Ustad Nusrat Fateh Ali Khan: Concert (1993)

Ustad Nusrat Fateh Ali Khan: Profile (1996)

Ustad Nusrat Fateh Ali Khan: Tribute (1998)

Rahat Fateh Ali Khan- Remembering Nusrat

Paying tribute to one of the world’s greatest vocalists, Brooklyn Qawwali Party formed to honor the legendary Nusrat Fateh Ali Khan, reworking his thunderous songs for an eclectic, eleven-piece orchestra comprised of groundbreaking jazz musicians. Funky, smart, and loving, BQP captures the joyful spirit of this Pakistani folk music in a unique instrumental blend of jazz and Qawwali. With five horns, guitar, bass, harmonium, and three percussionists, this band’s buoyant rhythm will be sure to get you on your feet and clapping.

The ensemble includes: Tony Barba - tenor saxophone Loren Stillman - alto saxophone Ben Holmes - trumpet Ryan Keberle - trombone Brian Drye - trombone Robert Jost - French Horn Noah Jarrett - acoustic bass Mike Gamble - electric guitar Kris Davis - harmonium Conor Elmes - percussion Brook Martinez - drums

Click Here To Listen BPQ best The Extended Biography

A singer does not acquire the nickname “The Voice From Heaven” for no good reason. And anyone that has ever heard Nusrat Fateh Ali Khan knows this moniker to be fitting. Yet Nusrat was more than a singer; he was an ambassador of Sufi/Islamic culture and art, as well as the modern seed of a seven-hundred-year-old lineage of qawwali singers. In his all-too-brief life, he transformed the folk music of Pakistan into something ready for – some would say craved by – global audiences

" Nusrat Fateh Ali Khan died August 16th in London of complications from diabetes. While his popularity has risen of late in the west due to his collaborations with Michael Brook and Peter Gabriel, and the use of his music in popular films, his star never set in Pakistan and India, where his death was felt by hundreds of thousands of sad hearts. He was a singer of power and ecstasy. "

Because of music’s undeniable power to move the human body as well as the spirit, religions that abhor the tendencies of the flesh have always treated music with suspicion. Many cultures that are dominated by such religions have developed dual musical modes, sacred versus secular, segregating each kind to its proper place and purpose, the church versus the dance hall, the temple versus the brothel, the “Ave Maria” versus Madonna.