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(Pakistan, 18 June 2011) On 19 June 2011, the Coke Studio journey continues through time with Episode 3, presenting a cross section of genres and artists representing generations of listeners. Performances in Episode 3 will outline a history – from the diversity of music that defines the present to flavors from the recent history of contemporary music and on to the sounds that are a part of our cultural heritage.
Tracing the inspiration of some of today’s music back to an ancient source, this episode will feature Mole’s “Baageshri” - an experimental fusion track where the band has utilized modern tools of technology side by side with eastern and westerns instruments to achieve a unique sound – a first for Coke Studio.
Artist Sanam Marvi also features in this episode, embracing the deeply spiritual poetry of Sachal Sarmast with “Ith Naheen”. With an ambient lounge feel, Sanam projects the force of the powerful verses through her expression, diction and delivery crafted in the manner of a sound-scape.
Episode 3 also brings back young talent Bilal Khan with his original “Lamha” – a dark, brooding song that expresses both lyrically and musically, an emotional response to loss. The song features a pronounced dholak groove that builds up to a dhamaal-like fervor as the emotional temperature rises, yet remains appropriately unresolved to the end of the song.
Jal returns to Coke Studio in Episode 3 with an experimental version of “Panchi” for which the band has collaborated with promising new singer Quratulain Baloch as they take a nostalgic trip down memory lane to Jal’s very first encounter with fusion – “Tere Ishq Mein jo bhi Doob Gaya”.
Following a path that began with “Sighra Aaween Saanwal Yaar” in Episode 1 and continued in Episode 2 with “Kanga”, Episode 3 will present a fusion performance by one of the custodians of the ancient art-form of eastern classical music – Ustaad Naseer-ud-din Saami. “Mundari” is a classical piece in the raag, Adana – a raag that is known to have the effect of holding a listener captive by its beauty and for the bitter-sweet emotion that it can invoke. This rendition will be an imaginative and creative performance by Ustaad Saami where Coke Studio has combined Eastern classical music with Western accompaniment adhering to the requirements of the art-form.
With the airing of Episode 3, Coke Studio will cross the half-way mark of the season’s musical journey with the boundaries of fusion receding to afford a clear insight into our musical past and a glimpse of the unlimited possibilities ahead. Be part of this experience on 19 June 2011 06:00 PM and onwards on television channels, radio stations and online, across Pakistan, with a new episode to air every fortnight! In the meantime, keep yourself logged on to www.cokestudio.com.pk to follow the Coke Studio journey.
Coke Studio Season 4 Episode 3 Airing Date and Time:
Episode 3: 19 June 2011, Sunday, 6:00 PM and onwards – multiple airing times of multiple mediums.
About Coke Studio Season 4:
Coke Studio embarks on its fourth season with a heightened awareness of the invisible depths of the musical foundations upon which it stands. Expanding on the experiences of the previous three seasons, Coke Studio now continues along the path of self-discovery with a fresh perspective on the scale of diversity – of music, poetry, cultures and languages – that exist in Pakistan.
In Season 4 the Coke Studio journey is rich and varied. It takes us deeper into the realm of classical music – introducing promising new talent, highlighting branches of music that have evolved from the classical root and presenting demonstrations of the ancient art form by universally acknowledged maestros. Coke Studio will also be showcasing styles of music that are uncommon yet exceptional and therefore, very precious. In keeping with the Coke Studio tradition of expanding the boundaries of mainstream listening, there is the inclusion of regional language songs. Making valuable additions to the country’s known talent pool, Coke Studio also introduces some gifted, yet virtually unknown singers that have earned a place on this platform due to their skill and talent alone. And providing perfect balance to the musical spectrum of this season, Coke Studio continues to acknowledge the importance of contemporary music via fusion and cross-genre collaboration numbers – featuring pop singers, a diverse range of bands and a house-band that combines the best of eastern and western instrumentation.
