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An in-house Ghazal and Thumri Mehfil in Bangalore is rarity. Tabla Nawaz Trilochan Kampli and his few likeminded friends organized such an event on a short notice @ Sri Puttanna Kanagal Grihasthoma (son Sri Ramu Kanagal’s abode, just behind Devagiri Temple in 2nd Stage) last Saturday, the12 December 2015 evening.

Our own Karnataka Pride, popular Sarangi Exponent & a well-known singer-composer Ustad Faiyaz Khan enthralled connoisseurs by passionate Ghazals and Thumris in his inimitable style. Commendably accompanying him at their best on Harmonium were well-known Composer/singer Ravi Murur and an electrifying Trilochan on Tabla. Ghazal gayaki shall sound more enriched should these accompaniments sync well.

Commencing the evening with an evergreen Ghazal of Late Mehdi Hassan “Ranjish hi sahi”, Ustad Faiyaz Khan explained nuances of Ghazal and Thumri Gayaki, followed them up by famed Urdu poetry of Ahmed Faraz, Momin and many more with great ease.

Whether it is famed Thumri composition ‘Woh Jo Hum Mein Tum Mein Karar Tha’ or the effervescent popular Ghulam Ali Ghazal ‘Chupke Chupke Raat Din’ Faiyaz Khan bore a stamp of his class in each rendition. Those familiar to Hindustani music could feel foretaste of most popular raags like, Yaman, Keervani, Bhageshri, Charukeshi, Bahar, Bhimpalas, Des, Mishra Bhairavi, Revathi and so on in a Ghazal concert. ‘Mastana Piye ja Yuhi’ or the final rendition a robust famed  “Chadtha Sooraj…Dhal Jayega” that spiraled spiritedly.

He has recently belted a very hauntingly melodious Ghazal “Kaho Math” for a Mohanlal Starrer Malayalam movie “Kanal”in such an uncanny manner that suffices the talent and grows on you each day..!!

In fact, his voice perfectly sets the audience moods to euphoric heights as he was on his own, never leaving a semblance of doubt in everything that he presented were already much acclaimed renditions by some Legendary global performers of sub-continent. This is the hallmark of true musician.


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Without a doubt, Ustad Faiyaz Khan wins the hearts with remarkable Talaffus and clarity of elucidation in his inimitable style. I personally opine, he stands among the very few topnotch Ghazal presenters of the country as he’s known to be so adroit to classical singing and Saarangi Vaadan, needless to mention here, he happens to be a key exponent. Imaginative elaborations in raag & alaap add vehemence and flavor to subtle gayaki.


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Ghazal Gayaki can either be too sensitive or sinuous, is usually related to clairvoyant from the heart, melody, ethos and pathos, being the major attributes for majority renditions. Else, the same Ghazal renditions would end up like a simple Geet in filmi style. This is where Faiyaz Khan scores by impeccable timing and concise sargams brought perfect tehrav in semi- classical-classical  approach for which he is so much grateful to peers.

Years of dedicated Sarangi play he’s known for and an equally resonant voice restore an exemplary gamut, support his caprice, sets him and the rest apart. Innovativeness in raag-aaap in a slender Ghazal-Thumri Gayaki brings all emotions together in a nutshell. This is where he lugs an indelible impression.


Notwithstanding rather, one of the most underutilized vocalists in Ghazal genre owing to lack of opportunities created or community loathe about a rich Legacy in this region, Ustad Faiyaz Khan stands among an all time Ghazal greats of our country undoubtedly.

Discerning audience witness such a lovely and almost perfect chord between his accompanists, though he hardly renders to the gallery. Unless a singer connects to those discerning ears, he can’t enjoy singing to such an extent so as to elucidate the difficult Urdu enunciation. May many more such concerts follow suit in ensuing days is my fervent wish.


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