Nusrat Fateh Ali Khan: Information
Nusrat Fateh Ali Khan
Hailed as the most important Qawwali singer of the 20th century, Pakistan-born Nusrat Fateh Ali Khan introduced Western audiences to the unique vocal style on the soundtrack of 's Last Temptation of Christ (1988) and in the haunting score of 's
(1995) in which Kahn duetted with Pearl Jam leader Eddie Vedder. He composed the entire score for East Indian director 's
(1994). On August 16, 1997, the 49-year-old Kahn died of a heart attack, the result of kidney troubles, in a London hospital. ~ Sandra Brennan, Rovi
Nusrat Fateh Ali Khan, internationally recognized for his mastery of a form of Islamic devotional music known as qawwali (pronounced kah-wah-lee), first gained significant attention in the United States in 1989 when he performed at the Brooklyn Academy of Music’s Next Wave Festival. Prior to that, the Sabri Brothers had been the United States’ significant import of traditional Pakistani music, appearing in the United States during the mid-1970s. Three years after Khan’s first U.S. appearance, the singer would spend a year as artist in residence at the University of Washington’s music department.New York Times music critic Jon Pareles places qawwali in an ecstatic musical tradition alongside American gospel, Moroccan joujouka, and even techno music, which tends to create emotional highs through simple melodies and driving beats, gathering "intensity through repetition and improvisational flights." Qawwali is believed to have originated among the Chisti order of Sufis in the tenth century.Khan’s large, almost Buddha-esque body often moves in rapid motion to his music’ his hands jab outward, brushing, as if carving the images of divine spirit from the air. His rapt audience—at least those of Pakistani background, who comprise the greater portion of his listeners—follows with fevered shouts and dancing, afterwards gathering below the stage to shower their beloved singer with money and flowers. Khan seems to almost goad his listeners into musical intoxication, pleading in fierce cries, imitating the rhythmic insistence of the drums, and calling back and forth with other singers in his "party," the favored term for the other singers (qawwalis) and instrumentalists who sit in a group on the stage with the lead qawwal.The World Music Institute, located in New York City, has been a chief promoter of Khan’s work in the West, along with many other important nonwestern folk and classical musicians. For example, in 1993 Khan opened and closed a five-hour "Masters of India and Pakistan" concert that featured music of his region, Hindustani, as well as the work of performers from southern Pakistan.Khan was born in 1948 in the Punjab province of Pakistan, in the town of Lyallpur—during Pakistan’s 1979 decolonization, its name was changed to Faisalbad. As a young qawwal, Khan learned his art in the traditional manner, through his family. His father, Ustad Fateh Ali Khan, as well as his uncles, were qawwalis, and they trained Khan in the family tradition of singing in a high register. Khan also received instruction on the tabla, a small hand drum.Khan began performing at shrines and in villages where he would sometimes sing through the whole day or night in religious celebration. "When I had the stamina, I’d sing for 10 hours," he once recalled. But, by age 45, the singer found himself limited to sessions of three or four hours. These shrines, or dargahs, are generally the tombs—symbolic or otherwise—of saints where the faithful enter musically induced, trance-like states allowing communion with God. Traditionally, qawwalis sat opposite the saint’s tomb. In the intervening space would be the audience in a circle formation, and in its center a spiritual leader surrounded by prominent devotees. Such sites are the true home of qawwali, although the music has also been performed at important events such as weddings feasts.Persian Poetry the Basis for MusicIn his introduction to the program for Khan’s 1993 World Music Institute performance, Robert Browning wrote, "The qawwal will dwell on certain words … creating great depth in the apparently simple language of certain Sufi texts. He will often repeat a phrase or sentence indicating both the obvious and hidden