Friday, May 1, 2009

SUNHERI YAADEN SUNHERA DAOUR (THE GOLDEN ERA OF LOLLYWOOD)


Ahmed Rushdi's first song was 'Bunder Road say Keamari' (1954), not recorded for movie.

2. Waheed Murad's first film was 'Aulad' (1962)

3. Mohammad Ali's first film was 'Chiragh jalta raha' (1962).

4. Deeba's first film was 'Chiragh jalta raha' (1962).

5. Kamal Irani's first film was 'Chiragh jalta raha'. (1962).

6. Nadeem's first film was 'Chakori'. (1966).

7. Sohail Rana's music debut was 'Jab say dekha hai tumhay' (1962).

8. Shamim Ara's first film was 'Kunwari Baywa' (1956).

9. Mehdi Hasan recorded his first song for the film 'Shikar' (1962).

10. Pakistan's first movie was 'Teri yaad' (1948).

11. Karachi's first movie was 'Hamari zaban' which was followed by 'Inqilab', 'Bara Aadmi', and 'Maska palish'.

Number one

1. Ahmed Rushdi's number one song was 'Akele na jana'.

2. Waheed Murad's number one film was 'Armaan'.

3. Sohail Rana's number one composition was for the film 'Armaan'.

4. Masroor Anwar's number one lyrics were 'Akele na jana'.

5. Zeba's number one movie was 'Armaan'.

6. Waheed Murad's number one script was for the film 'Armaan'.

7. Waheed Murad's number one production was the film 'Armaan'.

8. Mehdi Hasan's number one song was 'Elahi Aansoo bhari zindigi kisi ko na day.'

9. S.B.John's number one song was 'Tu jo nahi hai to kuchh bhi nahi hai' (The film 'Sawera).

10. Munir Husain's number one song was 'Qaraar lutnay walay qaraar ko tarsay' (The film 'Saat Lakh').

11. M. Kaleem's number one na'at was 'Saba Medinay agar ho jana'.

12. Alamgir's number one song was 'Shaam say pehlay Aana'.

13. Pakistan's number one film Qawwali was 'Meri tauba Ya Rab' (Singer: Saleem Raza, film: 'Tauba').

14. Mala's number one song was 'Akele na jana'.

15. Suraiya Hyderabadi's number one rendition was 'Chanda kay hindolay mein', the film 'Lori.'

16. Zubeida Khanum's number one song was 'Laila, laila, laila'.

17. Suraiya Multanikar's number one song was 'Baray bay murawwat hain'.

18. Mehdi Zaheer's number one song was 'Allaho Akbar'. (1974)

19. Runa Laila's number one ghazal was 'Aziz itna he rakho '(Poet:
Ubaid Ullah Aleem).

20. Iqbal Banu's number one film song was 'Ulfat ki nai manzil ko chala' (The film 'Budnam')

21. Naseem Begum's number one national song was 'Aye raah-e-Haq kay shaheedo'.

22. Naseem Begum's number one tragic song was 'Hum nay jo phool chunay' (The film 'Saheli')

23. Bashir Ahmed's number one song was 'Tumharay liye is dil mein jitni mohabbat hai' (The film 'Darshan').

24. Nahid Niazi's number one song was 'Raat Saloni Aayi'. The film 'Zamana kya kahega', pictured on Kamal - Shamim Ara.

25. Saleem Shehzad's number one song was 'Mohabbat kay diye jalalo' (The film 'Assalamu Alaikum).

26. Akhlaq Ahmed's number one song was 'Sona na chandi na koi mehel jan-e-mun' (The film 'Bandish')

27. Saleem Raza's number one romantic song was 'Jan-e-baharaan' (The film 'Azra').

28. Saleem Raza's number one sad song was 'Zindigi mein aik pal bhi chayn Aaye na' (The film 'Hamsafar')

29. Saleem Raza's number one non-film song was 'Aao baccho sair karain tum ko Pakistan ki'. The film 'Bedari', pictured on Santosh Kumar.

Nigar Awards

Ahmed Rushdi received the first Nigar Award for best singer for the film 'Saperan'. Lyrics: 'Chand sa mukhra gora badan.

