Nusrat in a diferent style.
Its hard to think what the thinking was behind this concert. It could well be as Nusrat often said he changes his music to suit the audiance. On this occasion it could well have been a step to far. Nusrats voice shines as always as does Rahats as he takes a much ... Read review
It's difficult to determine what the thinking was behind adding a drum kit, bass, ... more
synthesizer, and saxophone to Nusrat Fateh Ali Khan's ensemble for what became his final concert in May 1997. Perhaps it was naiveté, perhaps poor taste, but whatever the thinking was, the choice reduced the most revered religious singer of our time to the functional equivalent of a Western nightclub act dressed in powder-blue threads crooning at the Luxor in Las Vegas. The praise song "Allah Hoo," regularly sung to open Nusrat's concerts, holds back the qawwali party in a cutesy rhythm designed for folks to clap merrily along to rather than encourage the ensemble to blast off into heated ecstasy. It's hard to figure out who this concert is aimed at: Nusrat purists will run away screaming, and ambient fans of his work with Michael Brook and Peter Gabriel (which now seems tasteful beside this recording) will cringe. One wonders why this mystic Sufi who dedicated his life to praising God through traditional Islamic song allowed accompaniment from swishing high hat à la the Bee Gees' "Night Fever" disco heights--where the tabla is played as if a bongo or conga. What's even more amazing is how this concert ended up sounding so Western when recorded in Pakistan, home of Islam and Nusrat's most devout Muslim followers. Perhaps it'll be smooth jazzers who will adore the funky kooka-munga rhythms and "saxy" jazz lines played on electric piano and sax here. Apparently this was the inevitable commercial direction Nusrat was being led in before he died in August 1997, but it's still unfortunate that this label had to let us in on the dirty little secret. For an outstanding sample of Nusrat's work, check out Real World's Shahbaaz. --Karen Karleski
Postage & Packaging:Free! Availability:Usually dispatched within 24 hours...
It's difficult to determine what the thinking was behind adding a drum kit, bass, ... more
synthesizer, and saxophone to Nusrat Fateh Ali Khan's ensemble for what became his final concert in May 1997. Perhaps it was naiveté, perhaps poor taste, but whatever the thinking was, the choice reduced the most revered religious singer of our time to the functional equivalent of a Western nightclub act dressed in powder-blue threads crooning at the Luxor in Las Vegas. The praise song "Allah Hoo," regularly sung to open Nusrat's concerts, holds back the qawwali party in a cutesy rhythm designed for folks to clap merrily along to rather than encourage the ensemble to blast off into heated ecstasy. It's hard to figure out who this concert is aimed at: Nusrat purists will run away screaming, and ambient fans of his work with Michael Brook and Peter Gabriel (which now seems tasteful beside this recording) will cringe. One wonders why this mystic Sufi who dedicated his life to praising God through traditional Islamic song allowed accompaniment from swishing high hat à la the Bee Gees' "Night Fever" disco heights--where the tabla is played as if a bongo or conga. What's even more amazing is how this concert ended up sounding so Western when recorded in Pakistan, home of Islam and Nusrat's most devout Muslim followers. Perhaps it'll be smooth jazzers who will adore the funky kooka-munga rhythms and "saxy" jazz lines played on electric piano and sax here. Apparently this was the inevitable commercial direction Nusrat was being led in before he died in August 1997, but it's still unfortunate that this label had to let us in on the dirty little secret. For an outstanding sample of Nusrat's work, check out Real World's Shahbaaz. --Karen Karleski
Postage & Packaging:Free! Availability:Usually dispatched within 24 hours...
It's difficult to determine what the thinking was behind adding a drum kit, bass, ... more
synthesizer, and saxophone to Nusrat Fateh Ali Khan's ensemble for what became his final concert in May 1997. Perhaps it was naiveté, perhaps poor taste, but whatever the thinking was, the choice reduced the most revered religious singer of our time to the functional equivalent of a Western nightclub act dressed in powder-blue threads crooning at the Luxor in Las Vegas. The praise song "Allah Hoo," regularly sung to open Nusrat's concerts, holds back the qawwali party in a cutesy rhythm designed for folks to clap merrily along to rather than encourage the ensemble to blast off into heated ecstasy. It's hard to figure out who this concert is aimed at: Nusrat purists will run away screaming, and ambient fans of his work with Michael Brook and Peter Gabriel (which now seems tasteful beside this recording) will cringe. One wonders why this mystic Sufi who dedicated his life to praising God through traditional Islamic song allowed accompaniment from swishing high hat à la the Bee Gees' "Night Fever" disco heights--where the tabla is played as if a bongo or conga. What's even more amazing is how this concert ended up sounding so Western when recorded in Pakistan, home of Islam and Nusrat's most devout Muslim followers. Perhaps it'll be smooth jazzers who will adore the funky kooka-munga rhythms and "saxy" jazz lines played on electric piano and sax here. Apparently this was the inevitable commercial direction Nusrat was being led in before he died in August 1997, but it's still unfortunate that this label had to let us in on the dirty little secret. For an outstanding sample of Nusrat's work, check out Real World'sShahbaaz.--Karen Karleski
Postage & Packaging:£1.24 Availability:Usually dispatched within 1-2 business days...
