Ghulam Ali Sahib ’ s name has become synonymous with ghazals . He is one of the most trendsetting , prodigiously , talented , mavrick artists that we have seen in our lifetime . This genre can be seen as a very challenging culmination of the richness of melodic content from the subcontinent , combined with harmonic and rhythmic intracity . And this is just musically speaking . Once you get into the poetry , it ’ s a different subject altogether . The lyrical content of ghazals is also highly evolved . Every ghazal is like a conversation , often with oneself , some of them can be highly witty , bordering on sarcastic . They are not a simple profession of love for the beloved , but sometimes a monologue , wherein the lover grapples with rejection in a witty , quirky way .
It ’ s natural therefore that the melody and the harmonic arrangement will be equally intricate and full of surprises . In my humble observation , I find a lot of similarity between this genre and 12-bar blues in as much as often towards the end of the cycle . There is that one change which throws you off . In my opinion , Ghulam Ali Saab is an embodiment of the quotes that lie within the spirit of this genre . He composes melodies , which are simple and footing at first listening , and complex and difficult to fathom , going forward from there .
For me , the gold standard is one of his well-known ghazals entitled ‘ Apni Tasveer ’. This ghazal is a classic example of how one can explore chromatics through a structure and make it sound ethnic in its embellishments and yet somewhat western in its arrangements . The cherry on the top is how Ghulam Ali Saab plays with rhythm . The syncopation and little brakes are absolutely breathtaking in their unpredictability . He will effortlessly find a dozen variations for each phrase while staying comfortably within the harmonic cycle . I feel in the hands of this great maestro , this genre comes very close to the intellectual prowess of jazz music .
The interesting thing about Ghulam Ali Saab is that despite the intricacy , the end outcome is very trapping and entertaining . He doesn ’ t lose his listener even for a microsecond . His renditions are always enhancing the beauty of the lyrical content and keep the drama and the conversational nature of the verse intact . In this context , I would like to draw attention to one of his other ghazals ‘ Dil Mein Ek Lehar ’ of which there is a celebrated YouTube video where he shows how one can create 1,000 melodic variations of the word “ lehar ”. In the spirit of a true improvisational musician , the entire band goes on this journey with him , in sync , adapting to each and every rhythmic fold , and melodic embellishment as it comes while the audience is left in sheer awe of this man ’ s genius .
During my childhood days in Kolkata , I have seen many concerts of Ghulam Ali Sahib live . I still remember how he would grip the audience and there wouldn ’ t be a single dull moment in a space of a couple of hours . I ’ ve always admired him , and I always keep telling my students that practising ghazals in general , and especially , his compositions will lead to enhanced awareness of laya and sur . I remember our dear friend , Deepak Pandit recently unexpectedly connected us with him on the phone and I was really delighted to receive his dua , albeit on the phone
Ghulam Ali saab is also a very capable tabla player and every tabla player who has played with him will testify to the fact that he has helped them learn a thing or two about playing with ghazals . What makes this maestro unique is how he uses rhythm to enhance the experience of the lyrical content , how at every turn there is an amazing surprise ready to spring on the audience . As a kid , I grew up on a heavy dose of this genius artists ’ repertoire and to this day , I am dazzled by his renditions , always learning a thing or two about how to incorporate a heady mix of melody , harmony , and rhythm into improvisational music and how to make it all seem so easy .
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