Coke Studio Season 4 Featured Artist Profiles
SAJJAD ALI
Sajjad Ali started singing when he was seven and released his first album, “Master Sajjad sings Memorable Classics” in 1979 when he was just thirteen years old. This ambitious undertaking included a collection of classic numbers previously sung by the likes of Bade Ghulam Ali Khan and Mehdi Hassan. Ali went on to make numerous television appearances but his true potential was not realized until 1983, when he was invited to perform on Silver Jubilee, a PTV stage show directed by Shoaib Mansoor. It was this memorable performance by the then 17-year-old Sajjad Ali that brought instant recognition within the music industry and the lasting appreciation of a wider audience.
After a series of albums celebrating the classics, Sajjad Ali decided to concentrate on his real area of interest – popular music. A prolific songwriter, Ali released three pop albums in quick succession. The unusual combination of Sajjad Ali’s classically trained voice and his catchy sing-along melodies had a unique appeal and his albums were well received by the public. However, it was the release of his single Babia in 1993 that catapulted Sajjad Ali to unequivocal stardom.
Propelled by the momentum of the single’s success, Ali lost no time in recording and releasing an album. Titled Babia ’93, the album contained three hit singles – Babia, Bolo Bolo and Kuch Larkiyaan – and turned Sajjad Ali into a household name.
Now, almost two decades and many successful albums later, Sajjad Ali, singer, songwriter and composer, comes to Coke Studio for the first time, with a voice that, in his own words, is “more mature” and a signature style that is appealing in its uniqueness.
ASIF HUSSAIN SAMRAAT
Asif Hussain Samraat hails from a family of famous dancers. The Samraats, or ‘Kings of Dance’, have been acting in, and choreographing for, the Pakistani film industry for decades. But ever since Hussain was very young he knew he was meant to do something different. He was born to be a singer. “People started praising me at the age of five,” says Hussain, now 36. “I would sit in my father’s lap and sing for everyone. Even as a child I didn’t get nervous performing in front of an audience.”
When Hussain was in 10th grade he began to receive formal training in classical singing from Ustaad Zafar Khan Sahab. Then, in his mid-twenties, Hussain got an offer to play the lead role in a play. He accepted. More offers followed, and Hussain’s attention gradually shifted away from music and became more focused on his acting career. Now, a decade later, Hussain gravitates back to what he claims was always his true calling: music. “I had that flame for music inside me and it never died,” he says, “It kept teasing me as if to say music is the place for you, and I realized where I was supposed to be.”
Hussain returns to his first love with more devotion than ever before. Enriched with culture and tradition, Hussain’s singing touches on age-old Sufic folklore, sung in a regional language spoken by few Pakistani’s, Marwari. For Hussain, whose ancestors were from Rajasthan, where this language is more widely spoken, having the opportunity to sing Marwari songs is an honour.
Hussain’s Rajasthani songs invoke poignant images of lovers separated by vast tracts of desert. Within these love stories, Hussain has rediscovered himself. “Singing is my soul,” he says, “I am in love with these tunes – they are like my Beloved.” This year Asif Hussain Samraat brings the timeless melodies of Rajasthan to Coke Studio.
ATTAULLAH KHAN ESAKHELVI
In Attaullah Khan Essakhelvi’s household in Mianwali Punjab, music was a form of entertainment that was not just looked down upon, it was also strictly forbidden. Essakhelvi recalls that his father used to own a radio set that he would turn on just to listen to the news and then quickly lock up lest someone dared listen to a tune. Little did he know that his own son would grow up to become one of the most popular Pakistani folk singers.
Essakhelvi traces his overriding love of music back to his earliest childhood memories. He sang – despite the social taboos. And secretly, while still in school, he sought to learn more about music. One of his teachers, Syed Nasiruddin Shah Bukhari helped hm. “He taught me Mohammed Rafi’s songs, Mukesh’s songs and told me never to stop singing,“ Essakhelvi reminisces. Soon Essakhelvi’s passion for music overcame his fear of society, and he tried – unsuccessfully – to convince his parents to let him sing. “I tried to describe to them what happens inside of me when I sing… I begged them,” he remembers. “Maybe they would have brought themselves to bear it. They were, after all, my parents. But the system, the rules and traditions of where I come from would never have allowed it.”
