In 1953, poet Tanvir Naqvi returned from India, reclaiming two songs originally intended for K. Asif’s still-unfinished Mughal-i-Azam.

One of these songs, written with Bollywood star Madhubala in mind, found a new destination: producer/director Anwar Kamal Pasha swiftly took it for his hastily announced film, Anarkali, with the legendary Madam Noor Jehan enacting the titular role.

Madam Noor Jehan was getting ready to record the song when she noticed, during a rehearsal, that the tabla player was missing. Upon her inquiring, the person in charge nervously offered his eight-year-old son as a substitute. Noor Jehan lifted the young boy into her lap, speaking words that would prove prophetic: “A fakir’s or a funkaar’s [artist] blessing and curse both take root — this boy will grow up to be a great music director.”

Her words carried both weight and wisdom, as the boy went on to score hit film songs such as ‘Sunn ve bilori akh valiya’, ‘Zalima Coca-Cola pila de’, ‘Ek baat kahoon dildara’ and ‘Saathi mujhay mil gaya.’

Celebrated music director Ustad Tafu Khan passed away on October 26 in Lahore at the age of 79. His life was rich with rhythm and melody and he leaves behind an enduring legacy in Pakistani music

The song Noor Jehan recorded with the young tabla player was the timeless ‘Kahaan tak suno gey, kahaan tak sunaoon’, composed by the gifted music director Master Inayat Hussain. The young boy she blessed was none other than his cousin, Tafu, who would later rise to fame as Ustad Tafu Khan — a legendary music director and virtuoso tabla player.

Born Altaf Hussain Khan in 1945, Tafu hailed from the esteemed Mozang gharana and was one of seven brothers, all masters of their craft. Known collectively as the Tafu brothers, they became indispensable to the Pakistani music scene. No recording session in the ’60s — whether for maestros such as Khwaja Khurshid Anwar, Rashid Attre, Sohail Rana or Robin Ghosh — was complete without their contribution.

Tafu’s family connections extended to other musical icons, including his cousins Master Abdullah and Master Aashiq Hussain, famed for the Sufi dhamaal ‘Dama dam mast qalandar.’ Music director Sahir Ali Bagga, son of Tafu’s youngest brother, would go on to become another celebrated name in the industry.

Tafu was known for his artistry with the tabla from a very young age, a skill that earned him both name and fame far and wide, with his gaining recognition as a master of the tabla. His rhythmic genius made him a sought-after collaborator, especially by Nusrat Fateh Ali Khan, who famously regarded Tafu as “the other name of tabla playing.”

Tafu’s tabla, dholak or congo drums playing was an integral part of his music, helping him bring life to his compositions when he became a music composer. Even though his skill was unparalleled, a lack of PR and marketing meant that Tafu’s reach did not match his talent — a reality that left many feeling he deserved far greater fame.

Tafu was often seen complimenting Nusrat Fateh Ali Khan’s alaap with his tabla on PTV, and their association was above that of friendship. He even accompanied Nusrat Fateh Ali Khan to India and helped in composing songs for Aur Pyar Hogaya (1997) and Kachchay Dhaagay (1998).

Ustad Tafu was handsomely praised in India, with the legendary actor Dilip Kumar, music directors Laxmikant Pyarelal, A.R. Rehman and singer Kumar Sanu acknowledging his work. He also had a close bond with tabla maestro Zakir Hussain, whose father Ustad Allah Rakha Khan and Tafu were both shagirds [students] of the famous Ustad Mian Qadir Bakhsh Pakhawaji.

Tafu’s venture into music composition came by chance. When his friend, producer Khalifa Saeed, faced a financial loss from the film Akbara (1967), Saeed quickly planned a recovery project, with Anwara (1970). Tafu, who had been a dedicated studio musician since playing the dholak for ‘Jaa apni hasraton pe aansoo baha ke so ja’ from Susraal (1962), accepted the challenge.

Tafu was often seen complimenting Nusrat Fateh Ali Khan’s alaap with his tabla on PTV, and their association was above that of friendship.

His first song for Anwara was ‘Sunn ve bilori akh valiya’, sung by Madam Noor Jehan, followed by ‘Laaj muhabbataan di rakh le.’ Both songs became instant hits and cemented Tafu’s reputation as a skilled composer. Khalifa Saeed got his money back, only to lose it in Asghara (1971), but again Tafu emerged victorious with his ‘Munda shehr Lahore da’, in the film that failed to do well.