content by emphasizing or ruminating upon particular words and syllables … [so that, for example] a spinning wheel becomes the wheel of life." Qawwali texts are most commonly medieval Persian Sufi poetry, and Khan, like other qawwalis, learns each poem by heart. Although the verses are available in books, it is the manner of performing each text that must be learned from another qawwal. Thus, the music is basically an oral tradition.Browning stated that "rarely is a complete poem recited—rather the singer will join segments from different poems or add lines from another text." This free association from memorized poems is done to emphasize a certain meaning, or to try a new direction in the effort to move the audience to spiritual awakening. The qawwal must exhibit great sensitivity in noting when a listener is moved to divine ecstasy, and must repeat the same
according to Sufi belief, interruption would threaten the ecstatic with death.Metaphoric Wine, Women, and SongOften, qawwali poetry’s apparent subject is romantic love, or even wine intoxication—though liquor is shunned by Islam. These are symbolic subjects, however: romantic love serves as an allegory and facet of divine love, while intoxication refers to the joyous trance induced by qawwali. The oft mentioned "tavern," as in the famous Persian poem "In the Tavern of Ruin," refers to one’s spiritual master who houses God’s love.The melodic sources for performing qawwali poems are usually set by tradition. The tunes are North Indian in nature, meaning the octave has seven degrees and the various scales come from light classical ragas. Ragas are a traditional form of Hindu music, calling for improvisation on a theme evoking religious belief, the improvisation generally following prescribed patterns and progressions. Modern qawwali represents a spectrum of influences and geographic territories.Generally associated with the Sufi religion, qawwali also has Hindu, Sikh, and Muslim followers. Currently, Urdu is the music’s "first language," as Ken Hunt noted in his profile of Khan for Folk Roots. However, qawwalis also sing in Hindi, Sindhi, Punjabi, and classical Persian, not to mention local tongues. The literary sources of qawwali range too, though texts are chiefly medieval Persian Sufi poetry. The program for Khan’s 1993 tour included, for example, a thirteenth-century Persian poem by the famed Amir Khusrau.Temptations of a QawwalIn his article for Folk Roots, Hunt described the scowl that comes over Khan’s face when discussing the depiction of qawwali in films. For several years a debased form of qawwali has formed the soundtrack of many movies generated by a prolific Indian film industry. Khan understandably decries this long-standing commercialization of a sacred art form.Yet, as an artist himself, Khan has embraced nontraditional elements since his 1989 U.S. visit. Western instruments and such big-name musicians as Jan Garbarek and Peter Gabriel have strongly influenced Khan’s output in recent years. This Western flavor is evident in the singer’s recording Mustt Mustt and numerous remixes, including those by Bally Sagoo in Magic Touch.Khan defends such breaks with tradition as "experiments" and seems to feel that attracting an audience is important to make people aware of qawwali. The pressures on this revered singer to widen his audience echo those placed on performers of any type of traditional folk music. The artist is pulled in two directions: As a traditionalist, he is entrusted with preserving the music’s form, and yet as a musician, he feels the need to discover new forms of self-expression. Noting that many qawwalis have abandoned shrine performance for financial reasons, Khan has expressed that he cannot forego his spiritual and personal links to such sites. Each year, he returns to perform at two dargahs, one in Lahore and one in Pak Patan.Khan has made numerous recordings over the years, with titles now numbering more than 100. While his works of the early 1990s disappoint some fans of the traditional sound who find in the modern output a weakening of musical and spiritual integrity, such early classical recordings as En Concerta Paris and Traditional Sufi Qawwalis Volumes 1 and 2 form a timeless buffer against loss of the past.
