Daily Times

Listening to Nasir Kazmi’s ghazal “Yaad Aata Hai Roz-o-Shab Koi” in the voice of Aqeel Manzoor with Tahir Iqbal on keyboard and Shabeer Jhari on tabla; a live rendering in PTV’s programme ‘Raat Gaye’ just proved his proficiency when he could render the most difficult of musical phrases easily.

The same impact was created when he rendered Ahmad Faraz’s ghazal “Zindigi Se Yehi Gila Hai Mujhe” in a private mehfil with Ustad Tari Khan on tabla. It seemed that he had a unique set of audience who liked his semi-classical renderings. This audience liked difficult Taans and Murkis in a ghazal’s composition. Another nice rendering is of ghazal “Husn Hai Sath Tera” with its Mukhra set in Raag Hans Dhun. Aqeel Manzoor, a veteran classical music trained vocalist was more known for his ghazal and Kafi renderings. He died this January. He was born in 1952 in a small village Thatha Lakhi of District Sialkot, Punjab Pakistan. He spent his childhood at his native village and got primary education there.

Aqeel belonged to a family of musicians and opened his eyes in an atmosphere where music gatherings were frequent. This atmosphere lured him towards learning the art of vocalisation. His father Ustad Manzoor Hussain was a great harmonium player and used to perform in musical gatherings. Sensing his child’s desire to learn music, he took young Aqeel to Karachi. Hence Aqeel got initial training from his father in the city of lights.

As time passed, Aqeel became ready for public performances. After a memorable performance on the anniversary of Barray Ghulam Ali Khan, he passed audition at Radio Pakistan Karachi where the judges of his audition were none other than music composer Ustad Nazr-e-Hussain, Ustad Umrao Bundu Khan, music composers Nihal Abdullah and Lal Muhammad Iqbal. He also came under the tutelage of Ustad Nazar-e-Hussain at that time. Regarding his becoming pupil of Ustad Salamat Ali Khan of Sham Chaurasi Gharana he recalled in one of his interviews, “Once I was honoured to be invited by my teacher Ustad Salamat Ali Khan at his home in a music evening. It was a family function so his whole family including his sons Sharafat Ali Khan, Shafqat Ali Khan and Sakhawat Ali Khan warmly welcomed me. His other disciples including Hussain Bukhsh Gulloo, Riaz Ali and Imtiaz Ali, were also invited. The programme continued for the whole night in which all these artists performed. I was asked to perform at the end. It was late night when I started singing. I saw Ustad ji in tears and he was praying for me. He asked me to add the title of Sham Chaurasi (a musical family) to my name that was his own family identity. It is the biggest award of my life.”

It was because of the influence of his Ustad he started singing Kafis in that style and was appreciated.

As far as television appearances are concerned, his first performance was in a programme titled ‘Naye Fankar’ (New artistes) where he performed with Bilquis Khanum. Aqeel had to migrate to Lahore in 1982 after the sudden death of his father. Lahore was a new city for him and he performed in Radio Pakistan Lahore, his first ghazal being “Wo Kon Tha Jo Mujhe Gham Shanas Lagta Tha” written by Maqsood Wazirabadi. Aqeel got various awards including ‘Ameer Khusrau Award’ in 1984 and Graduate Award in 1995. He was declared the Best Ghazal Singer in one of the ‘All Pakistan Music Conference’. The ghazal for which he was given the award was Mohsin Naqvi’s “Thehr Jao Ke Herani Tou Jaey”. Aqeel got the opportunity of performing abroad in UK and Middle East as well. His desire to perform in India could not be realised due to former prime minister Benazir Bhutto’s assassination as his visit had been planned in those days.

Despite all the qualities I have mentioned above, Aqeel could not become a household name because of a lack of public relations with the media and their ignorance as well, a fact he resented all his life. He had a following in central Punjab cities such as Gujrat and he remained busy all his life in these towns.

Craftsmanship and regular practice polishes an artist’s capabilities to remain tuneful and in rhythm but overdoing snatches the sweetness in one’s voice away, an observation once made by late Ashfaq Ahmad to me. Victims have been Hussain Bukhsh Gulloo, Ijaz Hazaravi, Muhammad Asif and alike. The only exception was that of Ghulam Ali who moulded his voice for commercial requirements and one must not forget that these artists were overshadowed by Mehdi Hassan in that era!