He said that people will show up in more numbers at the concerts and performances in near future. He had very optimistic views about the future of this music. Gila to unse hai jo jaante hain aur nahin aate”. He said “Jo sunenge wo bhi bahut oonche log honge.” About the people who didn’t know about the art, he said, “Unko bhi Allah salamat rakhe jo nahin sunte”, and said, “Unse kya gila jo nahin jaante. He describes an instance when he was practicing hard hitting Taans in Multan and his Maayi/Mother, out of despair, asked him to stop practicing and said, “Yeh wo gaana hai, khud hi gaaoge, khud hi sunoge”, but of course young Salamat Ali explained to his mother as how important it was to carry forward the tradition and the art and how it was so much of a noble thing to do. In a recording of Raag Nandeshwari, London 1987, he expresses his concerns about Hindustani music and it’s future and complexity. Sarangi: Ustad Nazim Ali Khan - Tabla: Ustad Miyan Shaukat Hussain Khan SahibĪudience: Ashfaq Ahmed, Ghulam Ali, Tari Khan, Rajab Ali, Pervez Mehdi, Masood Rana, Ustad Fateh Ali Khan, Saiyyan Choudry, Bilquees Khanum, Rubina Badar, Asha Posle, Nisar Bazmi and Others Ustad Salamat Ali Khan sings Multani Kafi ( Nikhar PTV Live) Sanwal mor muharan Ishq Anookhari Peer, Sau Sau Sool Andar De, one of the broadcasts on PTV of Pakistan. No one ever sang Multani Kaafi better than them. As they settled in Multan, the had an influence of the local singing and called it Multani Kaafi. They were the maestros of a form called Kaafi, which involves lyrics from Sufi Saints. These two had a very different style of rendering the light forms. But later on these were made popular by Ustad Bade Ghulam Ali Khan in the Pubjab region and then by Ustad Salamat Ali Khan & Ustad Nazakat Ali Khan. Basically, Thumri and Dadra are the vocal styles of Eastern States of India, mainly Uttar Pradesh, Madhya Pradesh and Bihar. But, they both were tremendously skilled at performing the Thumris and Dadras, in their own style. It is not usually seen that a performed of such hardcore Indian Vocals is also an expert of such light forms of music. The two masters were also adept at the Hindustani Light Classical forms of music such as Thumri, Dadra and especially Kaafi. Their stay in Champanagar lasted a few months and was followed by performances at the Allahabad and Gwalior music conferences.Īfter the creation of Pakistan, the family settled in Multan and lived in relative obscurity for the next couple of years, which brings me to the next point. In 1943, the duo received their first official state invitation from the Maharaja of Champanagar, a small princely state in Bihar. During this period, the brothers began to give regular broadcasts from All India Radio, Lahore and two gramophone records of the young Salamat Ali Khan were published. In his autobiography, Ustad Salamat Ali Khan says, “We were so small, we had to be lifted onto the stage.” But of course, after the performance a learned audience of Harballabh Mela and the great masters of music sitting right in front of the duo were left stirred when they performed Raag Miyan Ki Todi. The duo made their debut at the greatest festival of Hindustani Music, that is, the Harballabh Mela in 1941. And it is of no surprise that Ustad Salamat Ali Khan gave his first public performance when he was around the age of 7-8. Ustad Salamat Ali Khan & Ustad Nazakat Ali Khan were put into the formal training at very tender ages of 7 and 5 respectively. The family has always had a tradidion of singing in duos which is evident by the family tree of Shaam Chaurasi Gharana published in various archives. The singing tradition goes back to the times when the ruler was Hazrat Daata Shajlaal Shah, who was a contemporary to Akbar. Ustad Salamat Ali Khan, the most prominent figure of the Shaam Chaurasi Gharana, situated in Pakistan.