At 18, a disillusioned Attaullah Khan Essakhelvi left home. He went from province to province, city to city, doing odd jobs, surviving. During this time, he nurtured his bond with music, singing and often recording himself on cassette tapes that he later distributed. One day, to his surprise, he received an invitation from a recording company in Faisalabad to come to their studio and record some folk songs. It turned out that they had come across one of his home recordings. Essakhelvi kept the appointment and recorded four albums in one go. When they were released at the end of 1977 they became nationwide bestsellers. Attaullah Khan Essakhelvi has never looked back.
After 40 years of singing countless folk songs, holding the world record for the highest number of audio albums ever released by a singer, and belting out award-winning anthems in five different languages all over Pakistan and the world, Essakhelvi still maintains that all of this was never his intention. “I didn’t yearn to become a professional singer,” he says, “I was simply compelled to sing. It was a passion.” This year Esakhelvi brings that passion to Coke Studio.
KAAVISH
Kaavish emerged on the Pakistani music scene in 2004 with a remarkably mature and articulate sound. The blend of sweet nostalgic melodies, richly mellow musical arrangements and subtly perceptive lyrics, has since become the band’s trademark sound, resulting in a steady and loyal fan following and consistently positive reviews.
Jaffer Zaidi and Maaz Maudood first decided to form a band after a successful collaborative performance at their school talent show in 1999. It was decided that Maudood would sing and Zaidi would play the piano, an arrangement that was to change over time. After experimenting with a variety of names for the band, the duo eventually settled on Kaavish in 2002. The word ‘Kaavish’ means struggle – and they felt it described their situation perfectly.
In 2004, the band released their first single on the Internet and radio. The track was a slow, nostalgic number called Bachpan. Zaidi’s unique voice and the soft yet catchy melody of Bachpan struck a chord with young and old alike and the song garnered a good response over a period two years.
In 2005, the band scored yet another notch in their struggle, with the release of a music video for Bachpan. The song immediately shot up on the top ten charts listings on music channels. Kaavish followed up on this success with the release of another single, Choti Khushiyan, in 2006, and Tere Pyar Main the year after. Both singles received a warm and enthusiastic response from fans and critics alike.
After a three-year gap the duo finally released their first album, Gunkali, to critical acclaim. Kaavish is now working on their second album and are featuring on Coke Studio this year.
FAREED AYAZ & ABU MOHAMMAD QAWWAL
For brothers Abu Muhammed and Fareed Ayaz, who have been practicing the art of qawwali since they were young, learning the intricacies of music is not about getting a degree at the end of the year. It is a lifelong process. “A good musician learns and unlearns throughout his life,” states Ayaz.
The two brothers hail from a family of Qawwals. As young boys, under the tutelage of their father, Ustaad Munshi Raziuddin, a master classical musician and winner of the Pride of Performance Award, they underwent a daily regimen of rigorous and disciplined practice. Fareed Ayaz and Abu Muhammed are quick to assert that they were their father’s students until he passed away in 2003, and that their education did not end there: “I still feel like a pupil who is prepared and eager to learn,” says Ayaz, “I want to keep learning and further implement what I know to refine the quality of the music I produce.”
Fareed Ayaz and Abu Mohammed belong to the Qawwal Bachchon ka Gharana. Their lineage descends directly from that of Mian Samat Ibrahim, a disciple of Amir Khusro, the renowned 13th century poet and musician. Centuries later, these brothers are still proudly rendering the ancient art form and are widely considered to be one of the best qawwal troupes in the world.
Fareed Ayaz and Abu Mohammed have worked hard to win the respect of listeners both young and old alike. In 1973 when Fareed Ayaz decided to form his own qawwali troupe, his father Munshi Raziuddin left his partner Manzoor Niazi and joined his son’s party along with Abu Muhammed. The early years were not easy, but they persevered, combining their integrity to the art form with sheer hard work. Gradually the troupe started garnering acclaim as listeners began appreciating both the depth of their kalaams and their remarkable skill.
Today, with numerous internationally released albums to their credit, Fareed Ayaz, Abu Muhammed and their troupe travel the world, representing Pakistan and presenting the art of qawwali to listeners across the globe. This year they join us at Coke Studio.
USTAAD NASEER-UD-DIN SAAMI
“There is peace to be found within Music,” says Ustaad Naseer-ud-din Saami, “We all feel the effects of music – but in going a step further, in understanding the effect that music has on one, is the key to a greater truth. One that can enable us to bring about tranquility in our heart, body, mind and soul.”
