INSAAN MUSIC

Happy #Mothersday Maa teray Jaise, originally sung by #sukhwindersingh

Listening to Prodigal son on the way home #sermonindex #luke15

#ganstersparadise #desi beginner learning chords, forgive any mistakes, all feedback welcome :)

Trying to learn chords lol. Sorry about the slight cold. Rab Da Kalaam #ernestmall #romeoroshan #insaanmusic

Decided to leave my cave for a day xD Music

Laung Gawacha Snippet from mehndhi July 21

Mujhe Neend Na Aaye- Romeo Roshan Ft MajnU 2015/2016 Found this track online after a long time, thought I'd upload it here :) One of the first recording attempts we ever made. LIKE, SHARE and SUBSCRIBE! Support: https://www.buymeacoffee.com/romael #ROMEO #MAJNU #BOLLYWOOD

#Punjabi​ #Dangal​ #Bollywood​ #Babpusehatkeliye​ #fattofit

What a absolute Classic LIKE, SHARE & SUBSCRIBE #Kissfromarose #Seal #Batman

Didn't practice much, but someone requested this and I tried with my limited Urdu skills lol #MehdiHassan #Lollywood LIKE, SHARE, SUBSCRIBE! Support INSAAN MUSIC on PayPal: loving_heart_42k@yahoo.co.uk

just remembered this song outta the blue LIKE, SHARE, SUBSCRIBE! Support INSAAN MUSIC on PayPal: loving_heart_42k@yahoo.co.uk #Angeleyes #Raghav

remember the Lord

My new Off The Cuff series where I try to perform covers off the cuff (ish) lol PLEASE SHARE and SUBSCRIBE to INSAAN MUSIC APOLOGIES or any technical issues, I know nothing about audio editing, my soundcard sucks and I have no formal musical training lol SUPPORT THE CHANEL ON: https://www.buymeacoffee.com/romael All track Credits goes to ...... https://www.youtube.com/channel/UCxFoINrmEZxOgWMofuWsQcg MAD WORLD Cover by ROMEO - Off The Cuff Series #GaryJules #MadWorld #Covers

Support INSAAN MUSIC with paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=N4ULJYTPY49PW&currency_code=GBP&source=url

Support INSAAN MUSIC with paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=N4ULJYTPY49PW&currency_code=GBP&source=url I don’t think there is any scope for change in Semi Classical or Pure Classical music. They are already huge institutes by themselves, and they are both given equal regard today. Semi Classical puts heavy emphasis on Raag too, when presenting Ghazals, Kaafis or Thumris. There have been some changes however for commercial purposes. Commercial Sufi music is a prime example. They have changed the musical basics of it for commercial gain. There have been some changes however for commercial purposes. Commercial Sufi music is a prime example. They have changed the musical basics of it for commercial gain. In a way it is good as it makes it more accessible to a wider audience. But notes, timing and the feeling must be maintained. It is the same in Raag performances. Some people perform Taans that just put people off. It has to be soothing, with few good Taans. Ustad Salamat Ali Khan, Ustad Bade Ghulam Ali Khan, Ustad Amir Khan, Pandit Bhimsen Joshi, Amaar Gundharaf, these and many other knew the value of Classical music and utilised it with respect. Ustad Barkat Ali Khan used to perform Thumris and Kaafis but utilised a of Classical music principles. Ustad Barkat Ali Khan used to perform mainly Thumris and Kaafis but were heavily Classical. The legendary Ustad Ashiq Ali Khan of the Patiala Gharana and other legends from even before I was born, that our elders used to tell us about. Ustad Tanrus Khan, Patiala Gharana’s Jarnal Khan, Ustad Fateh Ali Khan, these were true singers who performed pure Classical music. Changing it will not improve it in anyway. It is wrong to deter from it’s purity. Especially with Raags. If you are singing a 5 or 6 or 7 note Raag, stay within those notes. But in Ghazals, which are based on Raags, adding those extra notes do give them an additional beauty. But you still need to be a learnt singer, and I hope upcoming singers invest in this education. Our Gharana’s next generations are mainly singing Classical music. My nephews Nadir Ali Khan, Faizan Ali Khan, Aris Ali Khan, Shujat Ali Khan, Chand Khan, Suraj Khan are mainly performing Classical music. Then there’s Patiala Gharana’s Inaam Ali Khan, Nayab Ali Khan are truly the future of Classical music. They have sacrificed a lot otherwise they would mainly be Pop artists. Not to say they don’t dabble in it for promotional purposes. But whoever learns Classical music will be a long term artist and not a one-hit wonder.

