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Nusrat Fateh Ali Khan

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The musical instuments may be western but my voice never wavers away from my own ragas. it is good to make experiments and I do a lot of them but my thoughts always round the centre and that centre is the tradition of my elders and it is classical music..
--
Nusrat Fateh Ali Khan on release of his biography,1992. Statement was included in the book Ahmed Aqeel Ruby, Nusrat Fateh Ali Khan: A Living Legend, translated by Sajjad Haider Malik, Lahore: Words of Wisdom, (1992)

 
Nusrat Fateh Ali Khan

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My father Ustaad Fateh Ali Khan, Ustad Mubarak Ali Khan and Ustad Salamat Ali Khan, his brothers are my spritual gurus. I am their son, their acolyte. It is my duty to preserve and protect the knowledge the music that they gave me. I do a lot of experiments but the base is classical music. i ambound with ragas. I may road around the world and may acquaint myself with the western instuments I never wander from the central point. from the stage of WOMAD and from the studios of Peter Gabriel, I always emerge depths of my own music.

 
Nusrat Fateh Ali Khan
 

I say that conceit is just as natural a thing to human minds as a centre is to a circle. But little-minded people's thoughts move in such small circles that five minutes' conversation gives you an arc long enough to determine their whole curve. An arc in the movement of a large intellect does not sensibly differ from a straight line. Even if it have the third vowel ['I', the first-person pronoun] as its centre, it does not soon betray it. The highest thought, that is, is the most seemingly impersonal; it does not obviously imply any individual centre.

 
Oliver Wendell Holmes
 

Therefore, the central point which we see in the centre of the hieroglyphic Monad produces the Earth, round which the Sun, the Moon, and the other planets follow their respective paths. The Sun has the supreme dignity, and we represent him by a circle having a visible centre.

 
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I suppose it is written that any one who sets up for a bit of a philosopher, must contradict himself to his very face. For here have I fairly talked myself into thinking that we have the whole thing before us at last; that there is no answer to the mystery, except that there are as many as you please; that there is no centre to the maze because, like the famous sphere, its centre is everywhere; and that agreeing to differ with every ceremony of politeness, is the only “one undisturbed song of pure concent” to which we are ever likely to lend our musical voices.

 
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This will be my picture, the one I shall leave behind.. ..But the centre? Where is the centre? I can’t find the centre.. ..Tell me, what shall I group it all around? Ah, Poussin's arabesque! He knew all about that. In the London ‘Bacchanal’, in the Louvre ‘Flora’ (both paintings of Poussin, Cézanne admired, fh), where does the line of the figures and the landscape begin, where does it finish.. ..It’s all one. There is no centre. Personally I would like something like a hole, a ray of light, an invisible sun to keep an eye on my figures, to bathe them, care them, intensify them.. ..in the middle (remark on one of his paintings ‘The Bathers’, fh)

 
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