Though overlooked by many, the music of Aziz Balouch, Allah Bachayo Khoso, Mashooq Sultan, and Ustad Muhammad Juman endures as a timeless bridge between Pakistan’s past and present, playing a crucial role in shaping the nation’s cultural identity.

The world of Pakistani music bears witness to the immutable power of artistic talent and fleeting nature of fame. Pakistani music is a world where the sounds of the past meet the beats of the present, where fusions rich with Harmonium (also called a "reed organ" or "pump organ", is a keyboard instrument that is a lot like an organ), Alghoza (a traditional woodwind instrument from Sindhi culture), Tablas (drums), Surrandos and Narr reverberate. This is the tale of four musicians—Aziz Balouch, Allah Bachayo Khoso, Mashooq Sultan, and Ustad Muhammad Juman—who had once mesmerized audiences with their heartfelt compositions but have now, sadly, slipped into obscurity. Although their musical legacy left an indelible mark on the cultural corridors of Pakistan, their names have now been confined to historical anecdotes.

This article aims to review the lives, music, and legacies of these maestros in order to honor their accomplishments while also shedding light on the intricate and frequently disregarded history of Pakistan's unique musical compositions.

Born in 1910 as Azizullah Khan Al-Zahidi, Aziz Baloch was a Balochi artist who skillfully combined flamenco, Sufi, and Pakistani folk music. 

The Forgotten Virtuosos 
Aziz Balouch: Sufi-Flamenco Maestro 
Born in 1910 as Azizullah Khan Al-Zahidi, Aziz Baloch was a Balochi artist who skillfully combined flamenco, Sufi, and Pakistani folk music. Balouch was first exposed to flamenco music in Hyderabad. In 1932, he went to Spain and encountered Pepe Marchena, a famous flamenco performer. Aziz became his disciple and was given the nickname "Marchenita." Balouch's revolutionary album, "Sufi-Hispano-Pakistani," was released in 1962 as a result of his creative blending of flamenco and Sufi music. Productions such as "Seguiriya" and "Granadina Arabe Del Siglo IX" demonstrate his command over Pakistani music heritage as well as Western musical styles.

The life and work of Aziz Baloch provides a significant record of cross-border artistic fusion prior to the emergence of industry-sponsored productions of fusion music. Regretfully, few people in the United Kingdom (UK), Gibraltar or Pakistan are familiar with the man himself and his reputation is still that of a mysterious chapter in Sufi-flamenco genre. The maestro managed to harness a deep cultural connection―using Harmonium and Spanish guitar―between Spain and the South Asian region, in times when countries, communities and different continents were bound by confines of geography.

 Allah Bachayo Khoso: Veteran Alghoza Virtuosos
Alghoza player Allah Bachayo Khoso—who was born in 1935—made a lasting contribution to Pakistan's unique tradition of culture. The three best Alghoza players in Sindh; Shah Mohammad Nabina, Misri Khan Jamali, and Khamiso Khan coached Khoso. Upon being launched by Radio Pakistan, he became well-known in 1976, and his music was frequently documented. Khoso enthralled audiences with his distinct style, which fused traditional Sindhi folk tunes with Shah Abdul Latif Bhitai's poetry.

Among the many remarkable appearances that characterized Allah Bachayo Khoso's brilliant career was a magnificent partnership with renowned Madam Noor Jehan at the Wagah crossing in Lahore during the 1965 War, as reported by his son Arbab Khoso. Additionally, his music served as the soundtrack for the Sindhi movie Chandoki. Khoso's profound performance at the Urs (death anniversary) festivities of Shah Abdul Latif Bhitai in 2004 earned him Sindh's highest accolade, the Bhittai Award, which recognized his creativity.

Balouch's revolutionary album, "Sufi-Hispano-Pakistani," was released in 1962 as a result of his creative blending of flamenco and Sufi music. 

