Daily Times

Hearing of the sad demise of music composer Master Ashiq Hussain made me reach to a resolve that I should find out more about his work as a melody maker of the 1950s and 1960s. All of us woke up to the news that he was no more, when a private TV channel telecast his obituary. The anchor person was asking a question about the origin of the famous folk tune ‘Laal Mori Pat Rakhio Bhala Jhoole Laalan’ from his two guests, who had no clue about it. All they knew was that this tune could be a folk tune being sung since centuries, the lyrics and the tune passed on from generation to generation. I was of the same view until this old man, Master Ashiq Hussain claimed it to be his composition. During a conversation with him, he disclosed that he had composed it for ‘Warris Shah’, one of Inayat Hussain Bhatti’s films in the 1950s. He stated that the lyrics were penned by Saghar Siddiqui, the famous poet and of the ghazal “Hei Dua Yaad Magar Harf-e-Dua Yaad Nahi” fame. Ashiq Hussain further stated that Saghar used to visit him often and used to give him his poetry for making compositions. In return, Ashiq used to pay him a stipend. This song is sung with the Dhamal dance at Sachal Sarmast Shrine’s since long.

Shaheer Ellahi Khan in a special issue on the anthropological concept and origin of the Dhamal dance states that it is a sufi trans persons dance, normally practiced in the subcontinent and has caught some reasonable audience in different parts of the world; this is due to global contraction where not only musicians, but people experiment with an alien reality in order to attain spiritual satisfaction. Dhamal is less constrained to rules and regulations of movement. It is a unique way to express your own personal link with divinity. It is emphasized that in spiritual development, music’s benefits are of an over-whelming nature. Laal Shehbaaz Qalandar, Sachal Sarmast and Pir Shams are known in the songs as Qalandars. These Qalandars are well known in south and west Asia among the Muslim population and are the basic inspiration for the repertoire of mystical singers. The song on which the devotees dance and sometimes loosen their hair and wave them in rhythm, thumping the floor with their feet movements in the song ‘Laal Mori Pat Rakhio’ is meant for the Qalandar, Shahbaz Qalandar. Master Ashiq Hussain’s contribution of composing and producing just this song, therefore, is international in its nature.

The song on which the devotees dance and sometimes loosen their hair and wave them in rhythm, thumping the floor with their feet movements in the song ‘Laal Meri Pat Rakhio’ is meant for the Qalandar, Shahbaz Qalandar. Master Ashiq Hussain’s contribution of composing and producing just this song, therefore, is international in its nature

For the past decades, this song has been rendered by singers of at least two generations. Runa Laila from Bangladesh (formerly from Pakistan), Abida Parveen and Atif Aslam from Pakistan as well as Asha Bhosle from India joined hands, acting as judges in one of Sur Kshetra’s episodes, to render this song together, creating a mesmerizing impact. Sur Kshetra was a 2012 singing talent show or musical battle between teams of two neighbouring countries, Pakistan and India. The show was hosted by Indian actress Ayesha Takia. The Pakistani Team was led by singer, music composer cum actor Atif Aslam and the Indian Team was led by singer cum music director Himesh Reshammiya. This song has been rendered by many singers like Jagjit Singh etc., not only in the subcontinent but has also become viral in the West by Junoon (band), Sanam Marvi, Shazia Khushk, Quratul Ain Baloch, Akbar Ali and Areib Azhar; the latter three rendered this song for Coke Studio. Mikka Singh and Honey Singh laid their hands on it too. Practically, all the singers of the subcontinent sang this song in their concerts, this includes Ustad Nusrat Fateh Ali Khan, Rahat Fateh Ali Khan, Hans Raj Hans, Abida Parveen and Madam Nurjehan. The latter’s dhamal version became viral from the film ‘Dilaan Dei Sode’ with the Dhamal dance picturised on actress Firdaus. German musician, Pan Chimzee accompanied Maati Bani on the guitar to make an experimental version of this song as well.

I am surprised that after the initial eight odd films Ashiq Hussain composed music for, he was forgotten by the film industry. He had indicated that he never ran for work or for money. His prestige was more important to him. Even in his last days, close to 90 years of age, thin and weak, he sang his song ‘Lal Meri Pat Rakhio Bala Jhoole Laalan’ in his crisp and tuneful voice. I remember his brother Akhtar Hussain Akhian sang very well too, and he used to sing melodiously when he made his singers rehearse his compositions. As far as the use of instrumentation is concerned, both had certain similarity. Take the example of the use of flutes, violins and string instruments in Ashiq Hussain’s ‘Uss Bewafa Nei Dagh-e-Tammana Diya Mujhe’ sung by Mehdi Hassan and filmed on Darpan, with Akhtar Hussain Akhian’s ‘Kali Kali Jaan Dukh’, from the film ‘Patte Khan’, rendered by Nurjehan. Master Ashiq uses Hawaiian guitar to produce a morose effect in the former song, and Akhian uses Oboe in the latter song. The violin pieces by both also emit sorrow and grief.

