Nusrat Fateh Ali Khan - Mustt Mustt (1990)

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Nusrat Fateh Ali Khan - Mustt Mustt (1990)

Post by Musicgate on Thu Sep 02, 2010 2:04 pm

Nusrat Fateh Ali Khan - Mustt Mustt (1990)



Жанр: Vocal, Etnic, jazz, Fusion
Дата записи: Recorded and mixed at Real World Studios, England.
Дата выпуска: 1990
Производитель диска, страна: REAL WORLD RECORDS LTD, Holland
Страна исполнителя: Pakistan
Тип: studio

What a Face
Источник: коллекция Л.Рендера
Риппер: Мой рип

Трэклист:

1. MUSTT MUSTT (LOST IN HIS WORK) - 5.15
2. NOTHING WITHOUT YOU (TERV BINA) - 5.04
3. TRACERY* - 4. 4
4. THE GAME*** - 4.59
5. TAA DEEM - 4.47
6. SEA OF VAPOURS* - 3.55
7. FAULT LINES* - 4.13
8. TANA DERY NA** - 4.23
9. SHADOW - 3.04
10. AVENUE* - 4.51
11. MUSTT MUSTT (Massive Attack remix) - 4.24

Al) songs by Nusrat Fateh Ali Khan except
* by Michael Brook,
** by Michael Brook and Nusrat Fateh Ali Khan.
*** by Robert Ahwai, Michael Brook, Nusrat Fateh AH Khan, Darryl Johnson and James Pinker.

Состав:

MUSTT MUSTT (LOST IN HIS WORK)
Nusrat Fateh Ali Khan - vocals, Robert Ahwai - guitar, David Bottrill - djembe, Michael Brook - guitar,
Darryl Johnson - bass, Farrukh Fateh Ali Khan - harmonium, vocals, James Pinker - djembe.

NOTHING WITHOUT YOU (TERY BINA)
Nusrat Fateh Ali Khan - vocals, Robert Ahwai - guitar, Michael Brook - guitar, bass, Dildar Hussain - tablas, Farrukh Fateh Ali Khan - harmonium, vocals, James Pinker - hairy drum.

TRACERY
Nusrat Fateh Ali Khan - vocals, Robert Ahwai - guitar, Michael Brook - guitar, Guo Yue - flute, Dildar Hussain - tablas, Darryl Johnson - synthesizer, Farrukh Fateh Ali Khan - harmonium, vocals, James Pinker - gong bass.

THE GAME
Nusrat Fateh Ali Khan - vocals, Robert Ahwai - guitar, Michael Brook - djembe, infinite guitar, Peter Gabriel - drum program, Darryl Johnson - Moog bass pedals, piano, Farrukh Fateh Ali Khan - harmonium, vocals, James Pinker - bongos.

TAA DEEM
Nusrat Fateh Ali Khan - vocals, Michael Brook - infinite guitar, surdu, Darryl Johnson - Moog bass
pedals, djembe, Farrukh Fateh Ali Khan - harmonium, vocals, James Pinker - djembe.

SEA OF VAPOURS
Nusrat Fateh Al! Khan - vocals, David Bottrill - synthesizer, Michael Brook - infinite guitar, synthesizer,
Darryl Johnson - buzz bass, Farrukh Fateh AH Khan - harmonium, vocals.

FAULT LINES
Nusrat Fateh Ali Khan - vocals, Michael Brook - guitar, Peter Gabriel - drum program, Dildar Hussain - tablas, Darryl Johnson - Moog bass pedals, Farrukh Fateh Ali Khan - harmonium, vocals. James Pinker - percussion.

TANA DERY NA
Nusrat Fateh Ali Khan - vocals. David Bottrill - surdu. Michael Brook - guitar, percussion, synthesizer, Dildar Hussain - ablas. Farrukh Fateh Ali Khan - harmonium, vocals.

SHADOW
Nusrat Fateh Ali Khan - vocals, David Bottrill - digital edit on the Real World tablet. Farrukh Fateh Ali
Khan - harmonium, vocals.