Ustaad Saami has spent most of his life immersed in this quest. His musical education, under the tutelage of his uncle Ustaad Munshi Raziuddin, started in 1957, when he was 12. “For the first six months we just sat in front of our Ustaad,” says Ustaad Saami, “He would sing and we would listen.” After singing to his students for six months, Ustaad Raziuddin set them to singing a single note or sur – ‘sa’. “We sang until our jaws ached, but that was a part of our learning process.” Finally, three months later, the Ustaad allowed his pupils to add one more note to their repertoire and in this painstaking manner the education advanced. It would be two years until the Ustaad felt his students capable of attempting simple melodic progressions.
Now, himself an Ustaad of unimpeachable repute, Naseer-ud-din Saami is known for his formidable talent and the intense refinement of his skill. Ustaad Naseer-ud-din Saami’s musical lineage of over 700 years can be traced back to Amir Khusro, through his ancestor Mian Samaat bin Ibrahim, who was a student of the famed 13th century poet, mystic and musician. A central component of the musical inheritance is the emphasis on the purity of sur. Ustaad Saami’s performances are marked by his command over his medium and of course, the enhanced definition of sur, articulate against the resonant drone of the exquisite twin tanpuras that have been in the family for over 175 years.
Enigmatic and graceful, Ustaad Naseer-ud-din Saami mesmerizes audiences as he conveys the emotional essence of a raag to powerful effect. This year Ustaad Saami brings the magic and magnetism of eastern classical music to Coke Studio.
Quratulain Baloch
Quratulain Baloch did not grow up dreaming about being a singer. By her own admission, she “realized it pretty late”. Baloch’s training was not of the traditional kind either. Instead of employing a vocal coach, she listened to and sang along with popular numbers by Nusrat Fateh Ali Khan, Abida Parveen and Reshma. In this way she nurtured her natural talent and developed it into a potentially promising career, recording a video of her song Peera with Khawar Javed and performing a gig at the World Fashion Café.
A hallmark of Baloch’s personality is her modesty and respect for those she grew up listening to. Whatever success she has had, she credits to “the divine inspiration I get from the big names.”
It is no surprise then that Baloch’s favourite quote comes from Frederick Peris. “I do my thing and you do yours. I am not in this world to live up to your expectations and you are not in this world to live up to mine.” It is this philosophy that has allowed Baloch to maintain her independence without losing her admiration for others.
She joins Jal at Coke Studio this year for a collaborative fusion number.
Mole
The six individuals, who together make up the band Mole, are drawn together by a single unifying force – music. Some of them were already active in the Karachi underground music scene as far back as 2003, despite the fact that the average age of these young musicians is just 21. It began when Ziyad Habib and Danial Hyatt teamed up, roped in a few more like-minded friends and started doing “what every underground band in Karachi, Pakistan was doing” – playing gigs, doing covers and striving to be heard. But the force of a fertile and prolific creativity set Mole apart and they quickly abandoned cover tunes for original compositions. Although the Mole material was not tailor made to fit any identifiable genre or indeed, to fill an apparent void, audiences connected with what they heard and public demand grew. Mole has since released two EP’s online; “We’re Always Home” in 2008 and “Visiting” in 2010.
In between these two albums almost all the members of the band made the transition from being Karachi-based school kids to college students enrolled in universities across the globe, and yet the flow of music from Mole continued unabated. This happy inability to perceive conventional boundaries also seems to have allowed them to evolve with absolute freedom. True children of the Technology Age, Mole’s creativity has, over the years, been stimulated by a variety of diverse influences – from Radiohead and video games to the uncharted territory of ‘experimental music’. When asked what inspires them the volley of responses ranges from the misleadingly mundane: friends, family, children and childhood to the comfortably introspective: feelings, peace, love, God, the universe and seamlessly on to art, anime, video games, space travel, fantasy and super natural existences. And, of course, “lot’s of music”!
Mole, with a line-up that includes Amman Mushtaq, Abdullah Tariq Khan, Bilal Nasir Khan and Faizan Riedinger, along with the two founder members, brings their unique brand of experimental music to Coke Studio this year.