Selected discographyDevotional and Love Songs, Real World, 1988.Traditional Sufi Qawwals—Live in London ’89, Navras, 1989.Shahen-Shah, Real World, 1989.Day, Night, Dawn, Dusk, Shanachie Records, 1991.Mustt Mustt, Real World, 1991.Shahbaaz, Real World, 1991.Revelation—llham, Audiorec, 1993.The Last Prophet, Real World/Caroline, 1994.Greatest Hits of Nusrat Fateh Ali Khan, Sirocco/EMI.Nusrat Fateh Ali Khan & Party Live in New York, Rhythms of the East.Magic Touch, Oriental Star.Paris Concert—Live, Ocora.Jan Garbarek & Nusrat Fateh Ali Khan, ECM.Nusrat Fateh Ali Khan & His Qawwali Party—Vol. 1, JVC.Nusrat Fateh Ali Khan—The Ecstatic Qawwal—Vol. 2, JVC.
SourcesFolk Roots, November 1993.New York Times, October 13, 1992; March 24, 1993; August 17, 1993.Additional information for this profile was obtained from The Art of Qawwal, Nusrat Fateh Ali Khan (concert program), World Music Institute, 1993.
Genres: World
Without doubt the most important qawwal is Nusrat Fateh Ali Khan & Party -- "Party" is a generic term for a qawwali ensemble but is also used in Sikhism and to describe some classical music ensembles, for example, shehnai maestro Bismillah Khan & Party. Dubbed Shahen-Shah-e-Qawwali (the Brightest Star in Qawwali), he was born on October 13, 1948, in Lyallpur in the Punjab Province of Pakistan. He made his first recording in 1973 in Pakistan and a number of early EMI (Pakistan) albums jointly billed him with his uncle Mubarak Ali Khan. Since these mainly cassette albums were invariably undated and numerous, it is difficult to place them in any more accurate chronological sequence than catalog-number order. Between 1973 and 1993 his recorded output could only be described as prodigious, with more than 50 album releases to his name on numerous Pakistani, British, American, European and Japanese labels. Heavily over-recorded, blighted with a rash of poppy remix albums or albums with Westernized instrumentation or arrangements, his recorded work is a mire to suck in the uninitiated and their money. Converts, however, do not escape scot-free. Although some releases hint at their nature with coded titles such as Volume 4 Punjabi (Oriental Star CD SR013) from 1990 or Ghazals Urdu (Oriental Star CD SR055) from 1992, the chosen language and style is frequently a matter of conjecture or uncertainty. While the Western market is saturated with his work, the Indian market is supersaturated, and his recorded output is in danger of overwhelming any sense of taste.
Real World was the label largely responsible for Khan's breakthrough into a non-Indian audience. It was their marketing skills and the platform provided by the WOMAD organization which introduced him to Westerners. Mustt Mustt (Real World CD RW 15) released in 1990 was a deliberate attempt to target the white market with its non-traditional arrangements, yet it seems positively cherubic beside later abominations. "All these albums are experiments," he told me in 1993. "There are some people who do not understand at all but just like my voice. I add new lyrics and modern instruments to attract the audience. This has been very successful." Success, however, bred indifference to the virtues and values of the original music. Many find the remix albums, the Western and youth-market releases, a source of despair: buyer beware remains the watchword. When singing his traditional work he remains peerless. Many fans regret the dilution of his talent that has occurred with his "experiments." However, in 1994, reportedly tired of unauthorized releases, he took greater control of both his business affairs and his concert and recording activities. With his international renown at an all-time peak, Khan died on August 16, 1997; a seemingly endless procession of posthumous releases appeared in the years to follow. ~ Ken Hunt, Rovi
Nusrat Fateh Ali Khan (13 October 1948 – 16 August 1997) (: ???? ??? ??? ????) was a , primarily a singer of , the devotional music of the . Considered as the greatest voice ever recorded, he possessed an extraordinary range of vocal abilities and could perform at a high level of intensity for several hours. Extending the 600-year old Qawwali tradition of his family, Khan is widely credited with introducing Qawwali music to international audiences. He is popularly known as "-e-Qawwali", meaning "The King of Kings of Qawwali".