Ahmed Rushdi received the second Nigar Award for best singer for the film 'Mehtaab' in 1961.Lyrics: 'Goal guppay wala'.

Waheed Murad received the Nigar Award for best actor for the film 'Heera Aur Pathar' in 1964.

Waheed Murad received the Nigar Award for best producer for the film 'Armaan' in 1966.

Waheed Murad received the Nigar Award for best actor for the film 'Armaan' in 1966.

Waheed Murad received the Nigar Award for best actor for the film 'Andaleeb in 1969.

Waheed Murad received the Nigar Award for best actor for the film 'Mastana Mahi' in 1971.

Monday, April 27, 2009

AHMED RUSHDI (GREAT SINGER)


Ahmed Rushdi was born to a religious, conservative family of Hyderabad Deccan in 1938. His father, Syed Manzoor Ahmed, taught Arabic and Persian at Aurangabad College, Hyderabad, Deccan, at the time of Ahmed Rushdi's birth.

Tragically, Ahmed Rushdi's father died when Ahmed Rushdi was only six years old. Ahmed Rushdi neither inherited music from any one, nor any body in his family was ever affiliated to music.

During those days, radio was a rare commodity. However, a radio set made its way to his house. From a tender age, Rushdi was fond of listening to the musical programs, including songs, which were broadcast from the radio.

Additionally he also possessed a good singing voice. Ahmed Rushdi's singing talents impressed a very close friend of Ahmed Rushdi's father, whom Ahmed Rushdi called uncle and who loved him dearly.

Ahmed Rushdi's uncle introduced him to his friend, who taught music at a local music academy in Hyderabad Deccan and enrolled Rushdi in that school.

Moreover, two popular composers of the time, M.A. Rauf and Iqbal Qureshi, also taught music in the same school. Thus, Ahmed Rushdi learned the basics of music from the afore-mentioned teachers. Soon, Ahmed Rushdi migrated to Pakistan along with his family and settled in Karachi in 1954.

His friends insisted and convinced him to participate in variety shows. Ahmed Rushdi made his presence felt in music programs, which also took him to radio Pakistan, Karachi.

Ahmed Rushdi started participating in children's programs on radio. The most popular radio program was 'Alif say Aban'. In 1954, he also recorded his first non-film song, 'Bunder road say keamari' ath the age of 16, which was written by Mehdi Zaheer. That song proved to be a steppingstone for his future aspirations.
Memorable hits of Ahmed Rushdi
Raat Saloni Aayi Baat Anokhi Lai, Movie : Zamana Kya Kahega
Aaj Is Shahar Mein Kal Us Shahar Mein, Movie : Joker
Raat Chali Hai Jhoom Ke, Movie : Josh
Chalak Rahi Hain Mastiyan, Movie : Raaz
Chal Na Sake Gi 420, Movie : Raaz
Chand Sa Mukhra Gora Badan, Movie : Saperan
Haal-e-Dil Humne Sunadiya To Bura Manoge, Movie : Aurat Ka Pyaar
Chotti Si Yeh Titli, Movie : Anjan
Gol Gappay Wala Aaya Gol Gappay Laya, Movie : Mehtaab
Kisi Chaman Mein Raho Tum Bahar Banke Raho, Movie : Aanchal
Wallah! Sar Se Paon Talak Mooj-e-Noor Ho, Movie : Daman
Jab Raat Dhali Tum Yaad Aaye, Movie : Kaneez
Akele Na Jana Humain Chodh Kar Tum, Movie : Armaan
Betab Ho Tum Udhar Bechain Hain Hum Idhar, Movie : Armaan
Jab Pyaar Mein Do Dil Milte Hain, Movie : Armaan
Ko Ko Ko Reena, Movie : Armaan
Meri Samajh Mein Kucch Nahin Aata, Movie : Behan Bhai
Hello Hello Mr. Abdul Ghani, Movie : Behan Bhai
Allah Bakhshe Waalidein ko, Movie : Tere Sheher Mein
Bhooli Hui Hoon Dastaan Guzra Huwa Khayal Hoon, Movie : Doraha
Haan Is Moor Par Is Jaga Baith Kar, Movie : Doraha
Tumhain Kaise Bata Doon Tum Meri Manzil Ho, Movie : Doraha
Aaye Meri Zindagi Aaye Mere Humsafar, Movie : Ahsan
Madine Wale Se Mera Salam Keh Dena, Movie : Baazi
Kabhi To Tumko Yaad Aaingi, Movie:Chakori
Jane Mujhe Keya Hogaya, Movie : Bhaiya
Husn Dekha Jo Tumhara To Khuda Yaad Aaya, Movie : Jahan Tum Wahan Hum
Mujhe Talash Thi Jiski Woh Humsafar Tum Ho, Movie : Jahan Tum Wahan Hum
Usay Dekha, Usay Chaha, Usay Bhool Gaye, Movie : Jahan Tum Wahan Hum
Three Cheers For Bhabhi Hip Hip Hurray, Movie : Devar Bhabhi
Kiya Hai Jo Pyaar To Paday Ga Nibhana, Movie : Dil Mera Dadhkan Teri
O Lampak Jhampak Shampak Shoo, Movie : Eid Mubarak