Support INSAAN MUSIC with paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=N4ULJYTPY49PW&currency_code=GBP&source=url SONU NIGAM: If only I could explain what is going through my heart right now. Listen to what is happening in the background. This is a part of Indian music that is disappearing right before our eyes. Just like our forests are disappearing, cheetahs are disappearing, this music is disappearing. Friends, I have heard a lot of Classical music. I’ve seen performances by some great artists. But what I am playing for you today, I had never heard in my life. It is such a rare thing that I am taking the chance of playing hardcore Classical music on a modern, a superhit, the most sought-after FM channel called Radio city. Just listen to this, *instructs controller to increase volume*. The vocals are competing with the Sarangi (instrument), and these great singers are Ustad Nazakat Ali Khan and Ustad Salamat Ali Khan. Please listen to this, I had never heard something like this in Classical music before. Just listen to what is about to happen. *asks controller to rewind back* Just listen to what has been done here. People talk about Rock music, they talk about Jazz, but listen to what our Classical music has to offer. Oh Lord. This is just a small sample. If this Radio Station or this world today appreciated Classical music more, then I would just play Classical music for the listeners. And I’d make you fall in love with it. If I could, I would go to every house and start Classical music education there. I’m not even such a learnt singer but I hope people get to see what real music is. We only promote mediocre music; we promote simple singers which I include myself in. People give respect to simple singers like me but people have forgotten Vasantrao Deshpande. They have forgotten the accomplishments of Ustad Nazakat Ali Khan and Ustad Salamat Ali Khan. The average listener has forgotten Ustad Bade Ghulam Ali Khan’s singing. People have forgotten about these musical achievements. Listen. Listen. Listen to what is happening. *asking controller to rewind again” Listen. I can’t even do this. Just listen to what is happening. Each note is being carried by the vibrato. I would like us to give a standing ovation to Classical singers, especially Ustad Nazakat Ali Khan and Ustad Salamat Ali Khan. I just want to stand and clap. Let’s take a break now. Hopefully, some of you contemporary listeners don’t feel bored by Classical music. But as a professional singer, I do not want my listeners to miss out on something amazing. And I want all of us to recognise our roots. USTAT LATAFAT ALI KHAN: My Father’s Thumri that I just heard, “Moray Naina Lagay Gi Barsaat, balam mujhey chor na jana”. He is singing alongside my Uncle and this recording is from the 50’s. Elders used to say, “only prayers help you reach that level of singing”. The Taans he performed took him 20 years of practice, and he practiced for around 10 hours a day. You need lots of practice to become Ustad Salamat Ali Khan and Ustad Nazakat Ali Khan. They were our teachers, but to understand their music you need a gifted and knowledgeable mind. You need to know the art to attempt it. In the olden days many used to learn Raag to become listeners. So, they could better grasp a performer’s attempt at Sindhi Bhairavi or Malkauns for example. You know if a King asks you to sing Malkauns and you start singing Bhairavi, how will the king know unless he learns himself. Only then could he say, “that is the wrong Raag, off with his head”. By learning Raags they could enjoy it more. Now that piece my Father sings in the clip, it is something that you only hear on Sitar or Sarangi, you cannot even classify it as a Taan. It is a gift from God. People are still performing such music. My brother Ustad Shafqat Ali Khan for example. But people are too occupied listening to the latest fads. We do still get complimented for our performances. But people do need to pay attention and listen, then they can discover that this music is still alive. That Ustad Nazakat Ali Khan and Ustad Slalamat Ali Khan’s children and students are still performing. It is my hope that our future generals will excel in this field. If they keep practicing and trying to attempt such pieces, then one day we will see them in the mainstream again. The music won’t end here. Our Forefathers prayed that our Gharana will exist till the end of time, and I feel lucky to have been born into this Gharana. I have nothing to offer. People respect and love us because of our Gharana. I pray that all musicians and singers who do this work with sincerity will get blessed. It is a music of practice, preparation, and hard work. I have no words to describe my Father’s works, God rest his soul. When future generations will listen to this music, then music will reign. Thanks

Support INSAAN MUSIC with paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=N4ULJYTPY49PW&currency_code=GBP&source=url Feature Length version of Ustad Latafat Ali Khan's EXCLUSIVE interview with us.