Although Khoso made a substantial contribution to Pakistani music through his mastery of not only the Alghoza but also Koahari Surs, Raag Rano, Ragni Manj, and Bheem Plasi, his legacy has largely gone unnoticed outside Sindh. Arbab Khoso, his son, lamented the fact that upon his deathbed, his father struggled to pay for medical bills because the authorities did not provide him with the necessary care or funding. It is indeed unfortunate that Khoso's legacy and musical heritage have now faded into footnotes of history.
Mashooq Sultan: The Queen of the Stage
Acclaimed as the 'Queen of the Stage' for her captivating Pashto folk tunes, Mahjabeen, alias Mashooq Sultan, has, today, become a forgotten name in the contemporary music industry. Born in 1952 in the Matta area of Swat, Khyber Pakhtunkhwa (KP), Mashooq gained widespread recognition and numerous accolades, including the esteemed Presidential Award, for her extraordinary talent and dedication to the art of folk music. In her prime, she recorded over 1,500 albums and was once a household name. However, her contributions to Pashto music were largely overlooked in her later years.
The 'Queen of Melodies' distinguished Mashooq Sultan from other performers with her unique fusion of Urdu, Punjabi, Saraiki, and indigenous Pashto folk songs. Despite performing hundreds of songs on television and Radio Pakistan and earning over 60 medals and distinctions for her contributions to folk music, Mashooq spent her final days in a modest rental home in Peshawar, struggling to make ends meet, with nothing but a fading legacy to her name.

Ustad Muhammad Juman
A legendary virtuoso of his era, Ustad Muhammad Juman's name once resonated with music fans across Pakistan but has since faded into obscurity. Born in 1935 in the Balochistani town of Sorra, Juman's early musical experiments led him to Radio Pakistan in Karachi, where he began playing the harmonium, narr, and surrando. He learned the subtleties of folk music, particularly Shah Abdul Latif Bhittai's Sur, under the tutelage of renowned masters. Juman later sang numerous songs in Saraiki, Sindhi, and Urdu.
Juman's legacy has mostly been disregarded regardless of his illustrious performances and resultant honors, including the Pride of Performance, Shah Abdul Latif, and Sachal Sarmast. The fact that his services to Pakistan's cultural legacy are still mostly unrecognized should serve as a reminder to preserve our cultural past. Ustad Muhammad Juman's legacy like Aziz Baloch, Allah Bachayo Khoso and Mashooq Sultan merits revival, remembrance and celebration. 
A Legacy in the Shadows
Aziz Balouch, Allah Bachayo Khoso, Mashooq Sultan, and Ustad Muhammad Juman have made creative contributions that are still deeply ingrained in Pakistani music and they can be heard in the compositions of modern-day artists and their endeavors. While reimagining their artwork, contemporary artists frequently use classical instruments and melodies giving merely a subtle nod to the contributions of original artistes.

Alghoza player Allah Bachayo Khoso—who was born in 1935—made a lasting contribution to Pakistan's unique tradition of culture. 

The work of these artistes continues to be an underrated cornerstone of modern Pakistani music, despite little recognition. Aziz Balouch created a distinctive cross-cultural interaction with his clever fusion of flamenco and Balochi Sufi music, which was inspired by his travels in Spain. Traces of this fusion are evident in contemporary fusion compositions of musicians such as Faiz Ali Faiz, who dabbles with both Flamenco and Qawwali. His performance with Carmen Linares and Chicuelo at Flamenco and Sufi Krichengesänge Festival in 2013 is a testament to the impact of Aziz Baloch’s fusion compositions. Furthermore, combining Balochi folk with modern instruments, “To Kaye Kandana” by Sahel Qureshi has been inspired by original version of Aziz Baloch.
Evidence of Mashooq Sultan's imprint can be seen in the compositions of musicians like Gul Panra, one of the finest and most well-known Pashto artists of today, with her gentle, melodious approach in songs like 'Man Aamadeh Am.' The song also features a powerful combination of Pashto and Urdu. Sultan's emotional depth is also infused in renditions of classic Pashto compositions, such as 'Rasha Mama' by Gul Panra and the Khumariyan band.
The usage of Surrando and Harmonium in conjunction with Ustad Muhammad Juman's deep and heartfelt melodies made him a key figure in Sindhi folk music. Glimpses of Juman's creative mastery, as showcased in "Raat Be Mehra Utha" can often been seen in compositions of Music production companies like Coke Studio. His distinctive melodies and instrumentation are adapted for new audiences in songs like "Wah Jo Kalaam" on Coke Studio Pakistan, which features Shamu Bai and Vishnu, an impressive brother-sister duo.

Khoso enthralled audiences with his distinct style, which fused traditional Sindhi folk tunes with Shah Abdul Latif Bhitai's poetry. 