Saturday, April 11, 2009

SINDHI MUSICAL INSTRUMENTS


Ancient musical instruments of sindh.

The similarity in the structure and mode of playing musical
instruments found in the Indus valley and those in other parts of the
world is indicative of the close cultural and trade ties that existed
amongancient civilizations

Chappar, chang and borrindo, are musical instruments of the Indus
valley that have braved the ravages of the time and are still used in
Sindhi music. The interesting fact is that chappar (castanets),
Borrindo (clay trumpet) and chang (Jew's harp) are also used in other
civilzations, some so far placed as Spain, the Mediterranean region
and Australia. How these instruments travelled to these areas or
whether they were brought to Indus civilization from other cultures is
still unclear. However, the similarity in their structure and mode of
playing gives rise to many probabilities, including those of close
cultural and trade ties of the Indus civilization with other parts of
the ancient world.

Chappar is also widely used in Spanish folk music. In European music,
it draws its origin from ancient Greece where boot-shaped castanets
were played. It is also likely that it was introduced to Spain through
ancient Phoenician colonization or, in their pear-shaped form, by the
Moors. The Spanish castantilde "chestnut", or a clapper consists of
two hollowed-out pieces of hard wood, ivory, shells or other substance
usually held in the hand and struck together according to rhythmic
pattern of the musical composition. As a folk instrument played by
dancers in Spain, the Balearic islands and southern Italy, they are
pear-shaped, tied together by a cord firmly secured to the thumb and
clapped with the fingers.

In the music of the Indus valley the ancient castanets were made of
fire-baked clay and later from the hard wood. They are not tied
together and are played by the singer with one hand while in the other
hand, yaktara (single or two stringed instrument) is played. In Spain,
the castanets are played with both hands in which a simple rhythm is
performed on a pair held by one hand, while the smaller hand pair
plays a more complicated rhythm. The castanets played in orchestra are
attached to handles and shaken or fastened to a block of wood and
played with the fingers or drumsticks.

The chang, played by the lips, has been in practice in the Indus
valley since ancient times while in Mediterranean, Europe and the rest
of the world, it is called Jew's Harp with no variation in size,
structure and mode of playing.

The Borrindo, the other ancient instrument is a clay flute in the
spherical form, hollowed from inside. This instrument is also in use
in some African communities, aborigines of Australia and Irian tribes
of Indonesia. While the similarity of the traditional instruments is
strange to explain, what is more baffling is how and where this
instrument originated? Which community borrowed it from the other?

Let us first see the origin of the chang of the Indus valley. All the
musical instruments fall under four major categories: Enchordon or the
stretched strings; the Pneumatikon or the wind-blown instruments; the
Krousticon or the percussion instruments; and the
Electrophones. Almost all civilizations have instruments falling in
these categories, the basic phenomenon being to produce certain notes
and rhythms.

Scrapping of notched bones and later wooden sticks was the most
primitive form of producing rhythmic sounds. Blowing into shells and
horns was an advancement and formed the basis of wind instruments. The
presence of shofar, still being blown in synagogues on new year's eve,
and Sankh in this subcontinent are two instruments that have survived
and represent that group of ancient instruments.

