Sabri Brothers come to India

The Sabri Brothers are a Qawwali party from Pakistan. They have been famous for their performance of Qawwali that captures the beautiful traditions of Sufism of the Indian sub continent. There was a great emphasis on revealing the poetry of the khwajagaan. The Sabri Brothers originally consisted of Ghulam Farid Sabri, Maqbool Ahmed Sabri, Kamal Sabri, Mehmood Ghaznavi Sabri, Fazal Islam, Azmat Farid Sabri, Sarwat Farid Sabri, Javed Kamal Sabri, Umer Daraz, Abdul Aziz, Masihuddin, Abdul Karim, and Mohammed Anwar. The Sabri brothers learnt music from their father, Ustad Inayat Sen Sabri who trained his sons in Qawwali and North Indian classical music. Their first public performance was at the annual Urs festival of Hazrat Peer Mubarak Shah in Kalyana in 1946. The family moved from Kalyana India to Karachi, Pakistan following the Partition of India in 1947. Maqbool furthered his knowledge of music under Ustad Fatehdin Khan, Ustad Ramzan Khan, and Ustad Latafat Hussein Khan Rampuri. With the help of his father, Maqbool formed a Qawwali group at the age of eleven. Soon afterwards, Ghulam Farid, who was then performing with Ustad Kallan Khan's Qawwali party, joined him and became the leader of the party, which soon came to be known as Sabri Brothers.

Qawwali is a form of Sufi devotional music popular in South Asia, particularly in the Punjab and Sindh regions of Pakistan, Hyderabad, Delhi and other parts of India. It is a musical tradition that stretches back more than 700 years. Originally performed mainly at Sufi shrines or dargahs throughout South Asia, it has also gained mainstream popularity. The roots of Qawwali can be traced back to 8th century Persia (today's Iran and Afghanistan). During the first major migration from Persia, in the 11th century, the musical tradition of Sema migrated to South Asia, Turkey and Uzbekistan. Amir Khusro Dehelvi of the Chisti order of Sufis is credited with fusing the Persian and Indian musical traditions to create Qawwali as we know it today in the late 13th century in India. The word Sama is often still used in Central Asia and Turkey to refer to forms very similar to Qawwali, and in India, Pakistan and Bangladesh, the formal name used for a session of Qawwali is Mehfil-e-Sama. Qaul is an utterance, Qawwāl is someone who often repeats a Qaul, Qawwāli is what a Qawwāl sings.

The songs which constitute the qawwali repertoire are mostly in Urdu and Punjabi (almost equally divided between the two), although there are several songs in Persian, Brajbhasha and Saraiki. There is also qawwali in some regional languages (e.g., Chhote Babu Qawwal sings in Bengali), but the regional language tradition is relatively obscure. Also, the sound of the regional language qawwali can be totally different from that of mainstream qawwali. This is certainly true of Chhote Babu Qawwal, whose sound is much closer to Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example. The poetry is implicitly understood to be spiritual in its meaning, even though the lyrics can sometimes sound wildly secular, or outright hedonistic. The central themes of qawwali are love, devotion and longing (of man for the Divine).

A group of qawwali musicians, called a party (or Humnawa in Urdu), typically consists of eight or nine men including a lead singer, one or two side singers, one or two harmoniums (which may be played by the lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the dominant hand and the dholak with the other one. Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid and abet percussion by hand-clapping. The performers sit cross-legged on the ground in two rows — the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row. Before the fairly recent introduction of the harmonium, qawwalis were usually accompanied by the sarangi. The sarangi had to be retuned between songs; the harmonium didn't, and was soon preferred.

Source: Wikipedia

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