Bhai Ghasita | Bhairavi Kafi (Punjabi) | ਡਾਚੀ ਵਾਲਿਆ ਮੋੜ ਮੁਹਾਰ ਵੇ Daachii vaalyaa moR muhaar | 78 RPM скачать в хорошем качестве

Bhai Ghasita | Bhairavi Kafi (Punjabi) | ਡਾਚੀ ਵਾਲਿਆ ਮੋੜ ਮੁਹਾਰ ਵੇ Daachii vaalyaa moR muhaar | 78 RPM

ਡਾਚੀ ਵਾਲਿਆ ਮੋੜ ਮੁਹਾਰ ਵੇ ਸਾਨੂੰ ਮੁਖਾਂ ਦਾ ਦੇ ਦੀਦਾਰ ਵੇ ਤੇਰੀ ਡਾਚੀ ਦੇ ਗੱਲ ਵਿਚ ਢੱਲੀਆਂ (ਟੱਲੀਆਂ) ਮੈਂ ਤੇ ਪੀਰ ਮਨਾਵਣ ਚੱਲੀਂ ਆਂ ਓਥੇ ਪਈ ਆਏ ਬਲੋਚਾਂ' ਦੀ ਦਾੜ੍ਹ (ਧਾੜ) ਵੇ ਰਾਂਝੇ ਯਾਰ ਨੂੰ ਰਬ ਪਛਾਣਦੀ ਮੈਨੂੰ ਦੇਵੱਤਾ (ਦੇਖਦਾ) ਸਬ ਸੰਸਾਰ ਵੇ ਲਾਈਏ ਯਾਰੀ ਸੋਚ ਸਮਝ ਕੇ ਲਾਈਏ ਲਾਈਏ ਯਾਰੀ ਤਾਂ ਤੋੜ ਨਿਭਾਈਏ Daachii vaalyaa moR muhaar ve saanuu mukhaaN daa de diidaar ve terii Daachii de gall vich DaliyaaN [TaliyaaN] mai te pir manaavan challiyaaN othe payii hai baluchaaN dee DaaR ve Ranjhe yaar nuu rabb pahchaandii maenu devtaa [dekhdaa] sab sansaar ve yaarii soch samajh ke laaiye yaarii laaiye te toR nibhaaiye O the one with the [female] camel, turn the direction of your muhaar The neck of your camel has bells And I am going to pray to the Pirs Think before forming friendships but once you are friends, abide by it डाची वालेया मोड़ मुहार वे साणू मुखां दा दे दीदार वे तेरी डाची दे गल विच ढलियाँ [टलियाँ] मैं ते पीर मनावण चलियाँ आं ओथे पई बलोचां दी दाढ़ वे रांझे यार नूं रब पहचानदी मैनूं देवत्ता [देखदा] सब संसार वे यारी सोच समझ के लाईए यारी लाईए तां तोड़ निभाईए Roughly transcribed yet. Need to listen to it a few times more properly. Muhaaraan P مہار mahār, corr. muhār (in A. mihār), s.f. A piece of wood, with a string attached to it, put through the nose of a camel (to guide him by); a camel's nose-string; — reins; a bridle (the word is also used in connection with shutur, 'camel,' as rās, 'rein,' of horses, and 'head,' of cattle): — be-mahār, or shutur-ě-be-mahār, adj. Unbridled, unrestrained, loose. Old Punjabi songs feature a number of camels – from Salamat Ali's celebrated Sindhi Bhairavi Kafi saavan moR muhaar (   • Salamat Ali Khan | Sindhi Bhairavi | Multa...  ) to Daachii waaliya. A generation grew up listening to Surinder Kaur's version of the folk song (   • Dachi Waliya Morh Mohar Ve  ) that became a sensation for the younger generation after Coke Studio, Pakistan released Hadiqa Kiyani's rendition that also intersperses verses by other Sufi saints such as Bulleh Shah and Waris Shah (   • Coke Studio Season 12 | Daachi Waaliya | H...  ). The story, in some versions, goes back to the legend of Sassi and Punnu, one of the seven great romances by the Sufi saint and scholar Shah Abdul Latif Bhittai in his Shah Jo Risalo. [There are of course other lesser-known Punjabi qissakars too: Karim Bakhsh (Sassi Baramah) and Lakhshah (Qissa Sassi Punnu)] Punnu has been abducted, in the qissa, by his brothers sent by his father, Raja Aari Jam to bring him back from Bhambour where he had settled with Sassi. An intoxicated Punnu has been put on a camel and is being carted back, while Sassi beseeches the camel wallah to return. The song here, though, also clearly invokes Ranjha of Heer and Ranjha. *** Recording courtesy: Archive of Indian Music on Soundcloud Photo courtesy: Archives and Research Center for Ethnomusicology, Archives and Research Center for Ethnomusicology. Text about the photo, courtesy: The Mardana Project on Instagram. // This has to be the oldest Daachi Waalyaa I have ever heard. I chanced upon this recording on the Indian Archive of Music's soundcloud channel. It had no information other than: Bhai Ghasita - kafi bhairavi.   / bhai-ghasita-kafi-bhairavi   Looking around to find more about Bhai Ghasita, I came across this photograph on the Mardana Project's Instagram page, which had a most interesting caption.   / capuvh5azjf   // Bhai Chhaila on Tanpura (left), Bhai Ghasita on Dilruba (centre) and Bhai Gopal Singh on Jori (right) of the Patiala court, in attendance at the 2nd All-India Music Conference, Delhi, 1918. Maharaja Bhupinder Singh, as an important patron behind the early gurmat sangīt movement, was naturally an ardent supporter of Sikh musicians. In fact, he was the first Maharaja to take a Sikh, Mahant Gajja Singh, as his teacher and chief court musician, and he brought a troupe of his leading court rāgīs and rabābīs (pictured) to the All-India music conferences, pioneered by V.N. Bhatkhande, where they rubbed shoulders with the leading Khan Sahibs of Hindustan. One can only wonder at the atmosphere of these unprecedented gatherings in the history of Hindustani music. Perhaps it is here that Bhatkhande heard the recitation of kīrtan, prompting him to include a shabad in rāg Kedār as a composition in his monumental tome, Kramik Pustak Mālikā. // All three things combined – the music and the song first, followed by the photo and then the information about it. My day is made. Other significant versions: mostly closer to Tilang: Noorjehan:    • Видео   Rubina Qureshi:    • Daachi waaleya mouR Muhaar ve - Rubina Qur...   Abida Parveen:    • Dachi Waliya Mor Mohar Ve | Abida Parveen ...