It's difficult to determine what the thinking was behind adding a drum kit, bass, ... more
synthesizer, and saxophone to Nusrat Fateh Ali Khan's ensemble for what became his final concert in May 1997. Perhaps it was naiveté, perhaps poor taste, but whatever the thinking was, the choice reduced the most revered religious singer of our time to the functional equivalent of a Western nightclub act dressed in powder-blue threads crooning at the Luxor in Las Vegas. The praise song "Allah Hoo," regularly sung to open Nusrat's concerts, holds back the qawwali party in a cutesy rhythm designed for folks to clap merrily along to rather than encourage the ensemble to blast off into heated ecstasy. It's hard to figure out who this concert is aimed at: Nusrat purists will run away screaming, and ambient fans of his work with Michael Brook and Peter Gabriel (which now seems tasteful beside this recording) will cringe. One wonders why this mystic Sufi who dedicated his life to praising God through traditional Islamic song allowed accompaniment from swishing high hat à la the Bee Gees' "Night Fever" disco heights--where the tabla is played as if a bongo or conga. What's even more amazing is how this concert ended up sounding so Western when recorded in Pakistan, home of Islam and Nusrat's most devout Muslim followers. Perhaps it'll be smooth jazzers who will adore the funky kooka-munga rhythms and "saxy" jazz lines played on electric piano and sax here. Apparently this was the inevitable commercial direction Nusrat was being led in before he died in August 1997, but it's still unfortunate that this label had to let us in on the dirty little secret. For an outstanding sample of Nusrat's work, check out Real World'sShahbaaz.--Karen Karleski
Postage & Packaging:£1.24 Availability:Usually dispatched within 1-2 business days...
Advantages: If you like western style Nusrat you will love this Disadvantages: Keep well away if you like tradional Qawwali
Nusrat in a diferent style.
Its hard to think what the thinking was behind this concert. It could well be as Nusrat often said he changes his music to suit the audiance. On this occasion it could well have been a step to far. Nusrats voice shines as always as does Rahats as he takes a much greater role in this whole concert (nusrat being ill) but for the more traditional type of listener keep well away.
Its hard to think what the thinking was behind this concert. It could well be as Nusrat often said he changes his music to suit the audiance. On this occasion it could well have been a step to far. Nusrats voice shines as always as does Rahats as he takes a much greater role in this whole concert (nusrat being ill) but for the more traditional type of listener keep well away.
The songs vary from the worldwide hit Allah hoo to the more folk style songs that we all now know like mera piya ghar ayee and ahkihan udeek diyan. overall good recording of the master live but not for the purest qawwali lovers. if you ike the more western style Nusrat you will love this.
Deenshafi 16.04.2008
Ciao members have rated this review on average:
somewhat helpful
Review of Swan Song (His Final Performance) - Nusrat Fateh Ali Khan
Product Information for "Swan Song (His Final Performance) - Nusrat Fateh Ali Khan" »
Product details
Title
Swan Song (His Final Performance)
Performer
Nusrat Fateh Ali Khan
Genre
World Music
Sub Genre
Qawwali
Release Date
11/11/2002
Recomended Retail Price
16.99 GBP
Original Release Year
1999
Label / Distributor
Narada World / Alternative/Sony DADC
Producer
Faisal Rafi
Pieces in Set
2
Studio / Live
Live
Stereo
Stereo
Format
Performer
EAN
724384785727
Catalogue Number
72438478572
Additional notes
Album Notes
SWAN SONG is Nusrat Fateh Ali Khan's final public performance. Personnel: Nusrat Fateh Ali Khan (vocals); Salman Ashraf (guitar); Rashid Hussein (saxophone); Farukh Fateh Ali Khan, Irshad Hussein (harmonium, background vocals); Imran Hussein (keyboards); Tanveer Hussein (bass); Nadeem Ashraf (drums); Dildar Hussein (tabla, background vocals); Asad Ali, Ilyas Hussein, Khalid Mehmood, Nafis Ahmed, Ghulam Farid (background vocals). Recorded live in Pakistan. Digitally remastered by Syed Shehzad Hassan (Underground Studios) and Andrew Walter (Abbey Road Studios, London). The late Nusrat Fateh Ali Khan's family has been an integral part of the qawwali music tradition for over 100 years, each generation passing on its insights, skills, and mystical teachings to the next. The qawwal is a hypnotic style of music that uses ancient Sufi poetry to worship Muhammad and to express other concepts, usually of romantic love. Tabla drums infuse SWAN SONG with a trance-like pulse, while harmoniums drone away in the background, and a chorus echoes Nusrat's voice. Nusrat has been described as having a "voice from heaven," and hearing is believing. On this, his final performance, a live concert performed for over 6000 people, Nusrat performs a mix of mostly traditional and folk classics including "Piya Ghar Aya," "Akhian Udeek Diyan," and "Loey Loey."
Album Reviews
Dirty Linen (12/99-1/00, p.70) - "...Khan's voice is in top form and he has a crack group of musicians backing him up....SWAN SONG has a great deal to recommend on it. It is an invaluable record of a priceless gift, [his] incomparable voice and spirit..."
Titles on disc 1
1.
Hoo
2.
Ali Da Malang
3.
Loey Loey
4.
Afreen Afreen
Titles on disc 2
1.
Ik Pal Chein Na Awey
2.
Akhian Udeek Diyan
3.
Kina Sona
4.
Piya Ghar Aya
5.
Mustt Nazron
6.
Mustt Mustt
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17/04/2005
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