The concept of stringed instrument came from the use of bow. The brief
sound created by the bow's string after the release of arrow formed
the basis of today's stringed instruments. The chang of the Indus
valley, and played all over the subcontinent, is the reminiscent of
the early Enchordon group improved by using mouth as sound
membrane. It consists of a metal frame to which a metal tongue is
attached. This metal tongue is free to be swung between the teeth when
placed at the lips and subjected to vibrate when struck by the index
finger, and the mouth serves as the sound box, creating a note which
can be varied at will through human tongue. With strikes at regular
intervals, a compositions is produced.

The borrindo, or the clay trumpet, is another ancient instrument that
is still played in parts of Sindh. It is a hollow sphere of clay with
one main hole to blow into while there are three or four smaller holes
in semi-circular way that are closed and opened at the will of the
player to create musical notes. A similar instrument with little
variation, but smaller in size, is found in use in Australian
aborigines.

From the ethnomusicological point of view, both these instruments fall
in the utilitarian form of music serving the purpose of herdsman who
roamed about in the grazelands, in late neolithic period or about
9,000 years back. By then, man developed the knowledge of metals. But
we hardly find any sign of chang-like or Borrindo form of instruments
on any archaeological relics found from Jericho or other Mediterranean
civilizations. What we find are the lutes, lyres and pipes which are
later developments.

The objects discovered from Moenjodaro (2600 BC), such as the dancing
girl, and other Harrapan sites also reveal the existence of music
during those days. Some of the seals show the existence of a
Mirdang-like drum being played by an artiste. Mohammed Idrees Siddiqi
opines that some seals show artists playing castanets and chang-like
instrument, denoting that metals, besides wood, was used in making
musical instruments in Moenjodaro and that the dancing faculty had
developed to a proper form.

The invasion of Aryans (circa 1750 BC), was a turning point in the
cultural life of the Indus people. It is said that the Aryans deprived
the people of Moenjodaro of their lifestyle and culture only to be
survived by those who fled to far places or migrated to other
territories. It is generally believed that as invaders, the Aryans
imposed their culture on Indus and other Harrapan people but
historians like Romila Thapar suggest that it was not the natives who
benefited from Aryan culture but the Aryans got more from the Harrapan
people.

To many, the existence of Jew's harp in Mediterranean and other
European communities may pose an enigma, but if we follow the trade
track of the Indus valley entrepreneurs with Middle East and
Mediterranean communities, a striking resemblance can be found in
almost all walks of life. The export of cotton, textiles, dyes, and
other objects to these areas make it plausible that instruments like
chang might have found a new home in Mediterranean and was called
Jew's harp.

The Indus-Harappan civilization had economic relations of two kinds
with other communities. Such trade maybe considered to be of two
kinds: first, the obtaining of materials and other goods from the
village communities or forest tribes in regions adjoining the Indus
plain, and second, trade with the cities and empires of Egypt and
Mesopotamia.

For the trade with Mesopotamia there is both literary and
archaeological evidence. The Moenjodaro script has not been deciphered
because no similar scripts have been found which could help decipher
it. Some of the seals were evidently used to mark the bundles of
merchandise. Historians cite that during the period of Sargon of Akkad
(2371-16 BC) and the Isin-Larsa Period (2020-1763 BC), trade between
this region and Mesopotamia was at its height. It was perhaps during
this era that cultural exchanges took place and later when mass
migrations from central Asia, Mediterranean and Asia Minor took place,
a large number of objects including musical instruments found new
homes. Historical evidence suggests that the period corresponding to
Akkadian rule, Moenjodaro had developed the use of metals which led to
the invention of stringed instruments and chang was one of them.

As for castanets and Borrindo is concerned the phenomenon was born
simultaneously in all civilization, the only difference being the
variation of size and form.
(By Shaikh Aziz)

--------------------------------------------------------------------------------

Sunday, April 5, 2009

COCK FIGHTING (MURGHON KI LARAI)



Cockfighting is popular in Pakistan. Betting is illegal, but police often turn a blind eye towards it. In Sindh (one of 4 major provinces), people are fond of keeping fighting cock breed, known as "Sindhi aseel" in Pakistan. These cocks are noted being tall, heavy and good at fighting. Cock-fighting is popular in rural areas, despite the fact that animal-fighting is banned under Islamic Law.