AVENUE
Nusrat Fateh Ali Khan - vocals, Robert Ahwai - guitar. Michael Brook - infinite guitar. Dildar Hussain
- tablas. Darryl Johnson - day drums, Farrukh Fateh Ali Khan - harmonium, vocals. James Pinker - djembe.

MUSTT MUSTT (Massive Attack remix)
Massive Attack remix.

from interviews by Helen M. Jerome

Nusrat Fateh Ali Khan is today acknowledged as the greatest living master of 'Qawwali' - the devotional music of the Sufis. Having popularised this beautiful and inspirational music beyond Muslim peoples to a worldwide audience he explores now, for the first time, a whole new musical territory.
In their Qawwali performances. Nusrat Fateh Ali Khan and Party already modify their style to suit the audience. The Asian younger generation never used to bother with Qawwali - it bored them and was too slow. They wanted faster beats. '1 made my own style.' says Nusrat, 'We update Qawwali with the times.'
Nusrat was happy to experiment on this album - he is always striving for new ideas, just as he is always listening to new styles of music. This doesn't mean he'll now stick entirely to modern techniques -traditional albums like Shahen-Shah (RW3) and those recorded in Pakistan will continue to be made.
The opening song, 'Mustt Mustt'. draws upon various devotional lyrics about a particular Sufi saint, upon which Nusrat has then improvised. While 'Tery Bina' is a romantic song, based upon the Qawwali style, in which a lover claims: 'I cannot live peacefully without you for even a moment. I miss you terribly
These are the only two songs with actual lyrics; the rest are classical vocal exercises in which the words have no meaning but are used for the quality of their sound. These notations are selected to fit particular ragas. The generic term for them is Tarana, of which there are many different kinds.
'Music is an international language,' says Nusrat, pointing out that words are unnecessary to appreciate his
Producer Michael Brook emphasises that they had no real communication difficulties. 'You have language problems, but in fact you need a very simple vocabulary to talk about music if you're playing it.' He was surprised by 'the mutual enthusiasm of Nusrat and all the musicians. Everyone was excited - there really was a collaboration and that's all we could have hoped for...'
Instruments from different continents were used, like the big Brazilian drum - the surdu, and the Senegalese djembe, alongside Indian labia and harmonium, plus bass, keyboards and Michael's invention, the 'infinite guitar'. The project also mixed musicians from different cultures. Michael is Canadian. Nusrat, Farrukh and Dildar are from Pakistan, Robert Ahwai is culturally West Indian, Darryl Johnson is from New Orleans, James Pinker from New Zealand. As Michael points out, 'Although it wasn't painless - it worked.'
'I'd really hoped we could show a more delicate side of Nusrat's singing. I love all the fireworks and the heavy metal solos that he does, but I thought it would be nice to bring out a slower, more introspective
Different tracks came about in different ways. 'Fault Lines' was changed a lot after it was recorded, with the basic pattern becoming a small part of the track. 'Sea of Vapours', like other tracks, had the 'infinite guitar' added afterwards because of time constraints. By contrast 'Avenue' has everyone playing live. 'The Game' started from a drum pattern donated by Peter Gabriel. 'Tracery' has nine beats in one cycle and eleven in another cycle. Michael comments, 'Nusrat liked the challenge of that. He is an amazing musician. The whole chorus line fits perfectly and feels very natural. The palette he has to choose from is mind-bogglingly large.'
When the melodic phrase of a Qawwali, or devotional song, is repeated, it conveys the meaning of the accompanying lyrics even when the words are not sung. 'A lot of the tracks were much longer so we shortened things, cut phrases out, moved the voice around, repeated sections and joined sections together.' This is where the only problem arose.

We made some edits that were not acceptable to Nusrat, because we'd cut a phrase in half- sometimes there were actual lyrics that we made nonsense of.' says Michael, 'Sometimes even though they were just singing Sa Re Ga we had interfered with the meaning of the phrase.' A compromise was achieved - important lyrical
phrases were restored without losing the musical structure Michael had developed.
So a halfway point was reached between east and west in songwriting, in performance, and in attitude.

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