Nusrat Fateh Ali Khan

小簡(jiǎn)介
Nusrat Fateh Ali Khan生於回曆1368（西元1948）年，卒於回曆1418（西元1997）年，享壽49歲的巴基斯坦旁遮普歌唱家，是當(dāng)代最偉大的Qawwali宗師（Pandit）；回教歌壇中的帕華洛帝。Qawwali是回教蘇非（神秘教派）信徒獨(dú)創(chuàng)的吟唱歌樂(lè)，回教敬拜儀式中向來(lái)排斥音樂(lè)，蘇非派卻是其中的異數(shù)。自十三世紀(jì)以來(lái)，便以Tabla、Dhaolak、Naal手鼓、簧風(fēng)琴（Harmonium）和著領(lǐng)唱與對(duì)位重唱的男聲，引領(lǐng)真主信眾進(jìn)入恍惚狂喜的忘我境界。承襲百餘年家學(xué)淵源的努斯拉?法帖?阿里?汗，其歌聲如古昔韃靼健駒，狂馳於大漠天際，轉(zhuǎn)板拔尖迅如電光石火；伴奏之鼓聲擊掌如詭雷拍浪，加上一呼百諾的合聲，即使爵士的Scat唱腔也瞠乎其后，Qawwali的魅力因他而舉世聞名。在這張選輯中，他時(shí)而頌讚阿拉，時(shí)而歌詠愛(ài)與和平，兼顧入世關(guān)懷與出世情操，演唱場(chǎng)地也從傳統(tǒng)祭壇走向英、法兩國(guó)的音樂(lè)廳。qawwali是一種崇神歌曲,一種紀(jì)念和歌頌先知默罕默德的吟唱。一般是由男子來(lái)表演。而Nusrat Fateh Ali Khan就是巴基斯坦演唱qawwali的高手，也是他把這種特有的演唱在全世界發(fā)揚(yáng)光大。Nusrat Fateh Ali Khan胖胖的身體中充滿了力量，他對(duì)于通過(guò)雄渾的歌聲與神對(duì)話，用虔誠(chéng)的心靈來(lái)詮釋qawwali的精神。Nusrat Fateh Ali Khan與眾多樂(lè)手合作過(guò)，象與Pearl Jam主唱Eddie Vedder合作電影原聲《越過(guò)死亡線》，與ECM旗下的挪威Jazz樂(lè)手Jan Garbarek合作的爵士專輯《Ragas and Sagas》，史科西斯電影《基督最后的誘惑》的原聲，Oliver Stone電影《閃靈殺手》原聲等等。這個(gè)精力充沛的家伙的作品無(wú)數(shù)。
by Ken Hunt
Without doubt the most important qawwal is Nusrat Fateh Ali Khan & Party — Party is a generic term for a qawwali ensemble but is also used in Sikhism and to describe some classical music ensembles, for example, shehnai maestro Bismillah Khan & Party. Dubbed Shahen-Shah-e-Qawwali (the Brightest Star in Qawwali), he was born on October 13, 1948, in Lyallpur in the Punjab Province of Pakistan. He made his first recording in 1973 in Pakistan and a number of early EMI (Pakistan) albums jointly billed him with his uncle Mubarak Ali Khan. Since these mainly cassette albums were invariably undated and numerous, it is difficult to place them in any more accurate chronological sequence than catalog-number order. Between 1973 and 1993 his recorded output could only be described as prodigious, with more than 50 album releases to his name on numerous Pakistani, British, American, European and Japanese labels. Heavily over-recorded, blighted with a rash of poppy remix albums or albums with Westernized instrumentation or arrangements, his recorded work is a mire to suck in the uninitiated and their money. Converts, however, do not escape scot-free. Although some releases hint at their nature with coded titles such as Volume 4 Punjabi (Oriental Star CD SR013) from 1990 or Ghazals Urdu (Oriental Star CD SR055) from 1992, the chosen language and style is frequently a matter of conjecture or uncertainty. While the Western market is saturated with his work, the Indian market is supersaturated, and his recorded output is in danger of overwhelming any sense of taste.
Real World was the label largely responsible for Khans breakthrough into a non-Indian audience. It was their marketing skills and the platform provided by the WOMAD organization which introduced him to Westerners. Mustt Mustt (Real World CD RW 15) released in 1990 was a deliberate attempt to target the white market with its non-traditional arrangements, yet it seems positively cherubic beside later abominations. All these albums are experiments, he told me in 1993. There are some people who do not understand at all but just like my voice. I add new lyrics and modern instruments to attract the audience. This has been very successful. Success, however, bred indifference to the virtues and values of the original music. Many find the remix albums, the Western and youth-market releases, a source of despair: buyer beware remains the watchword. When singing his traditional work he remains peerless. Many fans regret the dilution of his talent that has occurred with his experiments. However, in 1994, reportedly tired of unauthorized releases, he took greater control of both his business affairs and his concert and recording activities. With his international renown at an all-time peak, Khan died on August 16, 1997; a seemingly endless procession of posthumous releases appeared in the years to follow.