Pakistan: Raga dabari kanarra Release Group

Pakistan: Raga dabari kanarra

First released 1993
A middle-aged Indian classical vocalist with long hair and a moustache is seated, holding a swarmandal, wearing a patterned shawl, and looking attentively during a performance or interview setting.
Nazakat Ali Khan & Salamat Ali Khan
1 Release 3 tracks CD
Ustad Nazakat Ali Khan released Pakistan: Raga Dabari Kanarra in 1993, featuring a posthumous rendition of Raga Darbari Kanarra in the Patiala gharana style.

Tracklist (Primary Release)

# Title
3 tracks

About Pakistan: Raga dabari kanarra

Pakistan: Raga Dabari Kanarra is a studio album of North Indian classical vocal music performed by Ustad Nazakat Ali Khan. Released on January 1, 1993, the album captures Khan’s rendition of traditional khayal and semi-classical forms within the Patiala gharana tradition. The recording format and label remain undocumented in available sources.

The album comprises three tracks. The opening performance features Raga Darbari Kanarra, a deep and meditative raga associated with the late evening or night. Khan follows this with Raga Rageshvari, a lesser-known raga often linked to devotional themes. The final track presents a thumri in Raga Pahadi, showcasing Khan’s ability to blend classical rigor with lighter, expressive improvisation. The accompaniment details, including instrumentalists or tabla players, are not specified in the release metadata.

Nazakat Ali Khan (1930–1983) was a prominent exponent of the Patiala gharana, known for his command over taans (melodic phrases) and layakari (rhythmic play). This posthumous release aligns with his recorded legacy, which includes collaborations with his brother Ustad Salamat Ali Khan and solo performances across South Asia. The album’s production context, including recording location or engineers, is not publicly confirmed.

The title Pakistan: Raga Dabari Kanarra may reflect either the recording’s geographical origin or a thematic focus, though the exact rationale for the naming convention is unclear. The work contributes to the documented repertoire of 20th-century Hindustani classical vocal music, particularly within the khayal tradition of the Patiala school.