Ahmad Zahir

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Ahmad Zahir (Dari/Pashto) was an Afghan singer, songwriter, and composer from 1946 to 1979. He is regarded as Afghanistan's all-time greatest singer. The majority of his songs were performed in Dari, and he performed several songs in Pashto, as well as a few in Urdu and English.

Zahir, a native of Kabul, has released at least 14 studio albums before his tragic death on his 33rd birthday in 1979. His music incorporated folk music, Persian literature, Indian classical music, and Western pop and rock styles. He is widely regarded as the single greatest musician of all time in Afghanistan thanks to his contributions and influence on music. He has also portrayed himself as a symbol of peacetime pre-war Afghanistan.

Early years

Ahmad Zahir was born in Kabul, Afghanistan, on June 14, 1946 (Jauza 24, 1325 of the Jalali calendar) to an ethnic Pashtun family. Abdul Zahir, his father, was a royal court physician who served as minister of health and Prime Minister of Afghanistan from 1971 to 1972. He served as a speaker of the parliament and a prominent figure in King Zahir Shah's tenure, helping draft the country's 1964 Constitution. Zahira Zahira Zahira Zahira Zahir, Zahira Zahira, was her older sister who would later be known as the hairdresser of US President Ronald Reagan and others.

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Career

Zahir attended Habibia High School in Kabul and formed "the amateur band of Habibia High School," which included Omar Sultan on guitar, Farid Zaland on congas, and Akbar Nayab on piano. Zahir performed and sang on accordion. They appeared locally at Andruz, Eid ul-Fitr, and Afghan Independence Day, among other festive occasions. Zahir rose to international prominence in Kabul as a gifted singer with a soulful voice. "Bulbul-e- Habibya" (the Nightingale of Habibia) was given to him by his baritone chest voice and evocative singing.

He attended and graduated from Daru' l-Malimeen ("Teachers' College") in Kabul, and spent two years in India to get a degree as an English instructor. Following his return from India, Zahir took up writing for The Kabul Times, but his first album appeared right away. He collaborated closely with Afghan composers Nainawaz and Taranasaz. "Gar Kuni Yak Nizara," his first recorded song, blended Indian raga with western pop rhythms, was his own design.

Zahir worked with mentors including Ismail Azami (saxophonist), Nangalai (trumpeter), Abdullah Etemadi (drummer), and other musicians, including Salim Sarmast, Nainawaz, Taranasaz, and Mashour Jamal. In the 1970s, he had released more than 22 albums. His songs have been praised for their mellifluous tone, poetic style, ethical depth, and ardent emotional evocation. Zahir was on the scene of Afghan music for only ten years at the most; yet, he has sold more than 30 albums. Any music market around the world, this was and is unique. Both of these albums were well-received and well-received (to this date) by most. With almost no technology of today's world, the musicians were able to complete these albums nearly 40 years ago, and all of them were done in live recording.

There is a controversies surrounding his song "Tanha Shodam Tanha" and Claude Morgan's song "El Bimbo" (1974). According to some sources, the song and the album "Lylee" on which it appeared in 1971, making Morgan's version a cover, and some (mostly based on a previous version of this story) date the song and the song to 1977, reversing the relationship.

Zahir helped establish music as a more respected career, which in turn resulted in the establishment of The Kabul Music School in 1974.

In three songs in resistance to the new communist regime's draconian rule, Zahir criticized the leaders of the Saur Revolution, modeled himself after one of his heroes, John Lennon, who used rock music for anti-war resistance in the west.