Monday, March 30, 2009

Shahenshah-e-Ghazal Mehdi Hassan


Mehdi Hassan was born in the village of Luna in Rajasthan, India in 1927 into a family of rich traditional musicians. He claims to be the 16th generation of hereditary musicians hailing from the Kalawant. Kala means "Art" and Kalawant means "artist" (in any Indian language).

He received his musical training under his father, Ustad Azeem Khan and his uncle Ustad Ismail Khan who were classical musicians, well-versed in the dhrupad style of singing. They instructed him in classical music and voice production within the framework of classical forms of thumri, dhrupad, khayal and dadra, from the young age of eight.

Hassan started to perform at a young age and the first concert of dhrupad and kheyal with his elder brother is reported to have been held in Fazilka Bungla near Ferozepur[1]. After the Partition of India, 20-year-old Hassan and his family migrated to Pakistan and suffered severe financial hardships. To make ends meet, Hassan began working in a bicycle shop and later became a car and diesel tractor mechanic. Despite the hardships, his passion for music didn't wither and he kept up the daily routine of practice.
Career
The struggle ended when Mehdi Hassan was given the opportunity to sing on Radio Pakistan in 1952, primarily as a thumri singer, which earned him recognition within the musical fraternity. At the time, Ustad Barkat Ali Khan, Begum Akhtar and Mukhtar Begum were considered the stalwarts of ghazal gayaki.

He also had a passion for Urdu poetry and began to experiment by singing ghazals on a part-time basis. He cites radio officers, Z.A. Bukhari and Rafiq Anwar as additional influences in his progression as a ghazal singer. They gave him ample opportunities to display his mastery over the ghazal on radio. He sang ghazals of all the renowned Urdu poets and his innovative style was soon appreciated by both masses and discerning audiences.

Hassan’s voice and unique performance skills in ghazal singing were unmatched in the world of South Asian music. The 60s and 70s can be named Mehdi Hassan’s decades’, as there was hardly any hero in the Pakistani musical scene on whom Mehdi Hassan’s songs were not filmed.

King of Ghazals
Mehdi Hassan is universally acclaimed as the finest ghazal singer of his time. His unsurpassed vocal range and his mastery over even the most difficult of raags makes him the undisputed emperor of ghazals. His popularity amongst the masses, appreciation by the masses, and continued success over five decades makes him on par with Noor Jehan in the league of the greatest Pakistani singers of all time. The ultimate tribute to his greatness was from the eternal nightingale, Lata Mangeshkar, who compared his songs to " voice of god " . he is only the singer whose low note are matchless among all singers of subcontinent.

Parvez Mehdi and Talat Aziz are among his famous disciples who took his knowledge and rendition further to audiences.[2].