Born in , , Khan had his first public performance at age of 16, at his father's . He became the head of the family qawwali party in 1971. He was signed by , Birmingham, England, in the early 1980s. Khan went on to release movie scores and albums in Europe, India, Japan, Pakistan, and the U.S.A. He engaged in collaborations and experiments with Western artists, becoming a well-known
artist. He toured extensively, performing in over 40 countries.
Khan was born in a
family, in Faisalabad in 1948, shortly after the
during which his family moved from their native city of , in . He was the fifth child and first son of , a , vocalist, instrumentalist, and . Khan's family, which included four older sisters and a younger brother, , grew up in central Faisalabad. Initially, his father did not want Khan to follow the family's vocation. He had his heart set on Khan choosing a much more respectable career path and becoming a doctor, because he felt Qawwali artists had low social status. However, Khan showed such an aptitude for, and interest in, Qawwali that his father finally relented.
In 1971, after the death of Mubarak Ali Khan, Khan became the official leader of the family Qawwali party and the party became known as Nusrat Fateh Ali Khan, Mujahid Mubarak Ali Khan & Party. Khan's first public performance as the leader of the Qawwali party was at a studio recording broadcast as part of an annual music festival organised by Radio Pakistan, known as Jashn-e-Baharan. Khan sang mainly in
and occasionally in ,
and . His first major hit in Pakistan was the song Haq Ali Ali, which was performed in a traditional style and with traditional instrumentation. The song featured restrained use of Khan's sargam improvisations.
In 1979, Khan married his first cousin, Naheed (the daughter of Fateh Ali Khan's brother, Salamat Ali Khan); they had one daughter, Nida.
In the summer of 1985, Khan performed at the
(WOMAD) festival in London. He performed in Paris in 1985 and 1988. He first visited Japan in 1987, at the invitation of the Japan Foundation. He also performed at the 5th Asian Traditional Performing Art Festival in Japan. He also performed at , New York in 1989, earning him admiration from the American audience.
In the 1992–93 academic year, Khan was a Visiting Artist in the
department at the , , Washington, United States.
Khan teamed with
on the soundtrack to
in 1988, with Canadian musician
on the albums
(1990) and
(1996). The team up with Peter Gabriel gave Khan the opportunity to stylize his songs by blending his qawwalis with the Western music. Khan also grouped with 's lead singer
in 1995 on two songs for the soundtrack to .
Peter Gabriel's
label later released five albums of Khan's traditional Qawwali, together with some of his experimental work which included the albums
and . Khan provided vocals for , which was put together by , but died before the vocals could be completed.
was brought in to sing with his unfinished vocals.
His album Intoxicated Spirit was nominated for a Grammy award in 1997 for best traditional folk album. Same year his album
was also nominated for a , but lost out to ' album .
Khan contributed songs to, and performed in, several Pakistani films. Shortly before his death, he recorded a song each for two
work with singer
(in which he also sang 'Koi Jane Koi Na Jane' onscreen) and . He sang "Saya bhi saath jab chhod jaye" for
movie . The song was released in 1999, two years after Khan's death. He also sang "Dulhe ka sehra" from Bollywood movie
which was released in 2000.
Khan contributed the song "Gurus of Peace" to the album , composed by , and released to celebrate the 50th anniversary of India's independence. Rahman, who was a big fan of Khan could not compose further songs with him. As a tribute, Rahman later released an album titled Gurus of Peace, which featured "Allah Hoo" by Khan. Rahman's 2007 song "" was also composed as a tribute to Khan.
Ustad Nusrat Fateh Ali Khan was taken ill with kidney and liver failure on 11 August 1997 in , while on the way to
in order to receive a . He died of a sudden cardiac arrest at , London on 16 August 1997, aged 48. His body was repatriated to Faisalabad, and his funeral was a public affair.
His wife, Naheed Nusrat passed away on 13 September 2013 in Credit Valley Hospital in , , . Naheed had moved to Canada after the death of her husband. She left behind a daughter.