Master Ashiq Hussain composed music for the films ‘Jabroo’ (1956), ‘Akhri Dao’, ‘Billo Ji’, ‘Azmat-e-Islam’, ‘Kale Log’, ‘Jaib Kutra’ and ‘’Warris Shah’.

Inayat Hussain Bhatti, an artist who started his career as a folk singer in theaters went on to invest his life-long savings in a movie ‘Warris Shah’, based upon the life and works of the great Sufi poet of Punjab (his first production). He knew that in the 1950s, this theme was too mature for cinema goers in Pakistan, but it was his love for folklore that compelled him to make this film. As expected, this movie did not do well at the box office. Bhatti did not lose heart, went back at the theatres to earn money again and started producing and directing a handful of films. He ended up making 50 films in his lifetime. About half of these films like ‘Chan Makhana’, ‘Sajjan Pyara’, ‘Duniya Matlab Di’, ‘Ishq Diwana’, ‘Dharti Dei Baal’ and ‘Zulm Da Badla’, were super hits. Even his films in Saraiki language like ‘Dhiyan Numaniyan’, a Master Ashiq Hussain film, were super hit films. His production house, Bhatti Pictures, used to be considered as an exemplary production house in the 1950s and 1960s.

An interesting episode from ‘Warris Shah’ is when Bahar and her father Zareef pass by a village and request Inayat Hussain Bhatti (Warris Shah) to sing a few verses from Warris Shah’s Heer. He obliges them by singing ‘Ajj Aakhan Warris Shah Nu’. Zubeda Khanum joins, filmed on Musarrat Nazeer lamenting the plight of Punjab where houses are being burnt and people made homeless, back in those days. Master Ashiq Hussain compliments with proper instrumentation. There is an interesting dialogue between a Mullah (Qazi) and a house lady, Zeenat, to get people out of the influence of Warris Shah (Inayat Hussain Bhatti). Then, Bhatti’s rendering of verses ‘Gaya Pajh Taqdeer Dei Naal Thoota/Saathu Qeemat Lei Ja Mutt Di’ is superb. This is pictured on him amongst villagers.

Talish and Akmal starred in ‘Jabroo’ (1956). The song ‘Allah Dei Hawale’ by Kauser Parveen, filmed on Yasmeen, is melodious. Master Ashiq Hussain excels in another song ‘Menu Dandian Ghara Kei Dei Gaya Ni Munda Majhe Da’, sung by Kauser Parveen. The end is tragic when the hero and heroine are shot dead in a police encounter with the song ‘Main Vi Chali Aan Tera Naal’ playing in the background. The best song of this film however is ‘Jage Chawkidar Oei’, filmed on a chowkidar (guard) who walks in the streets looking after the properties and lives of the inhabitants; an institution long lost, now overtaken by security agencies.

Once a top notch music director in Pakistan, Ashiq Hussain now lived in a slum at the Bazar-e-Hakiman near the Bhatti gate in old Lahore. His son Asif Ali was a keyboard player but due to lack of work, he started a pakora selling stall on the roadside to feed his children

Inayat Hussain Bhatti experimented in a Saraiki film, ‘Dhiyan Namaniyan’ starring Khanum, Saiqa and Shahida. Comic relief was provided by Nanha. Fond of Sufi lyrics, Bhatti rendered ‘Mainda Ishq Vi Tun’, with him singing and Khanum dancing to his tune, a lovely melody by Master Ashiq Hussain. Nurjehan croons ‘Dhiyan Nimaniyan Shagna Di Doli’, a wedding song. Then, after the hero and heroine beat the bandits away, Khanum ends up singing ‘Mere Nainan’.

I would not be doing justice to the musical prowess of Master Ashiq Hussain if I do not mention his ghazal rendered by Mehdi Hassan, for a film already mentioned above. Long before his demise in the end of the year 2017, he preferred a song-less silence. Once a top notch music director in Pakistan, Ashiq Hussain now lived in a slum at the Bazar-e-Hakiman near the Bhatti gate in old Lahore. His son Asif Ali was a keyboard player but due to lack of work, he started a pakora selling stall on the roadside to feed his children. Asif was a heart patient. He died before his father did. I do not still understand when our government will feel the urgency to give practical shape to its desire of financing poor artists.

The writer is an award-winning musician and author. He tweets at @amjadparvez and can be reached at doc_amjad@hotmail.com