Support INSAAN MUSIC with paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=N4ULJYTPY49PW&currency_code=GBP&source=url Ghazals nowadays are considered Classical music. In the last 50 years, it has gained the same respect and position as Thumris. Mehdhi Hassan, Ghulam Ali, Pervaiz Mehdi, Fida Hussain, Hussain Bakhsh Gullu were revolutionists who utilised Classical music in Ghazals, and even today people listen to their music. It’s not like it has been forgotten. Even today people listen to good music in the Subcontinent. They listen to Classical music, to Ghazals. There are less listeners but that does not mean the music is dead. But there are always ups and downs. Numbers of listeners might go down, but the new generations of course now sing Ghazals in their own way. With drums and keyboards, it has a more Pop feel now. Some people even dance on Ghazals now, and some perform to accommodate that. Many just try to ruin the feel of a Ghazal. They even ask me to do that sometimes which is annoying as we are trying to perform serious music, as taught to us by our Father. Where did all those listeners go? Where did all those listeners go? I mean there are still some and good listeners are better than millions. If a million watched us, but only a 100 were listeners, we are singing for that 100. Even Father used to say this. Once someone said to Allama Iqbal (poet), “only a minority understands your poetry, only 1 in a 100”. He answered, “I write for that 1 person who understands”, “I don’t care whether the 99 understand it or not”. And Father used to say the same thing, “I don’t sing for the 95% who aren’t listening”. So, he practiced for them and gave them all he had. Even he had ups and downs. But he did not sing Ghazals. He would have been unstoppable at Ghazals, I think Mehdi Hassan heard him sing a Ghazal privately once. But he wanted to continue the tradition of his Gharana and did not deter. He said, “no, I will only sing Raags”. But I do feel it important to mention here, my father never forced us to take up music as a profession. I know some people just want their children to work in the same field as them. He said, “If you can’t do it, don’t worry. Pursue whatever study and field you need to, whether it is a administrative job, or whether you want to do business”. But he also used to say, “It would bring me joy to watch you sing, being the tradition of our family”. But seems his prayers were answered. All of us brothers are now singers and I’m sure his soul is happy. He also used to say, “genuine artists will never be millionaires”. Insincere, Pop artists as you know own tens of properties. True music only lives where there is truth. Wake up in the morning and practice Bhairo. If the sun is out, sing Raag Todi followed by Bilawal, then Sohini, then Raag Bhup, then Raag Kalyan, Khamaj, Poorvi Thaat. Elders used to say, “sing the right Raag at the right time of day to make them effective”. These wars, storms, floods and chaos we see on Earth right now are because we wrong Raags at the wrong times of day. Someone sings Malkauns in the morning, man what are you doing? your causing chaos on Earth. Someone is singing Bhairo at night when it is supposed to be sung in the Morning. Someone is singing Marwa at 3am, the Marwa itself kicks him out of frustration because that is not the time to sing it. You have to understand these truths, you have to sing “Miah ki Malhar” at the right time. I spent a lot of time with my Father. He taught me much and was also a good friend. He was a Father and a teacher. Throughout life, we are always learning. Education never ends. He used to say, “continue with the music, Allah provides. But you’ll have to sacrifice a lot. If you want to be a millionaire then become a businessmen”. Nowadays, off tune singers earn a lot. However, we did not care about the money, we wanted to make sure we sang true, keeping our tradition and respect alive. So pray this continues, as we continue to perform Classical and Ghazal music. Nowadays, Ghazals are considered Classical music and we encourage people to learn Classical music then sing whatever Genre or style they want to perform.

