The year was 1999. We’d already decided that we wanted to take the basic melody of the haunting 1966 song by the Bengali composer Moslehuddin and make instrumental variations of it as the score of our film. We’d even decided that the song title, 'Raat Chali Hai Jhoom Ke', would be the title of the film, Mohammed Hanif’s adaptation of Scorsese’s After Hours set in and about Karachi.
Then my partner in crime, the late Musadiq Sanwal — a brilliant musician who would later go on to become Dawn.com’s first editor — called me one night and told me he’d been thinking long and hard about which musical instruments to use for the variations. “I think it should be the guitar,” he said, “because it’s modern and symbolises the youth. Like Karachi.”
When I whole-heartedly agreed with Sanwal’s line of thinking, the only question that remained was who we would ask to actually play the guitar. Both of us had only one name in our heads: Aamir Zaki. Because Aamir was, by far, the best guitarist in Pakistan.
Thankfully Aamir agreed, even though — as he himself once complained to me later — this was a strange film scoring. The film had not yet been edited. Only Sanwal and I actually knew which situations required what kind of musical interventions. All Aamir had to go on was our directions.
Aamir Zaki was a prodigiously talented musician but also nurtured a darkness within himself. He passed away on June 2, at the age of 49
Sanwal and I supervised the recordings in Arshad Mahmud’s studio, where Aamir was paired with Ustad Bashir Khan on the tabla, probably the best tabla-nawaz in Karachi at the time. Aamir gave us a number of variations — light, melancholic, upbeat, slow and dark, including on his fretless bass. Finally he asked to be allowed to record a version without any directions from us. It was classic Zaki — all wailing guitars tinged with his own version of the blues, soaring into tangents but looping back to the original melody like a seasoned jazz player.