JAN GARBAREK / USTAD FATEH ALI KHAN - Ragas and Sagas (1992) FLAC (tracks+.cue), lossless

The saxophone is not an instrument usually associated with Pakistani music. And Pakistanis are not especially famous for collaborating with Norwegians. But that is what listeners have on this incredible recording. The music is predominantly Pakistani in sound, tonality, and structure; voice, sarangi, and tabla improvise along with Garbarek's saxophone on every track. For aficionados of Indian or Pakistani music, this is a great recording; Garbarek's lines are right in step with the traditional styles of improvisation. Listeners unacquainted with these traditions will find this recording a mesmerizingly exotic disc. Those familiar with Garbarek's work will be very surprised. This is a completely unique recording for him; one can only hope that he makes further explorations in this vein. by Mark Allender

Tracklist:

1 Raga I 8:45

Ustad Fateh Ali Khan

2 Saga 5:25

Jan Garbarek 

3 Raga II 13:05

Ustad Fateh Ali Khan

4 Raga III 11:53

Ustad Fateh Ali Khan

5 Raga IV 12:56

Ustad Fateh Ali Khan

Credits:

Jan Garbarek - Composer, Flute, Performer, Sax (Soprano), Sax (Tenor)

Shaukat Hussain - Tabla

Manu Katché - Drums

Nazim Ali Khan - Sarangui

Ustad Fateh Ali Khan -  Vocals, Voices

Deepika Thathaal - Vocals, Voices

NUSRAT FATEH ALI KHAN & MICHAEL BROOK - Night Song (1995) FLAC (image+.cue), lossless

Canadian guitarist Michael Brook worked with Nusrat to create the 1990 crossover hit Mustt Mustt, and the release was hailed internationally and credited with leading Pakistani youth to discover Sufi religious music, qawwali. This follow-up project helped establish something of a tradition for Real World crossover projects. The genre features dreamy, atmospheric keyboards and guitars, simple, mid-tempo rhythms, and a kind of low-key understatement that, depending on your point of view, sounds either profoundly mystical or else tedious and bland. With West African kora and electronic backing and Nusrat singing in a relaxed mid-range voice, the opener "My Heart, My Life" sounds almost like a Salif Keita ballad as it works up to its energized closing chant. "My Comfort Remains" and "Crest" are essentially pop numbers with catchy melodies, the former bouncy but static, the latter building towards a revelatory crescendo. Not until the fifth of eight tracks, "Longing," do we hear Nusrat's signature scat singing and his singular wail, unmistakable even when lavished with effects. "Sweet Pain" might be the strongest track, beginning deep in dream space with a wandering bassline and a simple backbeat, and then heating up to powerful close with Nusrat delivering spitfire scat. Wherever you stand on Real World's arty aesthetics, you have to admire the qawwali star's sense of adventure here. You also have to recognize that no crossover project, including Nusrat's far more fun collaboration with London DJ Bally Sagoo, approaches the power of his standard fare qawwali.  by Banning Eyre
Tracklist:
1    My Heart, My Life 5:30  
Michael Brook / Nusrat Fateh Ali Khan
2    Intoxicated 7:33
Michael Brook / Nusrat Fateh Ali Khan
3    Lamen t5:15
Michael Brook / Nusrat Fateh Ali Khan
4    My Comfort Remains 6:39
Michael Brook / Nusrat Fateh Ali Khan
5   Longing 5:35
Michael Brook / Nusrat Fateh Ali Khan
6   Sweet Pain 6:27
Michael Brook / Nusrat Fateh Ali Khan
7   Night Song 4:48
Nusrat Fateh Ali Khan
8   Crest 6:15
Michael Brook / Nusrat Fateh Ali Khan
Credits
Bass [Uncredited] – Robert Ahwai (tracks: 1, 4 to 6)
Drums [Uncredited], Percussion [Uncredited] – James Pinker (tracks: 1, 3, 5, 6, 8)
Written-By [Uncredited], Guitar [Infinite] [Uncredited] – Michael Brook (tracks: 1 to 6, 8)
Written-By [Uncredited], Vocals [Uncredited] – Nusrat Fateh Ali Khan

NUSRAT FATEH ALI KHAN & PARTY - Intoxicated Spirit (1996) FLAC (tracks+.cue), lossless

This, the second of four Pakistani releases licensed by Shanachie, was a big seller when it arrived in U.S. record stores at the height of Nusrat-mania. It's a live recording featuring four long pieces. The sound is crisp and unfettered, decidedly less rich than on the Real World sessions, but good enough to let the listener enjoy another incendiary Nusrat session. The opening piece, "Yehjo Halka Halka Saroor Hai," unfolds through successively intense passages of composed melody and improvisation and clocks in just under 25 minutes, considerably longer than the studio version of this piece featured on The Day, the Night, the Dawn, the Dusk (Shanachie, 1991). The notes give a complete translation of the piece's lyrics, which describe an obsessive love that displaces even the singer's religion and can only be compared to intoxication: "Your love and your bewitching eyes have induced me to become a drunkard." For the remaining three pieces, you're on our own lyricwise, but the music itself communicates plenty. Another very long piece begins with an extended slow section that makes the lashing rhythms and florid improvisations that come later still more powerful. The final piece offers a surprise, a traditional sarangi (violin) and qanun (zither) joining the standard tabla and harmonium accompaniment. The track begins in a peaceful, reflective mode but ultimately ascends to the highly charged energy level that Pakistani audiences demand from the greatest star qawwali music has ever produced. by Banning Eyre   

Tracklist

1 Yeh Jo Halka Halka 23:00

2 Ruk Pe Rehmat Ka 24:00

3 Be Wafa 12:00

4 Meri Saqi Saqi Yeh 14:00