This is a collection of short compositions in colloquial language, ‘ba zabaan-e bhaasha’, gathered from “inteKhaab-e kalaam-e asif-e saab’e” – Selection of Writings of Asif VII – published by the Trust Committee that he had set up for this purpose.  Several are cross-religious moving from islamic to hindu figures with ease.  Even those that are islamic use a distinctly local flavour of language and metaphor.  I have had difficulty in interpreting several of them.
1
mora baaNsuri baja ke liya man re
gaNga ke saatan¹ jamna bahat² re
looT hi liya sub tan man re

1.saathh, along with 2.flows

You stole my heart with the music of your flute
I flow with you, like jumna with the gaNga
You captured all of me, heart and mind
This is clearly an ode to krishn in which osman ali KhaaN casts himself as jumna merging with gaNga, symbolizing krishn.
2
paniya bharan kaise jaauN girdhaari¹
sog² ko tu ne aaj miTaaya
raNg³-e ishrat⁴ Khoob⁵ jamaaya
zainu⁶ piya tore bal bal haari

1.another name of krshn 2.sorrow 3.style, ambience, atmosphere 4.pleasure 5.good, plenty 6.zainulabideen, the fourth imam of the shia tradition

The poet/devotee moves seamlessly from krishn to zainulabideen, perhaps suggesting that the spirit of devotion and love is the same.  But I am at a loss to understand the flow of logic but content myself in recognizing that poet/devotee celebrates two traditions in the same breath.  If anyone can decipher the logic of the flow, please let me know.
How can I go to fetch water now, O krshn
Today you have erased all sorrow
You have created a festive atmosphere
O, beloved zainulabideen, I offer my all to you
3
jaao jaao mujh se baat na banaao re
daau¹ meN tere aan phaNsi huN
ghaat² par ghaat na lagaao re
saab’e³ piya mohe dhoka devat⁴ hai
peet⁵ se haath uThaao na uThaao re

1.trickery, grip 2.ambush 3.seventh (asif jah VII) 4.dhoka dena, deceive 5.preet, love

In this short composition osman ali KhaaN casts himself in the image of krishn as “saab’e piya” and the poet is radha pining for love of krishn.  It is recorded that in avadh, wajid ali shah used to do much the same.
Do not make excuses with me
I am caught up in your trickery
Do not ambush me again and again
My lover, ‘the seventh’, deceives me
Pray, do not give up on love
4
gulnaari¹ maiN ko maarat hai pichkaari
gaagar meN kaisa raNg bhara hai
vo bhi khara² zaNgaari³
saab’e⁴ piya tore nain raseele
vaar laga aisa kaari⁵

1.rose coloured 2.pure, strong 3.green 4.seventh (asif jaah VII) 5.strong

Here again, osman ali KhaaN casts himself as krishn, playing holi with gopis. spraying them with dye.
He sprays me with rose colour
The pot is full of such dye
Of pure green colour
O, my beloved, ‘the seventh’ your eyes intoxicate
Go ahead and spray me (with dye)
5
mora maadhave¹ aaKhir-uz-zamaaN²
darshan³ tera nain⁴ ke maathe⁵
aa jaaye ye bhi samaaN⁶

1.mahdi, name/title of 12^th imam in the shia tradition 2.end of the world – again a reference to the 12^th imam of the shia tradition.  It is believed that he will return/manifest himself on doomsday 3.sight, manifestation 4.eyes 5.in front of, face to face 6.scene

While this is a prayer to the 12^th imaam in the shia tradition, it is composed in a style and language most often used in bhajan.
O mahdi, harbinger of the day of judgement
May I see you face to face
May such a scene come about
6
mora dheera¹ hai aaj ali hi re
dhoom hai aisi fateh² Khaiber³ ki
brij⁴ meN ek hi kanhaiyya⁵ re

1.solace, support 2.victory 3.fort near medina which ali conquered 4.krshn’s village 5.another name of krshn

Once again the poet/devotee moves seamlessly from ali to krshn and this time implies a little more strongly that the force for goodness is all the same.  A footnote in the original book suggests that ‘brij’ is used as a metaphor for the world.
My only solace now is ali
We celebrate his victory over Khaiber
There is only one krishn in the world
7
maula ali tora chhooTe na daaman¹ re
najaf²-e ashraf³ tera gharat⁴ re
maaman⁵ maava⁶ be-shubhat⁷ re

1.hem of the robe, protection 2.mausoleum of ali 3.noble, holy 4.home 5.refuge, safe place 6.essence, refuge, asylum 7.without doubt, surely

This is an ode to ali, the first imaam in the shia tradition, composed in a style and language similar to that of hindu bhajan.
Lord ali, may I never lose the protection of the hem of your robe
Noble najaf is your home
Surely that is a place of refuge
8
mohe jaanat¹ akeli chaheek² leuu sarbaanat³ tori paagariya⁴
maiN najaf ko bharne jaa chali
tohe aan lapaT li chhaagaliya⁵

1.jaante hue, knowing 2.(from footnotes in the book) – farefta, sad, deceived/disappointed in love 3.(from footnotes) with twelve folds 4.(from footnotes) dastaar/ceremonial cap with insignia of imaamat/successor of mohammed in the shia tradition 5.author/founder of a faith.  Conventional dictionaries give the meaning of chhaagal as lambskin water bag.  Only one dictionary had ‘chhaagaliya’ and gave the meaning noted above.

I have difficulty interpreting this.  The following is my best guess using word meaning given in footnotes, supplemented by dictionary meanings of other words.
Knowing that I was sad, he put on the dastaar of imaamat
I am off to najaf
I am coming to hug you, O, founder of my faith.

Key Search Words: cross-religious, cross religious, kaaba kaashi, k’aaba-kaashi, k’aaba kaashi, krishn bhakti, ishq-e ali