KARACHI:

Mekaal Hassan’s latest is a unique musical series featuring a wide range of cultural talents from different corners of Pakistan. But it is also an attempt to preserve the old order and revive traditions. Although there is no hard and fast rule to renovatinge or update, Mekaal’s is a legend embellished with irreverent mixes of religious music and teachings passed down through generations. In his refined style, you will see oriental classics, jazz and hard rock, all together in one place.

From reinterpreting South Asian music and albums like Sampooran and Saptak in introducing new blends and AndholanMekaal allows young minds to spread through the coffee, qawwalis and thumris with his Mekaal Hassan Band. Now, he has done it again in a series titled Rivayat.

Continue the ‘rivayat’

The artist, who has a knack for finding new talent and working with creatives, rose from the ashes after his Digital Fidelity Studio burned to the ground to host mehfils that had already been recorded in the one picture in his flagship room. Presenting a completely new look and no gimmicks, the business, unlike most tourist attractions, is done with love and expression.

On the face of it, preserving and renewing regional music in its original form seems simple. Especially with the recording facilities and theaters we have available. But business has largely taken advantage of the need to save, so it’s refreshing to sit down and really listen to Mekaal’s latest campaign. As networks grow there may be dpunished we from our music in the past, Mekaal used the technology that he uses to put a show that has not come on board, probably because it welcomes many unknown players who may must be displayed but does not guarantee viewing.

These artists, though, are doing Mekaal’s Rivayat schedule themselves. Apart from the catchy recaps available on various platforms, ghazals and qawwalis performed for the series are entertaining.

From ‘Chamba’ to ‘Ghunghat’ – win, win

From the songs released so far, elements Mekaal Hassan Band very rare, that is. But there is a lot of uncertainty and smoothness, distinct voices and firm hands.

It is as simple as the traditional Himachali folk song, Chamba Kitni Dur, the Manwa Sisters made it lively. And sensitively table with subtle dholaks, flute and cajon matched with bass and acoustic guitar – a recurring theme throughout the series – the song offers quality and body. There are many variations, all of which are compatible. Especially, the brothers of Manwa, who sing in perfect harmony, and maintain the knots of the song and all see it.

There is also a description of the famous Bulleh Shah coffee, Ranjha Ranjha Kardi. Led by Shujat Ali Khan with guest artists Anton Davidyants and Gwen Lafitte on bass and guitar respectively, the live performance is moving with heart. It offers a very unique sound Ranjha it was hard to bear the pre-show. Shujat’s score is great and his voice stays with you long after the song is over.

qawwali is loved by everyone, Topa, is also on the list. Composed and directed by Shahzad Ali Khan, this one is heavy on instrumentals – as it should be. It features Shez Raja on bass and Gwen on guitar. Being straight to the point, all the emotions are released, moving towards a broken state. His pace is different from regular qawwalis. But it’s perfect for of the modern audience, there is little time and even iless patience.

Bulleh Shah has a vision Ghunghat Olayalso, which was previously done by Mekaal and Yaved Bashir and Sharmistha Chatterjee. Although that version is incomparable, the Rivayat the offering is also quite interesting. Unlike power, however, it evokes a feeling of sorrow and sadness. Performed by Fiza and Hasnain Haider along with Shez and Gwen, its beauty lies in the timing of the emotions. Showing romantic love will not immediately attract the audience but it will grow on them.

Books to ponder

Mekaal’s effort may seem insignificant to some but it is a very important book and document. There is practice in creating culture and it takes a culturer to create practice in that way. Mekaal did it effortlessly. The fine line between compromise and compromise is not crossed and there are considerations to be made from the way the instruments and voices are played. Eastern elements overshadow western elements – but only add color to an existing piece.

There is no sure way to success and Mekaal understands that, therefore, there is no formula used in every song but there is a meaning that binds them together. It also reminds one of what Coke Studio used to harken back to his virgin days, as opposed to the more recent, electronic revolution. While that’s a good thing, the idea of ​​attracting a new audience around the world, Mekaal’s series reminds us of the simplicity of the old days that can’t be abandoned for shows. large.

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