Songs like 'Faqeera' and 'Moomal Rano' adapt Sindhi traditional music in a modern sense, proving that Juman's legacy—though largely unrecognized—has still managed to leave its mark on the music industry of Pakistan.
Preserving the Music Heritage: Ways Forward
Music aficionados and authorities can take a number of innovative and significant steps to honor the legacy of artists such as Aziz Balouch, Allah Bachayo Khoso, Mashooq Sultan, and Ustad Muhammad Juman. Here are a few suggestions:
Establish Specific Web Platforms. Individuals should create a website or digital archive that highlights their songs, biographies, and resultant cultural importance, as done by the Harmonium Music Blog who managed to digitize 46 CDs containing lesser-known recordings of famous classical artistes such as Begum Noor Jehan, Ustad Amanat Ali Khan, Fareeda Khanum and so on. To celebrate the achievements of Pakistani music maestros, documentaries should be made that use interviews, and photographs from the past. It would greatly aid in the preservation of music if it were featured on a YouTube channel with descriptions of its cultural and musical significance. Documentaries such as Indus Blues, directed by Jawad Sharif, bring attention to the predicament of Pakistani folk music.

Glimpses of Juman's creative mastery, as showcased in "Raat Be Mehra Utha" can often been seen in compositions of Music production companies like Coke Studio. 

Organize Regional Music Events. Ethnic and cultural music influenced by these maestros should be the primary focus of community-level music events organized by municipal administrations. For example, modern musicians could be encouraged to perform covers of Allah Bachayo Khoso's or Mashooq Sultan's songs on 'Sindhi Cultural Day' and 'Pashto Cultural Day.'
Teach the Legacy. Young pupils must be educated about Pakistan's traditional music by introducing workshops and courses in educational institutions. Education departments should collaborate with cultural organizations to incorporate these performers' compositions into the music curriculum. Students should be taught the melodies and musical instruments that Allah Bachayo Khoso, Aziz Balouch, and Ustad Muhammad Juman once learned, to foster creativity and a deeper appreciation for the arts.
Renditions of Traditional Folk Music. Modern musicians should be encouraged to experiment with or reinterpret the works of these maestros in contemporary genres such as hip-hop or electronic music. Musicians who incorporate local sounds and instruments, such as Eva B, Kaifi Khalil, Gul Panra, Shamu Bai, and Vishnu, could use their musical arrangements to bring the original works into the mainstream.
Local Folk Music Contests. Authorities must arrange musical contests or singing events that focus on restoring lost folk tunes. To increase engagement, this should be broadcast on television and held nationally.
Cultural Collaborations. Pakistan’s cultural department should invest its resources to arrange further Sufi-Flamenco collaborations, thereby honoring the pioneer, Aziz Balouch. It is only fair to the legacy of an artist whose notes transcended boundaries that he be revered for his creative contributions.
The beats and rhythms of Aziz Balouch, Allah Bachayo Khoso, Mashooq Sultan, and Ustad Muhammad Juman demonstrate the richness and versatility of Pakistan's cultural heritage and musical legacy. Their notes extend beyond their own eras, inspiring modern artists and fostering bridges between classic and contemporary music. Despite being relegated to footnotes of Pakistan's cultural history; their imprints continue to be seen in works of Pakistan's modern-era musicians.
We can all do our part to revive and breathe life into their forgotten legacies as individuals, either by including their lives and works in cultural education, organizing musical events, or developing internet platforms dedicated to promoting the country’s musical heritage. Every string of the Surrando they plucked, every bellows of the Harmonium they worked, every chord they struck, and every song they sang carries with it evidence of the endurance of Pakistan’s cultural identity.

The writer holds an MPhil degree in International Relations from National Defense University, Islamabad. 
E-mail: [email protected]

References
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• Hidayat Khan. 2016. “Pashto Folk Singer Mashooq Sultan Dies at 64.” The Express Tribune. December 19, 2016. https://tribune.com.pk/story/1268132/pashto-folk-singer-mashooq-sultan-dies-64.
• Home, PTV. 2024. “Ustad Juman Remembered: Death Anniversary of Classical Singer Being Observed.” Ptv.com.pk. 2024. https://www.ptv.com.pk/ptvWorld/engNewsDetail/55901. 
• Rohail Hyatt. 2010. “Moomal Rano | Fakir Juman Shah | Season 3 | Coke Studio Pakistan” YouTube. June 16, 2010. https://www.youtube.com/watch?v=ZkOQutaHaZc. 
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