Khan is widely considered to be the most important qawwal in history. In 1987, Khan received the President of Pakistan’s Award for
for his contribution to Pakistani music. In 1995 he received the
Music Prize. In 1996 he was awarded
for exceptional contribution to the art of cinema. In the same year, Khan received the Arts and Culture Prize of the . In 2005, Khan received the "Legends" award at the . Time magazine's issue of 6 November 2006, "60 Years of Asian Heroes", lists him as one of the top 12 artists and thinkers in the last 60 years. He also appeared on 's
list in 2010. In August 2010 he was included in 's list of the twenty most iconic musicians from the past fifty years. In 2008, Khan was listed in 14th position in 's list of the best singers of all time.
Many honorary titles were bestowed upon Khan during his 25-year music career. He was given the title of
after performing classical music at a function in
on his father's death anniversary.
Faisalabad Art Council's Auditorium named after Nusrat
Khan is often credited as one of the progenitors of "". Widely acclaimed for his spiritual charisma and distinctive exuberance, he was one of the first and most important artists to popularize Qawwali, then considered an "arcane religious tradition", to Western audiences. His powerful vocal presentations, which could last up to 10 hours, brought forth a craze for his music all over Europe. Alexandra A. Seno of
Nusrat Fateh Ali Khan's voice was otherworldly. For 25 years, his mystical songs transfixed millions. It was not long enough ... He performed qawali, which means wise or philosophical utterance, as nobody else of his generation did. His vocal range, talent for improvisation and sheer intensity were unsurpassed.
cited Khan as a major influence, saying of him "He's my ", and performing the first few minutes of Khan's hit "Yeh Jo Halka Halka Suroor Hai" (including vocals) at live concerts. Many other artists have also cited Khan as an influence, such as Grammy-nominated Pakistani-American , , , , and . Author and neuroscientist
cited Khan as one of his favorite musicians of all time.
picked a concert performance by Khan for inclusion in his 2000 book The 20th Century's Greatest Hits: a 'top-40' list, in which he devotes a chapter each to what he considers the top 40 artistic achievements of the 20th century in any field (including art, movies, music, fiction, non-fiction, science-fiction).
covers Khan's songs on two of their studio albums. Their 2002 album
includes a cover of "Maki Madni", which features a guest performance by Rahat Fateh Ali Khan, Nusrat Fateh Ali Khan's nephew. 2005's
includes a medley of two of Khan's songs, "Sahib Teri Bandi" and "Maki Madni". This medley first appeared on the band's live album , which was released in 2004.
In 2004, a tribute band called Brooklyn Qawwali Party (formerly Brook's Qawwali Party) was formed in New York City by percussionist Brook Martinez to perform the music of Khan. The 13-piece group still performs mostly instrumental jazz versions of Khan's qawwalis, using the instruments conventionally associated with jazz rather than those associated with qawwali.
In 2007, electronic music producer and performer , after being granted access to back catalogue recordings from Rehmat Gramophone House (Khan's former label in Pakistan), released an album of entirely new songs composed around existing vocals. The album, 'Dub Qawwali', was released by . It received huge critical acclaim internationally, reaching no. 2 in the iTunes US Chart, no. 4 in the UK and was the no. 1 seller in ’s Electronic Music section for a period. It also earned Gaudi a nomination for the BBC's World Music Awards 2008.
Nusrat Fateh Ali Khan: le dernier prophète (1996). Directed by Jér?me de Missolz.
Nusrat has Left the Building... But When? (1997). Directed by Farjad Nabi. (This 20-minute
focuses on Khan's early career.)
A Voice from Heaven (1999). Directed by Giuseppe Asaro. New York, NY: Winstar TV & Video. (This 75-minute documentary, available on VHS and DVD, provides an introduction to Khan's life and work.)
Samandar Main Samandar (2007). A documentary aired on
detailing Khan's career.
The King of Qawalli (2009). A short film aired on
about Khan's life and career.
