It was a Sunday morning and snow had fallen. We went in the hall, only to find just a handful of listeners present. We requested Parvez Mehdi to withdraw from performing as we assumed that his sponsor might have fleeced him, forcing him to perform in such a scenario. In our view, Parvez’s stature was much higher.
He agreed and remained our guest for many days. The incident was forgotten when we heard two of his Punjabi duets composed and recorded at the Radio Pakistan’s office in Lahore by Ustad Tassaduq Ali Khan. The female voice was none other than that of Reshma. These songs glorified both the singers. The songs were “Ja Ve Pardesia Ve Dairan Kahnu Laaiyan” and “Gorie Main Jaana Pardes”. These songs further received hype when they were rendered live in Ashfaq Ahmad’s famous PTV music programme ‘Nikhar’ in 1974. The tabla was played by Muhammad Hussain Alvi in this episode. The audience comprised Farida Khanum, Roohi Bano, Tassaduq, Sajjad Kishwar and many more TV personalities. The latter song has its base in Raag Malti. This raag is also known as Shehor Ranjni Raagni and is a raag of separation. Each song composed in this raag is full of pain and sorrow and can only depict sadness. Through such songs, Mehdi developed his own identity as a singer. He never looked back since then. His all-time hit Punjabi song is “Merian Galan Yaad Karaingi”, a geet by Rasheed Habibi. Another lovely Punjabi song that became popular was ‘Tak Pattari Waalia Laikh Mere/Mere Hath Vich Weengian Leekan Nei”. Mehdi was very proficient in singing Punjabi songs. “Rog Labha Na Tabiba Na Tu Mere, Dawaiaan De Ke Saar Chadeya” is one such song that has been sung on the medium of fast rhythm. Sushil Kumar is one of his fans who observed after listening to this song that Mehdi was a great singer. One of Mehdi’s forte was singing Heer Waris Shah.
One of Mehdi’s thrilling performances was in Keherwa Taal played by Ustad Tari Khan for the ghazal “Kya Zamana Tha Ke Hum Roz Mila Karte The”. Generally speaking, while singing he used to keep his smiling countenance intact and hence invite appreciation of listeners. Munir Niazi’s ghazal “Bechain Buhut Phirna Ghabraei Hue Rehna” is also available in proper studio recording with the beautiful use of santoor and sitar in his audio album ‘Rang-e-Zindagi’. The same ghazal is available in the audio album ‘Ghazal Nawaz’. Another ghazal by Mehdi from this album is Qamar Jalalvi’s “Jo Tauba Hum Ne Ki Saqi Tau Mekhane Pe Kya Guzri”. A melancholy mood is available in the song “Nigahain Chura Kar Kho Jane Waley” in a catchy rhythm penned by Sajid. From the same album, another gem is poet Iftikhar Arif’s ghazal with the introduction on sarangi. The lyrics are “Phool Mehke Hain Mere Aangan Main Saba Bhi Aai”. It is a beautiful tune made by Mehdi himself. The instrumentalist on sarangi never leaves the singer alone and keeps on complimenting him throughout the song. That is the forte of Indian recording of ghazals, in general. Raag Pahari was well captured in the ghazal “Apne Saei Se Bhi Ashkon Ko Chupa Ke Rona”. This Nisar Tareen Jazib’s poetry was composed by Mehdi himself for his album ‘The Best Of Ghazals’.
Mehdi has not sung film songs. One song with Noor Jahan, mahiya style “Tak Chan Paya Jaanda Aei” became very popular. Baba Chishti was the music composer of this Hazeen Qadri-penned song from the film ‘Chan Tara’ picturised on Zamarrud and Iqbal Hassan. I managed to find another film song “Dum Lage Dum Tu Kha Na Ghum” from the film ‘Sharabi’ released on November 30, 1973, picturised on Ali Ejaz. Produced and directed by Hameed Chaudhry, its music was composed by Bukhshi Wazir. The other singers were Mala, Runa Laila, Sabiha Khanum and Ghulam Ali. Its cast comprised Naghma, Habib, Nasir Jalal, Mazhar Shah, Santosh Kumar, Ejaz, Nasira and Chun Chun. Another movie’s song is “Lagi Re Lagi” composed in Raag Aheer Bhairon by Nashad, originally sung by Mehdi Hasan but was rendered in his private gatherings by Parvez. He used to perform many of his ustad’s songs on such occasions.
One can list many other songs sung by Parvez but the ones mentioned in this submission suffice to establish his singing skills, voice quality and style of singing etc. I remember having used him as a singer in my series ‘Sangat’ at PTV in 1973. Many of his recordings are available in PTV’s archives. His ghazals and Punjabi numbers are available in his many audio albums recorded in Pakistan, India and UK.
Parvez’s original name was Parvez Akhtar. His father was also a singer namely Bashir Hussain Rahi. Continued