Issue 41 Vol II, June 15, 2007

C U L T U R E

Immortal Classicists: Bade Ghulam Ali Khan and Bhai Samund Singh
Harjap Singh Aujla

During the pre-independence days, the studio complex of All India Radio Lahore offered a unique forum for free flow of ideas amongst the elite of the classical musicians of the old Punjab. The doyen of classical music, Bade Ghulam Ali Khan was the most conspicuous personality; no one could ignore his king-sized presence. He had a unique ability to classicize any folk tune and sense of humour added magnetism of its own.

Dina Qawwal of Jalandhar was also an excellent exponent of classical Qawwali. Amongst the Sikhs, Bhai Samund Singh was acclaimed as a maestro bestowed with a melodious voice and a inimitable ability to sing the most intricate variations in Ragas in a subtle and effortless manner. Some people called him the “Samunder” (the Ocean) of “Gurmat Sangeet” (Sikh Religious Classical Music). Bhai Santa Singh was a master of classical music, but to a layman he was a light singer, impressive nevertheless. They were good friends and admirers of each one’s art. They used to sip tea and eat pakoras and samosas, typical of Lahore, together like a bunch of college boys. Partition of the Indian sub continent separated this carefree flock of birds.

Bade Ghulam Ali Khan stayed in Pakistan for some time. Bhai Samund Singh shifted to Amritsar and eventually to Ludhiana. He kept performing “Shabad Gayan”, classical singing of Sikh religious music for All India Radio Jalandhar. All India Radio’s most accomplished classical musician, a fine exponent of “Khayal Gayaki” was Master Rattan of Hariyabad Phagwara. But Bhai Samund Singh used to say that Bade Ghulam Ali Khan gave the status of semi-classical music, at par with Thumri and Dadra, to the Multani Qafi and pushed this old folk form very close to its acceptance as a full fledged classical expression. Bade Ghulam Ali Khan’s death put a stop to the development of Multani Qafi into a nationally recognized classical rendition.

Bade Ghulam Ali Khan was not too happy in Pakistan. He felt that the clergy in that country was throttling any form of exhibition of classical music. Qawwali, however, was an exception; its “Naatiya” rendition was grudgingly accepted. Bade Ghulam Ali Khan’s personal favourite form was the “Thumri” version of classical music. Its lyrics were based on Hindu stories, which were unacceptable to the clergy. Dr. M.S. Randhawa, a connoisseur of art, was a senior Indian Civil Service officer in Indian Punjab  and  was  Commissioner of Relief and Rehabilitation in East Punjab. He came to know about the discomfort of Bade Ghulam Ali Khan in Pakistan.

In stead of trusting his subordinates, after receiving the federal government’s nod, he himself decided to go to Pakistan and meet the great Ustad. On seeing Bade Ghulam Ali Khan, he engaged him in a heart to heart talk. Bade Ghulam Ali Khan admitted that he was not feeling at home in Pakistan. Dr. Randhawa, after obtaining a quick approval from the Nehru Administration in New Delhi, brought Bade Ghulam Ali Khan to India. He had the option of settling anywhere in Punjab or the rest of India. Since Calcutta and Bombay were the main centers where classical music was getting due respect, Bade Ghulam Ali Khan decided to settle in Bombay, but he used to visit Punjab and kept occasionally performing, especially “Multani Qafis” at All India Radio Jalandhar, where he was treated as a special class artist much higher than the “A” class. The source of this information is a lover of music Iqbal Mahal of Toronto, Ontario.

Occasionally Bhai Samund Singh met Bade Ghulam Ali Khan at the campus of All India Radio Jalandhar. Both had become highly respected and much sought after maestros and the carefree informality of the days of Lahore appeared to be vanishing, but their friendship endured even after attaining much exalted statures. Bade Ghulam Ali Khan’s favourite mode of music was “Thumri”, he could sing several thumris in one sitting. Before him, Thumri was not so popular in Punjab (Patiala Gharana), but by his brilliant nuances and innovative singing, Bade Ghulam Ali Khan clearly defined a Punjabi style of Thumri. Begum Akhtar used to proclaim that she is an exponent of Patiala School of classical music. She had improvised a style of Thumri singing, which had its partial roots in Bade Ghulam Ali Khan’s style of singing. As such Bade Ghulam Ali became the torch-bearer for Begum Akhtar the great.

Once during the late fifties Bhai Samund Singh was invited to Bombay to perform “Shabad Kirtan” at the local Gurdwaras and in the homes of the Sikhs. One day during the tour, Bhai Samund Singh expressed his desire to meet his old friend Bade Ghulam Ali Khan. The local Sikh community in Bombay found out his home address. They discovered that he lived in a street where dancing girls used to live and perform. One of them named Sarup, a Punjabi female, was so much in love with the singing of Bade Ghulam Ali Khan that she wanted him to stay permanently as her respected guest. Bade Ghulam Ali Khan accepted her offer and started living at her residence. This was narrated to me by Ramesh Chander Aeri, also a resident of Toronto.

The Bombayite Sikh community advised Bhai Samund Singh against visiting Bade Ghulam Ali Khan at his not so respectable residence. But Bhai Samund Singh was adamant on visiting his old friend wherever he was living. He knew Guru Nanak could visit a leper’s house, at a time when every body shunned him, why could he not visit his friend wherever he lived. Bhai Samund Singh knew that the lotus plant can grow in dirty water and still maintain its purity and charm. To Bhai Samund Singh, Bade Ghulam Ali Khan was not less than a lotus.

True to his insistence, Bhai Samund Singh visited his friend, Bade Ghulam Ali Khan who was thrilled to suddenly see his old friend visiting him. They exchanged the pleasantries and got back to the informalities of yesteryears. They recalled the good old days of All India Radio Lahore. Bade Ghulam Ali Khan recollected that Bhai Samund Singh would sing the entire Shabad for fifteen minutes in “Dhrutt Lai”, what most other musicians could not do even for two minutes. Both Bade Ghulam Ali Khan and Bhai Samund Singh reminisced as to how both were invited on different occasions to perform live in the “National Programme of Classical Music at All India Radio New Delhi, a unique distinction for any classical musician. Their nostalgic meeting lasted several hours. At the time of departure they hugged each other and bade a tearful farewell.

Both are no longer with us. We the lovers of music are feeling impoverished by their loss. But thanks to the advancements in technology, their legacy through CDs and cassettes does partially survive. Let us hope for ever. Such stories are important links for writing the history of music and should be recorded for posterity. Chatting with Music Director of yesteryears S. Mohinder enabled me to compile this story.

[Harjap Singh Aujla lives at 16 Junction Pond Lane, Monmouth Junction, New Jersey 08852 USA.   harjapaujla@gmail.com]

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