The JVC Video Anthology of World Music and Dance (1990). Video 14 (of 30) (South Asia IV). Produced by Ichikawa K directed by Nakagawa Kunikiko and Ichihashi Y in collaboration with the National Museum of Ethnology, Osaka. [Tokyo]: JVC, Victor Company of J Cambridge, Massachusetts: distributed by Rounder Records. Features a studio performance by Khan and Party (two Urdu-language songs: a , and a
for . Filmed in Tokyo, Japan, 20 September 1987, for Asian Traditional Performing Arts).
Nusrat! Live at Meany (1998). Produced by the University of Washington. (87-minute recording of a 23 January 1993 concert at , University of Washington in Seattle, during Khan's residency at the ethnomusicology program there.
Live in Concert in the U.K., (DVD, vols. 1–17) [OSA]; recorded between 1983 and 1993
Akhiyan Udeek Diyan (DVD) [Nupur Audio]
Je Tun Rab Nu Manauna (DVD) [Nupur Audio]
Yaadan Vicchre Sajan Diyan Aayiyan (DVD) [Nupur Audio]
Rang-e-Nusrat (DVD, vols. 1–11) [Music Today]; recorded between 1983 and 1993 (same material as the OSA DVDs)
VHS videotapes, vols. 1–21 [OSA]; recorded between 1983 and 1993 (same material as the OSA DVDs)
Luxor Cinema Birmingham (VHS vol. 1, 1979)
Birmingham (VHS vol. 2, 1983)
St. Francis Hall Birmingham (VHS vol. 3, 1983)
Royal Oak Birmingham (VHS vol. 4, 1983)
Private Mehfil (Wallace Lawley Centre, Lozells Birmingham, November 1983) (VHS vol. 5)
Private Mehfil (VHS vol. 6, 1983)
Natraj Cinema Leicester (VHS vol. 7, 1983)
Live in Southall (VHS vol. 8)
Live in Bradford (VHS vol. 9, 1983)
Live in Birmingham (VHS vol. 10, 1985)
Allah Ditta Hall (VHS vol. 11, 1985)
Harrow Leisure Centre (VHS vol. 12)
University of Aston (VHS vol. 13, 1988)
Aston University (VHS vol. 14, 1988)
WOMAD Festival Bracknell (VHS vol. 15, 1988)
Live in Paris (VHS vol. 16, 1988)
Poplar Civic Centre London (VHS vol. 17)
Imperial Hotel Birmingham (VHS vol. 18, 1985)
Slough Gurdawara (SHABADS) (VHS vol. 19)
Cancer Appeal (VHS vol. 20)
Town Hall Birmingham (VHS vol. 21, 1993)
1988: In Concert in Paris, Vol 1. Ocora.
1988: Shahen-Shah. RealWorld/CEMA.
1990: . RealWorld/CEMA. Collaboration with .
1991: Magic Touch OSA.
1991: Shahbaaz. RealWorld/CEMA.
1991: The Day, The Night, The Dawn, The Dusk. Shanachie Records.
1992: . Real World Records.
1992: Love Songs. EMI.
1993: Ilham. Audiorec.
1993: Traditional Sufi Qawwalis: Live in London, Vol. 2. Navras Records.
1994: Pakistan: Vocal Art of the Sufis, Vol 2 – Qawwali. JVC.
1994: Nusrat Fateh Ali Khan & Party. Real World Records.
1994: The Last Prophet. Real World Records.
1994: Traditional Sufi Qawwalis: Live in London, Vol. 4. Navras Records.
1995: Revelation. Interra/Intersound.
1995: Back to Qawwali. Long Distance
1996: In Concert in Paris, Vol. 3–5. Ocora.
1996: Qawwali: The Art of the Sufis. JVC
1996: . Real World Records.
1996: Dead Man Walking: The Score. Columbia/Sony
1996: Intoxicated Spirit. Shanachie Records.
