Listening to the ghazal “Mudetain Ho Gayin Hain Chup Rehte” in PTV’s programme ‘Raat Gayi’ established Ijaz Qaiser’s proficiency as a ghazal singer.
With his heavy voice and a tinge of nasal touch, he rendered a fast musical phrase on the word “Mudatein” again and again with ease. My mind goes back to 1970s and 1980s of Central Production Unit, Radio Pakistan when good music used to be produced every day unlike today on the premise of a lack of budget. One of such ghazal was Murtaza Barlas’s “Aankh Barsi Hai Tere Naam Pe Sawen Ki Tarha” composed by M Iqbal. This ghazal established Ijaz Qaiser as a melodious singer. Radio Pakistan kept on producing many songs, mostly ghazals in his voice. The others who sang in abundance were Ghulam Abbas and Salamat Ali. Qaiser learnt this art from some notable musicians, including music composer Akhtar Husain Akhian.
Qaiser hails from Faisalabad. He was born on January 1, 1954. He still lives there and travels to Lahore and elsewhere for his performances. He was a relatively newbie in Karachi music circles when he performed in a local club for an evening organised by Mausiqar on February 13, 2010. A local English daily reported, “Ijaz started off with Shad Azimabadi’s well-known ghazal “Tamannaon Mein Uljhaya Gaya Hu” and followed it up with a ghazal by another literary giant Dagh, Khatir Se Ya Lehaz Se Main Maan Tau Gaya. Qaiser’s approach clearly indicated that he has modelled himself in the legendary Mehdi Hassan’s style. So it didn’t come as a surprise when he sang a few of the most famous Mehdi Hassan ghazals such as ‘Ab Kay Hum Bicchray Tau Shayed’. He also performed a film song ‘Piyar Bharay Dou Sharmilay Nain’. His efforts were very well-received.”
It seemed that lately Qaiser won some audience in Karachi. He performed at LMF’s concert at the Arts Council, Karachi on April 17, 2012. He rendered two ghazals, “Kabhi Udaas Kabhi Khush” and his signature “Aankh Barsi Hai”. Accompanying him were Mahmood Ali on the tabla, Irshad Ali on the harmonium and Ghulam Sabir on the tanpura. In the first ghazal he could remain in rhythm even when the percussion instrumentalist changed the beat from Dadra to Keherwa during the rendering. A YouTube fan Saghar Sarkar gave him title of Sartaj-e-Ghazal. I find his style going well with most difficult of musical phrases with ease. Qaiser has been invited regularly by late Hayat Ahmad Khan and now by his daughter Dr Ghazala Hayat to perform ghazals at the All Pakistan Music Conference annual sessions in Lahore. His PTV appearances have been sporadic.
A video of “Guzar Gaye Mah-o-Saal Mere” on relatively modern instrumental backup is available on the Internet recorded by Samar Khan. He also rendered a Punjabi song “Hoiyan Kuj Ais Tarh Diyan Aqlaan Sayanian” with poetry by Ghafoor Shahid and music by Ghulam Abbas Jafri. It seemed that a simple ghazals in Keherwa beat was made to look like a fast rhythmic song by doubling it.
I spoke to Qaiser a few days ago and he complained of ill health. He seemed to feel that he is also a victim of jealousies of his foes after he was awarded the Pakistan’s Pride of Performance Award. Superstition seems to have affected his psyche adversely. I advised him not to feel that way and look for consolation from the Almighty. Qaiser has rendered many religious songs for the Pakistani Christian community. One of such songs is “Khuda De Naal Muhabbat Main Dil Di Rakhda Haan” in Punjabi.
It is unfortunate that Qaiser is not a household name in music. He has only been able to win a specific set of audience.