Later career
Following a severe illness in the late 80s, Mehdi Hassan stepped down from playback singing. Later due to severity of his illness he completely departed from music. He now lives a secluded life in Karachi which he has made his permanent residence. Nevertheless he often visits Lahore where he spends most of his time with his children and other family members.
Awards
He has been the recipient of numerous awards and recognitions: the Tamgha-i-Imtiaz granted to him by Gen Ayub Khan; the Pride of Performance bestowed on him by Gen Ziaul Haq; and the Hilal-i-Imtiaz conferred by Gen Pervez Musharraf. Besides the Nigar Film and Graduate Awards from Pakistan, he was presented the Saigal Award in Jalandhar, India, in 1979, whereas the Gorkha Dakshan Bahu Award was given to him in Nepal in 1983. Recently, he travelled to Dubai to receive yet another award.
Some famous Ghazals.
Aage barhe na qissa -e -ishq -e- butaan se hum
Aaj Tak Yaad Hai Woh Piar Ka Manzar
Aankhon Se Mili Aankhen
Aap Ki Aankhon Ne
Aaye Kuchh Abr Kuchh Sharaab Aaye
Ab Ke Hum Bichde To Shaayad Kabhi Khwaabon Mein Mile
Ae Raushnion Ke Shahr
Apnon Ne Gham Diye To Yaad Aa Gaya
Bhuuli bisri chand umeedein
Chalte ho to chaman ko chaliye
Charaag-e-toor Jalao Bada Andhera Hai
Dekh to dil keh jaan se uthta hai
Dil-E-Nadan Tujhe Hua Kya Hai ( Lyrics: Mirza Ghalib )
Dil Ki Baat Labon Par Laakar
Dil Men Toofan Chupae Betha Hon
Duniya Kisi Ke Pyaar Mein Jaanat Se Kam Nahin
Dayam Pada Hua Tere Dar Pe Nahi Hoon Main
Ek Bar Chale Aao
Fikr Hii Thaharii To Dil Ko Fikr-E-Khubaa.N Kyo.N Na Ho
Ga Mere Dewane Dil
Garmii-E-Hasarat-E-Naakaam Se Jal Jaate Hai.N
Gulo.N Me.N Rang Bhare, Baad-E-Naubahaar Chale
Gulshan gulshan shola e gul ki
Guncha-e-Shauq Laga hei Khilne
Hamari Sanson Men Aaj Tak
Har Dard Ko
Hum mei koi ghum nahi tha ghum-e-aashiqi sai pahlay
Ik Husn Ki Dewi Se Mujhe Pyaar Hua Thaa
Jab Bhi Aati Hei Teri Yaad Kabhi Shaam ke Baad
Jab Bhi Chahen Ek Nai Sorat
Jab Bhi Pee Kar
Jab Koi Piar Se Bulaae Ga
Jahan Jake Chain
Kahan Gai Woh Wafa
Kiya Hei Pyaar Jisse Humne Zindagi ki Tarah
Kya Bhala Mujhko Parakhne Ka Nateeja Nikla
Kyoon Humse Khafa Ho Gaye Ae Jaan-E-Tamanna
Main Hosh Mein Tha
Mohabat Karne Wale
Mohabat Zindagi Hai Aur Tum Meri Mohabat Ho
Mujhe Tum Nazar Se Gira To Rahe Ho
Naavak andaz jidhar diida-e-jaana honge
Phuul hi phuul khil utthe
Pyaar Bhare Do Sharmile Nain
Rafta Rafta Wo Meri Hasti Ka Saamaan Ho Gaye
Ranjish Hi Sahi Dil Hi Dukhaane Ke Liye Aa
Rim Jhim Ki Barsaat Hai Aur Jaage Huye Jazbaat Hain
Saamne Aa Ke Tujhko Pukara Nahin
Sahar Ho Rahi Hai
Shikwa Na Kar Gila Na Kar Ye Duniya Hai Pyaare
Shola Tha Jal Bujha Hoon
Tanha Thi Aur Hamesha Se Tanha Hai Zindagi
Tark-e-Ulfat Ka Sila
Tere Bheege Badan Ki Khooshboo Se
Tere Mere Piar Ka Aisa Nata Hai
Thah ar Thorri Der To
Tu Meri Zindagi Hei (Copied by Nadeem Sharavan in "Ashiqi" Hindi Movie India)
Usne Jab Meri Taraf
Uzr Aane Mein Bhi Hei Aur Bulaate bhi nahin
Wo Dil Nawaaj Hei Lekin Nazar Shinaas Nahin
Yaaro Kisii Qaatil Se Kabhii Pyaar Na Maa.Ngo
Ye Dhooan Kahan Se Uthta Hei
Ye Kaghzi Phool Jaise Chahre
Ye Mojazaa Bhii Muhabbat Kabhii Dikhaaye Mujhe
Ye Tera Naazuk Badan Hai Ya Koi Mehka Gulaab
Yoon Zindagi Ki Raah Mein Takra Gaya Koi
Zindagi Mein To Sabhi Pyaar Kiya Karte Hain
Zulf Ko Teri Ghataon Ka Payam Aaya Hai

kabhii mujh ko saath lekar, kabhii mere saath chal kar


kabhii mujh ko saath lekar, kabhii mere saath chal kar
vo badal gaye achaanak merii zindagii badal kar