1996: Mega Star. Interra.
1996: Bandit Queen. Milan.
1996: The Prophet Speaks. M.I.L. Multimedia.
1996: Sangam. EMI.
1997: Live In India. RPG.
1997: Akhian. M.I.L. Multimedia.
1997: Live in New York City. M.I.L. Multimedia.
1997: Farewell Song: Alwadah. M.I.L. Multimedia.
1997: In Concert in Paris, Vol 2. Ocora.
1997: Oriente/Occidente: Gregorian Chant & Qawwali Music. Materiali Sonori.
1998: Allah & The Prophet. Ex Works.
1998: : Remixes. EMI.
1998: Live at Royal Albert Hall. M.I.L. Multimedia.
1998: Missives from Allah. BCD.
1998: Imprint: In Concert. Hi Horse Records. (Selections from the 23 January 1993 concert at Meany Hall, University of Washington in Seattle, during Khan's residency at their ethnomusicology program.)
1999: Peace. Omni Parc.
1999: Live at Islamabad, Vol 1–2. M.I.L. Multimedia.
1999: Passion. NYC Music.
1999: Visions of Allah. Ex Works.
1999: Swan Song. Narada.
2000: Jewel. MoviePlay.
2000: Live in London, Vol 3. Navras Records.
2001: Opus. Vanstory.
2001: The Final Studio Recordings. Legacy/Sony.
2001: Pukaar: The Echo. Navras Records.
2001: The Final Moment. Birdman Records.
2002: Body and Soul. RealWorld/CEMA.
2002: Sufi Qawwalis. Arc Music.
2004: Allah Hoo. Saregama.
2004: Aur Pyar Ho Gaya. Saregama.
2004: Ishq Da Rutba. Saregama.
2004: Kartoos. Saregama.
2004: Main Aur Meri Awargi. Saregama.
2004: Ye Jo Halka. Saregama.
2005: Nami Danam. JVC Compact Discs.
. Globalrhythm.net 2011.
. . 17 October .
Ghulam Haider Khan (6 January 2006). . .
. . 17 October .
(liner notes by Pierre-Alain Baud), 1999, Network, Germany.
Amit B R. Padmanabhan (6 September 1997). .
"Chapter 13". Great Muslims of Undivided India. 2009.  .
Manheim (2001). Michel Andre Bossy, Thomas Brothers, John C. McEnore, ed. Lives and Legacies: Artists, Writers, and Musicians. Greenwood Publishing Group. p. 105.  .
. Music.washington.edu. 16 August .
. . 5 January .
Moon, Tom (8 January 1997). . The Philadelphia Inquirer (Philadelphia Media Holdings). p. 8 2011.
. The Telegraph. 22 December .
Rose, Cynthia (19 August 1997). . Seattle Times 2011.
Ken Hunt. . AllMusic.
Virginia Gorlinski. . .
. Red-lines.co.uk 2011.
. Imc-cim.org. 16 October .
. The Times (London). 18 September 2008.
Baker, Aryn (13 November 2006). . Time 2011.
Danna, Mychael. . NPR 2011.
. Real World Records. 10 August .
Lok Virsa – Ustad Nusrat Fateh Ali Khan Qawal & Party, Vol. 1, Moviebox Birmingham Ltd (2007).
Michel-Andre Bossy, Thomas Brothers, John C. McEnroe (2001). Artists, Writers, and Musicians. . p. 105.
Ekbal, Nikhat (2009). Great Muslims of undivided India. Gyan Publishing House. p. 28.
Buckley, Jeff. Live at Sin-é (Legacy Edition). Sony Music (2003).
. pp. 146–147.
Harris, Sam (9 June 2013). . samharris.org 2014.
– 12:00. . Bbc.co.uk.
Baud, Pierre-Alain (2008). Nusrat Fateh Ali Khan: The Messenger of Qawwali. Editions Demi-Lune. A biography of Nusrat.
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