"Mushtari" was recorded LIVE on October 17th at Gary Sill Music in Vancouver, BC. The Album is named after Khan's Guru, Malika-e-Ghazal (Queen of Ghazal) Mushtari Begum ( Dec 25th 1934-March 14th 2004) This live recording features Cassius Khan in his element, as he is the only professional performing artist in the world who plays the Tabla ( Northern India's chief percussion instrument) and sings Ghazals (Urdu poetry of love and heartbreak) The album features 4 tracks, 1 being a Thumri (light Classical vocal compositions) 2 and 3 Ghazal compositions, and 4, part 1 of a Tabla Solo recital. This is the first ever Ghazal recording in which an artist has played the Tabla and sang Ghazals on it simultaneously. This was thought never possible to be done because of the complexities of sound re enforcement at hand. There is always a fear of tracks bleeding into each other, and if there were any mistakes on "Mushtari" during the recording process there would be no way of correcting them. Khan decided to record this CD as a LIVE concert recording since Gary Sill's studio was large enough to accommodate a small audience. In live vocal performances there are always mistakes, which is generally why they are rarely released. The challenge Khan faced here was, that not only was he singing Ghazals on this album, he was also playing the Tabla simultaneously as well. Because the Tabla requires immense strength and resilience to play, as the hands apply pressure at the right points of the drums to create sound, and Indian Classical vocal singing is very rigorous with the nuances of creating half and quarter tones, it would be common to lose breath while singing or lose the rhythm while playing. The difficulties would be that there would be no corrections. There could be no way a track could correct itself is Khan made any mistakes on his vocals or Tabla, or if Amika Kushwaha, were to play a wrong note on the Harmonium (an ancient reed Accordion), so recording this album was a huge challenge. The last track of the album shows Khan's prowess as a Tabla Soloist in the rather difficult and mathematically astounding Vilambit Teentaal (slow 16 beat cycle), in which he plays a stupendous Peshkaar (introductory lilt composition) Relas (drum roll compositions) and Qaidas ( poetic phrases). Because of lack of space on the disk, this is Part 1 of a 2 part Tabla solo recital. "Mushtari" is an example of how a musician conquers obstacles in life where sheer virtuosity, mathematics and physical stamina play the mind, as combining two incredibly difficult tasks of playing Tabla and singing is unconventional in Indian music, and the fact that the art of the Classical tradition of Ghazal Gayaki (singing) is dying due to lack of patronage. "At one point, the lyrics are sad, the tone tends to provide solace for some one who’s been searching for that one special thing to make life meaningful...a kind of journey, taking you into an unknown world where your strength is the universe." Geraldine Panapasa, writer for the Fiji Times, The accompanying musicians are Amika Kushwaha on lead Harmonium (an ancient version of the French Accordion) Lavika Kushwaha on Taanmandal ( a stringed Indian version of the Harpsichord) on tracks 1-3, and Monica Koodoo on Taanmandal in Track 4. Submitted track: Garch-e-Sau Baar ( Track 2) Track 2 is a Ghazal composition titled "Garch-e-Sau Baar." Ghazals are Urdu poetry of love and heartbreak. The melody is in Raga Mishr Des, a delightful melody coupled with this Ghazal which Khan composed with Mushtari Begum's guidance. The rhythm cycle is in the rather difficult slow Dadra Taal of 6 beats. In this track, Amika Kushwaha's Harmonium playing is wonderfully featured as well as Cassius Khan's vocals and Tabla playing. Even if one were to listen closely, you would never know that the Ghazal and the Tabla are rendered by the same artist simultaneously! The Harmonium, normally played by the vocalist to fuse the voice and fingers, is played by Kushwaha effortlessly, blending her fingers and Khan's voice as if they are one! The Tabla takes a solo round towards the end of the Ghazal, much to the delight of the live audience. Lavika Kushwaha provides the soothing sounds of the stringed Taanmandal in the background of the song. This Ghazal composition is rather pleasing, refreshing, and couples very well with the melancholy lyrics which were written by the famed writer, Faiz Ahmad Faiz (1911-1984). The translation is as follows: Garch-e-Sau Baar, gham-e-hijr se jaan guzri hein Phir bhi jo dil pe guzarni thii kahan guzri hein I have drowned a hundred times waiting for you in the night of our union only I know what I suffered in my heart Aap Tehren hein to tehraa hein nizaam-e-aalam Aap guzren hein to ek mauj-e-rawah guzri hein When you stop striding the entire universe stops functioning when you start walking the universe follows you like the waves of the ocean Hosh mein aye to batlaaen tera deewaana Din guzari hein kahan raat kahaan guzri hein when you have regained your senses, then tell me who is obsessed about you, where have you spent your day, and where have you spent your night?