huye jis pe meharabaa.N tum ko_ii Khush_nasiib hogaa
merii hasarate.n to nikalii.n mere aa.Nsuuo.n me.n Dhal ke

terii zulf-o-ruKh ke qurbaa.N dil-e-zaar Dhuu.NDhataa hai
vahii champa_ii ujaale vahii surama_ii dhu.ndalake

ko_ii phuul ban gayaa hai ko_ii chaa.Nd ko_ii taaraa
jo chiraaG bujh gaye hai.n terii a.njuman me.n jal ke

mere dosto Khudaaraa mere saath tum bhii Dhuu.NDo
vo yahii.n kahii.n chhupe hai.n mere Gam kaa ruKh badal ke

terii bejhijhak ha.Nsii se na kisii kaa dil ho mailaa
ye nagar hai aa_iino.n kaa yahaa.N saa.Ns le sambhal ke

Monday, March 16, 2009

ZAHEER ABASS (ASIAN BRADMAN)


Syed Zaheer Abbas سید ظہیر عباس (born 24 July 1947) is a former Pakistani cricketer regarded as one of the finest batsmen produced by that country.

Zaheer played his first Test in 1969, and in his very second Test he scored 274 against England, still the fourth ever highest score by a Pakistani batsman. This was the first of four double-centuries Abbas made; only six men have scored more.[1] Abbas, fondly called the 'Run Machine', also had great success in first-class cricket, and is the only Asian batsman to have scored one hundred first class centuries. [2]. He also had a long stint with Gloucestershire; joining the county in 1972, he remained there for thirteen years. During that time he scored over a thousand runs in the majority of his thirteen seasons. He also made over two thousand runs in a single season on two occasions for the club (1976 and 1981). During those thirteen years at Gloucestershire he played 206 First Class games, scoring over 16,000 runs. He averaged 49.79, hitting 49 100s and 76 50s. Sunil Gavaskar, the former Indian Test captain, has said while commentating that the Indian players would often say to Zaheer, "Zaheer Ab-bas karo", which means "Zaheer, stop it now" in Urdu and Hindi, referring to Abbas' free scoring. He remains the second highest on the all-time ICC ODI batting rankings[1].

Zaheer retired from international cricket in 1985, and has officiated as a match referee in one Test and three ODI matches.

Zaheer is known in Pakistan as the "Asian Bradman", a reference to former Australian great Sir Donald Bradman
Test Centuries
Zaheer Abbas's Test Centuries
Runs Match Against City/Country Venue Year
[1] 274 2 England Birmingham, England Edgbaston Cricket Ground 1971
[2] 240 15 England London, England The Oval 1974
[3] 101 21 Australia Adelaide, Australia Adelaide Oval 1976
[4] 176 27 India Faislabad, Pakistan Iqbal Stadium 1978
[5] 235* 28 India Lahore, Pakistan Gaddafi Stadium 1978
[6] 135 31 New Zealand Auckland, New Zealand Eden Park 1979
[7] 125* 46 Sri Lanka Lahore, Pakistan Gaddafi Stadium 1982
[8] 126 51 Australia Faislabad, Pakistan Iqbal Stadium 1982
[9] 215 53 India Lahore, Pakistan Gaddafi Stadium 1982
[10] 186 54 India Karachi, Pakistan National Stadium 1982
[11] 168 55 India Faislabad, Pakistan Iqbal Stadium 1983
[12] 168* 70 India Lahore, Pakistan Gaddafi Stadium 1984


One Day International Centuries
Zaheer Abbas's One Day International Centuries
Runs Match Against City/Country Venue Year
[1] 108 20 Pakistan Sydney, Australia Sydney Cricket Ground 1981
[2] 123 26 Sri Lanka Lahore, Pakistan Gaddafi Stadium 1982
[3] 109 31 Australia Lahore, Pakistan Gaddafi Stadium 1982
[4] 118 34 India Multan, Pakistan Multan Cricket Stadium 1982
[5] 105 35 India Lahore, Pakistan Gaddafi Stadium 1982
[6] 113 36 India Karachi, Pakistan National Stadium 1983
[7] 103* 42 New Zealand Nottingham, England Trent Bridge 1983