Ahmad Zahir is the person most closely associated with producing the distinctive Afghan sound of music. Zahir, the best Afghan singer Sarban, was instrumental in the Afghan musical style's evolution. Zahir, a highly educated, well-travelled, and an extraordinarily gifted singer, had a vivacious passion for music and arts from an early age. By the time he was 16 years old, he had learned how to play various musical instruments, including the harmonium, guitar, and accordion (his favorite instrument). His privileged and wealthy background (his father, Abdul Zahir, was a diplomat, and later the Prime Minister of Afghanistan) afforded him the opportunity to travel and be introduced to the burgeoning musical revolution of the 60s and 1970s, which happened in the United States, Europe, and India. He was a huge fan of all genres of music, and he incorporated elements of western (pop, rock, jazz), Indian, Middle Eastern (Arabic, Iranian), European (French and Italian belle chanson, Spanish Flamenco), and Afghan Folk in his songs.

Despite the fact that Zahir created the unique Afghan sound (as opposed to the Indian classical, folkloric Afghan music, and western music), the Persian singer Sarban worked with legendary composer Salim Sarmast, Zahir was the one who brought it to the masses. Ahesta Bero, Khorsheede Man, Ay Sarban, Mushjke Taza Mebartad, Dar Daaman-e-Sahra are among Sarban's hit songs, as well as Ahesta Bero, The pearls of Afghan Persian music, are considered the pearls of Afghan Persian music. However, a minority of highly educated and erudite Afghans could only appreciate the sombre poetry, intricate music, and a multitude of other subtleties of these songs. The songs were not intended for common man entertainment. Ahmad Zahir simplified Sarban and Sarmast's musical heritage by simplifying the lyrical, compositional, and orchestral aspects. This does not mean he made the style simplistic, but that he made it available and, as a result, hugely popular among the masses, especially the youth of Afghanistan. For instance, Zahir's song "Khoda Buwat Yaret" is a good example of an unmistakably Afghan musical tone. Regardless of their education and experience with Persian poetic history, most Persian speakers are able to comprehend the song, and yet the poeticism, imagery, and emotional impact are as strong as Sarban's best songs. The overwhelming majority of future Afghan singers who performed in Ahmad Zahir's unique Afghan style were influenced mostly by Ahmad Zahir's songs, not Sarban (whose songs few had heard). Zahir can therefore be credited with the creation of a unique and distinct Afghan musical language—separate from the Indian, Iranian, western, and folkloric musical traditions.

Zahir's debut album was released on Radio Kabul. It's the first Afghan album to be released in the western genre of music, mainly pop songs. However, although the songs' rhythms, melody lines, and texture were identifiably Afghan pop, Zahir's songs were still distinctly Afghan (or rather eastern) style, rather than using drums, rather than using drums. The accordion, Zahir's most popular but not pop device), is prominent on this album. "Az Ghamat Ay Nazanin" was the album's most popular song.

However, it was Zahir's second album (also recorded with Radio Kabul) that not only brought him to fame, but also celebrated by critics as an artistic masterpiece. The album has a distinct Afghan sound, and is largely a continuation of the singer Sarban and Salim Sarmast's distinctive Afghan style of music. However, Zahir's album maintains the key elements of the Afghan sound, but with a more recognizable and readily understood lyrical and musical language than his predecessors' (which were mainly erudite lyrically and complex musically). Hama Yaranam, Rozo Shabam (which is a joint venture with great Afghan singer Nashenas), Tanha tuyere, and Tora Afsoone Chashmanam were all highly successful due to their easily accessible lyrics (mainly to the youth) and a sound that perfectly suited the Afghan musical palate.

Other Zahir albums and songs mostly follow the album's musical style, such as Agar Bahar Beyad, Lail Lail Jan, Khuda buwat Yaret. Zahir was one of the first Afghan musicians not to shy away from releasing outstanding songs of other artists. He considered covering other artists' music to honor their artistic brilliance. He covered the revival of the famous Indian film Bobby (which was a hit in Afghanistan at the time), Iranian songs (Sultan-e Qalbha, Hargez Hargez, Hamash Dardo Hamash Ranjo), and even some of the finest Enrico Macias, Elvis Presley's. He's musical creations were greatly enhanced by his versatility and willingness to borrow musical works of others for his own performance.

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