His expansion into Urdu films was driven by director Iqbal Yusuf, who invited him to compose for Jeenay Ki Saza (1977), where he created the song ‘Main hoon wafa, tu hai jaan-i-wafa’, performed by Mehdi Hassan and Madam Noor Jehan.

That same year, he composed ‘Saathi mujhay mil gaya’ for Jasoos with Naheed Akhtar and A. Nayyar, and produced two versions of ‘Tum ko qasam mehboob mere’ for Takrao (1978), one each by Mehdi Hassan and Naheed Akhtar.

One of the earliest Urdu films of Tafu, Girhasti (1971) featured ‘Na jaa mere dilruba, sunn le yeh dil ki sadaa’ by Masood Rana, which hinted at the style of his later hit ‘Saathi mujhay mil gaya.’ His compositions stood out, blending folk rhythms with a contemporary sensibility.

Tafu’s influence went beyond compositions, however. On a tour to Indonesia with dancer Amy Minwala, he was inspired by international sounds, bringing instruments such as the accordion and the congo drums to Pakistani music, thereby expanding the auditory palette of the industry.

Inspired by R.D. Burman, he also incorporated North African influences into his folk music compositions, drawing on his Moroccan heritage and mastery over numerous instruments. This fresh approach modernised Pakistani music, making Tafu a pioneer in the true sense of the word.

Among Tafu’s other beloved collaborations with Madam Noor Jehan were ‘Main alhar Punjab di’ from Rab Di Shaan (1970), ‘Tu tu tarara tu tu ruru ru’ from Nawabzada (1975), the playful double-meaning ‘Thorri pis gayi ae thorri pat gayi ae’ from Daara (1977), ‘Teri hik te ahilna’ from Wehshi Gujjar (1979) and ‘Ki dum da bharosa yaar’ from Sakhi Badshah (1996), Madam Noor Jehan’s last song.

Tafu also composed ‘Main hoon pyaar ka deewana’ sung by A. Nayyar, the last song filmed on the iconic Waheed Murad in Zalzala (1987). Additionally, he introduced the powerhouse vocalist Naseebo Lal to the industry. In Iqbal Yusuf’s Khuda aur Mohabbat (1978), he used A. Nayyar as Waheed Murad’s voice in a couple of songs — ‘Ek baat kahoon dildara’ while also giving a break to Babra Sharif as a singer in ‘Ek larrki tum jaisi.’

And who can forget the famous ‘Coca-Cola pila de’? The trio of poet Khawaja Pervaiz, director Masood Butt and music director Tafu were behind the song from the movie Chann Te Soorma (1986). Madam Noor Jehan and Tafu joined hands for the song that was revisited years later by Coke Studio, rendered by Meesha Shafi and Umair Jaswal.

This song was later copied in Bollywood too, for the anti-Pakistan film Bhuj: The Pride of India. The song featured a dance by the sensuous Nora Fatehi on the vocals of Sherya Ghoshal.

A straightforward man and a friend to all, Tafu found himself unexpectedly entangled in controversy earlier this year. When a journalist asked if “Bhagwaan” [God] was truly present in Mehdi Hassan’s voice, as Lata Mangeshkar had once stated, Tafu gave a candid response.

“There must be some peon of Bhagwaan,” he said, sparking a social media uproar. Approaching 80, the elderly musician faced an intense backlash and was subjected to harsh criticism, until cooler heads prevailed. Old friends, including ghazal maestro Ghulam Ali and other prominent figures in the music fraternity, intervened to help defuse the situation and defend Tafu, restoring some measure of calm around the incident.

Tafu’s legacy extends through his talented children Sajjad Tafu, an accomplished guitarist and recipient of the Tamgha-i-Imtiaz, and Tariq Tafu, known for his song ‘Lahore Lahore Hai’ and also once one of the most sought-after drummers in Pakistan. His other sons, Aijaz and Tanveer Tafu have also made their mark in music.

Tafu’s life, rich with rhythm and melody, leaves an enduring legacy in Pakistani music. Tafu was bestowed the Presidential Pride of Performance Award in 2023, just a year before his death. It seems he was waiting for the official recognition.

Published in Dawn, ICON, November 3rd, 2024

Correction: This article has been amended online to indicate that Ustad Allah Rakha Khan and Tafu were both students of Ustad Mian Qadir Bakhsh Pakhawaji. Ustad Shokat Hussain Khan, who had been originally indicated as their teacher, was also a student of Ustad Pakhawaji.