Practitioners of the melodic arts in Pakistan, in general, and the exponents of kheyal style of classical vocalisation, in particular, often link their ancestry to a clan of musicians, which sprouted out of the sub-continental melodic soil after the demise of Amir Khusrau in the 13th century. They use this family linkage as an authority to establish the veracity or otherwise of asthai-antras (compositions) that have come down to them via oral traditions from one generation to another.
The evolution of Qawwali, the popular mode of melodic expression of devotional music is rooted back to over 800 years in history. Before its appearance on the melodic firmament in 12th century A.D. music was widely used by the majority community, Hindu worshipers in India, as a medium of divine communion. Major melodic genres then in vogue were Chhinds, Prabhandhas, Ashlokas, Vishnupads and Bhajjans, which were practised in the temples by the Hindus while they were busy in discharging their liturgical obligations to the Creator.
The period covering the years 1223 and 1345 A.D. is considered the golden period of Qawwali. Hazrat Ali Hajveri, popularly known as Data Ganj Bakhsh, stepped on Indian soil in the 11th century to live in Lahore, and later making this historic city a permanent base for carrying on his proselytising pursuits. His mission to spread the message of universal brotherhood mankind is considered by some historians not very productive in terms of the number of converts. Later in 1223, Khwaja Mueenuddin Chishti, immigrated into the sub-continent from Arabia and set up his Khanqah (seminary) on the bank of a river.
Along with him also came Mian Makhdoom Hisamuddin Nighai and Mian Makhdoom Salahuddin Dargahi. Both of them were Hafiz-e-Qura'n who used their mellifluous voices for reciting verses from the holy Book. But as the language of the Quran was alien to the natives, many among them could not comprehend the true meaning of the holy Message and its import for humankind. Consequently, a translation of Sura-e-Fateha was rendered in the Marvari language, which was often rendered before the natives by these brothers in their melodious voices. Soon the cathartic impact of the renditions became profoundly evident, as people in large numbers desired to benefit from these.
Therefore, a tradition for melodic renditions of religious sermons in this part of Islamic world was set first by these two disciples of Khwaja Mueenuddin Chishti. Even now, many preachers in mosques emulate the tradition set by Mian Makhdoom Hisamuddin Nigahi and Mian Makhdoom Salahuddin Dargahi by reciting holy verses clothed in some kind of melodic framework.
The induction of melody (sans instruments) in their proselytising efforts facilitated the task of early Muslim settlers as local inhabitants found in them certain things, which were akin to their own religious rituals.
As a result, many more among the natives were attracted towards the new faith - Islam. That was the time when the earlier emigrants of the Chishtia denomination of Sufism had not yet adopted Qawwali for preaching religion. Hazrat Nizamuddin Aulia took the lead in this matter. His disciple Amir Khusrau, who was proficient in the rendition of Qaul, Qalbana, Naqsh and Gul skillfully exploited the new genre of Qawwali.
Starting his renditions from the Khanqah of his mentor, upon whom these qawwali recitals caused hypnotic trances due to the melodious voice of Khusrau was encouraged by its success. Khusrau expanded the scope of his musical activities, which motivated a large number of natives to embrace Islam.
One of the grandsons of Makhdoom Mian Hisamuddin, a disciple of Khwaja Mueenuddin Chishti, was both deaf as well as dumb. Named Mian Saamat, he was sent to the Dargah of Nizamuddin Aulia with instructions to remain there in attendance permanently. It is said that one day when Mian Saamat (also known as Mian Saatki) had gone to the bank of Jumna, Hazrat Nizamuddin Aulia spotted him (The seminary of Hazrat Nizamuddin was located close to the river bank).
While traversing that path the saint was touched by the plight of the handicapped young man and during his transcendent moments prayed to God to restore his listening and speaking abilities. His prayers were granted and Mian Saamat not only started speaking like ordinary people but also took to singing. As a result of that miracle he became a devout disciple of Nizamuddin Aulia gaining in due course of time close spiritual and physical proximity with his mentor.
He also became a Khalifa (viceroy) of Amir Khusrau as a result of which he acted as a repository of the rich tradition of Qawwali set by the Amir. That was how Mian Saamat came to head a clan of musicians, which were later known in history as Qawwal Bache.
A qawwali ensemble during Khusrau's time comprised twelve individuals, four of whom were vocalists and the rest instrumentalists. And among instrumentalists the musicians hold those of Baba Afghani and Baqir in high esteem.
Included in Behlol's lineage were Mubarak Khan, Mian Shukkar and Mian Makhan.
Bade Mohammad Khan, who made name in the world of music, was a son of Mubarak Khan. Many musicians regard him as the pioneer, who popularised speedy flights (taans) in classical vocalisation.
Among the disciples of Nizamuddin Aulia was Mir Saleh, a direct descendant of Mian Saamat. He was also known as Ashiq Rang, the pseudonym he used in his musical compositions. One among his scions, Taj Khan used Rang Rus as his other name. Taj Khan Rung Rus had two sons, Mian Ghulam Rasul Achpal and Mian Jaani. All these musicians were descendants of Mian Saamat who had founded the Qawwal Bache Khan.
The inimitable Mian Qutab Bakhsh alias Taan Rus Khan, the court musician of the last Mughal Emperor in Delhi received training from Mian Ghulam Rasul Achpal, a pupil of Naimat Khan Sadarang, the poet musician who took kheyal genre of music to new heights in popular acceptance during the reign of Mohammad Shah Rangeeley.
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