry and asked me to leave. I cried inconsolably for the next two days as he refused to meet me. Hearing about it he sent for me. The moment we met he started the palta and asked me to learn it in the next one hour. By God’s grace, I did it and have never forgotten it nor will I ever till the end of life.”
He praises the teacher for instructing him in khayal gayaki. “He showed how addition of some notes can change the contour of the raga. This is a great technique which needs to be mastered.” Masroor is equally grateful to his mentor for teaching the value of modesty and humility. “Khan Sahib taught us to keep a low profile and always praising others rather than demean anyone.”
Being a regular at Circus, the staff brings in the Andhra chicken tiffin meal for Masroor which comes in a cute tiffin carrier along with salad and naans. Finding him hardly fastidious unlike other singers, I ask as to how he takes care of his voice? Helping himself to a juicy chicken piece, he says he does not adhere to any particular regime except avoiding very sour items. “During performance I drink cold water to quench my thirst. When you are doing riyaaz for seven to eights hours a day these things hardly make a difference.” He is eager to finish his commitments in Delhi in order to visit Old Delhi to taste the street food like gol gappe and dahi bhalle. Pausing, in a hushed tone, he discloses that unlike other performers he eats well before going on stage. “Dil laga ke khana aur phir dil se gaana,” he says with a smile.
Discussing heart and its matters, we move to the genre of qawwali known the world over for spreading the message of love and universal brotherhood. “That is what makes it different from the other forms. It is soulful, full of meaning and depth. Both the singer and listener are taken to another plane.” Desirous of reviving the qawwali singing and restoring its lost glory, Masroor feels it can play a major role in bringing about peace in the strife-ridden world. “It comes from heart and is bound to strike a chord in others. I can assure you this music has the capacity to calm those who are stressed,” he emphasises. In fact nearer home he hopes that constant visits of artists across India and Pakistan will help ease tensions and bring the people of two nations closer.
Does singing qawwali entail a different method of singing? “Yes, it is different in the sense that we may use one raga or more to compose music in order to make the composition melodious. Also we use traditional instruments like harmonium, sitar, sarangi and tabla with chorus and clapping to set the tempo.” Having got in the mood the singer continues to explain the other nuances. “The same composition is rendered differently each time. For example, I can vary a number based on five-sur raag Bhopali by adding a dhaiwat to it while in case of Yaman Kalyan which is seven-sur can be changed by adding a pancham. All this depends on the atmosphere, audience and the artist.”
Having finished the lunch, the staff is eager to serve their special cheese pizza. Taking a slice, Masroor says he is fond of the paneer version of the Italian dish. But on this visit he is particularly happy to have become acquainted with idlis, dosas and vadas which he ate with gusto. “I am unable to remember the names but they are all delicious. I am eager to visit South India to perform in front of its knowledgeable audience; to meet Yesudas my favourite classical singer and of course taste more South Indian cuisine,” he discloses.
Fond of vegetarian dishes, the singer during his Indian sojourns enjoys different subzis made of tinda, kadoo, ghiya, torai, bindi and karela. “ I am fond of Rajasthani cuisine for its use of masalas and Punjabi, as it is close in taste and flavour to the Pakistani dishes.” On his long tours to Europe, the singer hunts for Indian outlets or otherwise eats Lebanese food like the pilaf, pulao, hummus and salad which have lot of vegetables and herbs. At home, Masroor prefers dal makhni, masoor dal, vegetables, Kabuli kale chane and rice. At times he dons the role of the chef whipping up paneer palak, tinda gosht and moti palak. Having created a new dish using meat and peaches – aadoo gosht – he says with pride that it is greatly appreciated by his family and friends. “I learnt this cooking by observing my mother who was excellent in this art. I still remember the sarson ka saag with white butter and makki ki roti she used to serve in winters and gajar ka halwa.”
Like his uncle and cousin, Masroor is keen to sing and compose in Bollywood films. A greater admirer of Lata Mangeshkar, Mohammad Rafi and Kishore Kumar and Majrooh Sultanpuri, Sahir Ludhianvi and Anand Bakshi, among today’s lyricists he likes Gulzar and Javed Akhtar . “They are able to connect with the masses,” he says, hoping to get a chance to sing and compose music to their words. Till such time he will continue to spread the message of love through his recitals.