Support INSAAN MUSIC with paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=N4ULJYTPY49PW&currency_code=GBP&source=url Our Gharana is a Classical Music Gharana. We were not allowed to sing Ghazals. I was learning Classical but my interest in Ghazals was increasing and my Father was concerned. Artists such as Mehdi Hassan, Ghulam Ali, Pervaiz Mehdi were changing the musical landscape then. The Musical landscape is ever changing. Dhrupad (musical tradition) was followed by Khyal, followed by Thumri and many other styles and genres as we see them today. But they all stem from Classical music. Now I got into Cricket in those days. I loved Cricket but it was a good excuse to move away from Classical singing, which I was still finding a bit intimidating. So, I played Cricket and even reached State level. I used to be a all rounder I also got selected to play for the Radio Pakistan Cricket Team. At the time the radio producer was Mr Khalid Asghar and the radio controller was Mr Saleem Gillani. My uncle Ustad Sadat Ali Khan was also on the team and Mr Joseph Gill was the captain. I was chosen from an number of artists who worked at the Station. We played against many celebrity teams at FC College, Aitchison College, Government college (Lahore) and many other places. I used to play well and even Father saw one of my matches. Many old cricketers attended that match including Mohammed Nazir. There were some selectors there as well, who was also the selector for the Under 19s cricket team. It was a FC college match and I scored 52 runs scored against a very tough fast baller. I played stroke point shots in all directions, cover drives, square-cuts, 3-4 good straight drives on side and offside. I even played mid-wicket. The selector was impressed and wanted to select me for the under 19s. At the time Waqar Tony was the captain and was also my friend from Government College Lahore. We even played a match together at a large stadium in Chauburji. He was happy and thought I was a good player as well. So, Mr. Nazir was very happy to meet my Father as he was a huge music fan. He then asked him if he can select me for the under 19s. Father said, “we will decide by tomorrow”. So, when we got home, he saw how ecstatic I was for getting selected for the under 19s, because that could lead to a National Team selection. Back in those days they selected talent over politics. So, we got home, and he said, “Son, if I allow you something will you leave cricket for it”. I said, “I’m not sure what you mean. You’re my Father, feel free to ask anything”. He said, “I’ll allow you to sing Ghazals, if you leave cricket. You are a good singer, but what if a ball hits you in the chest or neck. You could lose your voice”. He said, “there will be many other cricketers. But watching you sing will make me happier. So, I will allow you to sing Ghazals, but one day you will be singing Classical music as well”. And that is exactly what happened. I agreed to it, and while the under 19s went to play in India, my Father took me on his world tour, starting with America and Canada. There he let me sing Ghazals. I got to sing in Florida and Chicago for example. My father got me to open for him. He even composed for me. You can find some examples on Insaan Music. He also encouraged me to sing any Ghazals he would like. So that is how I become a Ghazal singer, however I kept learning Classical as well. One day I was singing in London at Asif Jaan’s home who was a Afghanistan born Tabla player. Now the venue was full of Afghani listeners, and they asked me to sing Classical because of my Gharana. Now I had learnt Classical but performed little of it in front of people. But I started to sing, they played a Jhap Taal (ten beat pattern). I sang for about 30 minutes. Afterwards, people gave me so much respect for it, I fell into deep thought. Then I remembered my Father saying, “I will allow you to sing Ghazals, but one day you will be singing Classical music as well”. And that is exactly what happened, as if my Father has prayed for that to happen. After that day, I started to put more emphasis on Classical music and usually start off my concerts with a Raag performance. Now ironically even Ghazals are considered Classical music. My Father used to stay, “sing anything, as long as you are in tune and in time”

Support INSAAN MUSIC with paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=N4ULJYTPY49PW&currency_code=GBP&source=url

Support INSAAN MUSIC with paypal: https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=N4ULJYTPY49PW&currency_code=GBP&source=url My most memorable performance with my father Ustad Salamat Ali Khan, God rest his soul. I have performed quite a bit with him around the world. My first performance with him was at the Hong Kong festival, in the 80’s. They took me as a Ghazal singer. Ustad Sharafat Ali Khan would accompany him. On the Tabla, we were accompanied by Mumtaz Ali, who resides in Chicago. He was the student of Miah Shaukat Hussain Khan. It was a great tour, and my Father was exceptional there. After which, my Father took me to India. We almost toured the whole of India. Delhi, Mumbai, Madras, Calcutta, Hyderabad, and many other places. We toured many big festivals. My most memorable performance of my Father there, was his performance at the Shanker Lal festival (Delhi). I still remember his Raag Marwa. There was this huge crowd, the place was packed. Banay Khan Sahab was on the Sarangi and Ghulam Abbas Khan was on the Tabla, who was a student of Ustad Alla Rakha Khan. So, Ustad Salamat Ali Khan performed a Taan called a Sata, which elders usually discourage because you can damage your lungs with it. And he performed it causing high voltage bulbs above the stage to crack. Just imagine the frequency of the Taan. I was accompanying him on the harmonium. I was shook and was trying to take cover. The Sarangi player picked up his Sarangi and took cover under it to avoid bulbs falling on his head. Sarangi and took cover under it to avoid bulbs falling on his head. But Father was in his own world with his eyes closed, not paying any attention to what’s going on. It was a miracle no glass fell... After that he performed a very memorable Taan at Shah Jinnah, there is a huge shrine there. We used to get called there for ten days at a time by Sarkar Mohammed Gause who was the Gaddi Nasheen (”Successor/student of a Pir/ Sufi Saint”) of Pir Karorya, near Jhang (Punjab). His son Faisal who has also served as a minister (political) is now the Gaddi Nasheen there. So, my Father performed a Taan in Raag Gaud Malhar, and it caused a wooden beam in the roof to split in half. People thought the roof was going to fall. He was truly great, some even said he was their generation’s Tansen (Legendary singer from the 1500s). I’m not just saying this because he was my Father. It was the respect given to him by the world. He was a deep ocean. There were many other performances, these were some memorable ones where I was present. There are many stories I heard from people, but these were events I witnessed myself. People like to hear from eyewitnesses. But to get to such a state of singing, he used to practice, often 20 hours at a time. Nowadays people don’t have 30 minutes to practice. People say I’m tired now, let’s take a break. And even after 3-4 breaks they still don’t get on with it. As the elders say, this is an art where you practice all your life, till your dying breath. Whether you’re a professional or not, you have to maintain your voice and this art.