Rare opportunity to listen to Gan-Yogini Dhondutai Kulkarni

Rare opportunity to listen to
Gan-Yogini Dhondutai Kulkarni, who will sing in the fond
memory of her Guru Late. Ustad. Azizuddin Khansaheb (Baba). A treat to connoisseur listners of
Jaipur-Atruuli Gharana.

Sangeet Samrat Ustad Alladiya Khan Sangeet Mahotsav 2012

Venue: Princess Padmaraje Girls Highschool Ground,New Mahadwar Road,KOLHAPUR.

Date: 20 Jan 2012

Shri. Raghunandan Panshikar
(Jaipur Atrauli Gharana)

Pandit Shivkumar Sharma
(Santoor)

Date: 21 Jan

Shri. Omkar Dadarkar
(Gwalior Gharana)

Pandit Atulkumar Upadhye
(Violin)

Date: 22 Jan

Shrimati. Kaushiki Chakravarti
(Patiala Gharana)

Ustad Shahid Parvez Khan
(Sitar)

Origional and complete Family Tree of Ustad Alladiya khan

Khwaja Ahmed Khan
2 Sons:
1. Ustad Alladiya Khan
2. Ustad Haidar Khan

1. Ustad Alladiya Khan
3 Sons:
1. Ustad Nasruddin Khan also known as "Badeji"
2. Ustad Badruddin khan also Known as "Manji Khan"
3. Ustad Shamsuddin Khan also known as "Bhurji Khan"


1. Family Of Ustad Nasruddin Khansaheb(Badeji)

1. Nasruddin Khan:
3 Sons:
1. Mohiyuddin Khan
2. Niyazuddin Khan
3. Moinuddin Khan

1. Mohiyuddin Khan
4 Sons:
1. Hamiyuddin Khan
2. Mehrajuddin Khan
1 Son:
Azimuddin Khan(Sonty)
3. Kutoobuddin Khan
4. Nasiruddin Khan
1 Son:
Amaan Khan

2. Niyazuddin Khan
1 Son:
Hafizuddin Khan have
2 Sons:
1. Saifuddin Khan
2. Saami Khan

3. Moinuddin Khan
4 Sons:
1. Jahiruddin Khan
1 Son:
Azhar Khan
2. Rahimuddin Khan
Arbaz Khan (Lucky)
3. Riyazuddin Khan
2 Sons:
1. Wasim Khan
2. Mohsin Khan (Monu)
4. Ayazuddin Khan
1 Son:
Muhommad Misam


2. Family of Ustad Badruddin Khansaheb(Manji Khan)

2. Manji Khan
1 Son:
Moinuddin Khan
7 Sons:
1. Salim Khan
1 Son:
Moinuddin Khan(Shanu)

2. Rafique Khan
2 Sons:
1. Faris Khan
2. Fiyaz Khan

3. Shakil Khan
1 Son:
Suleman Khan

4. Iqbaluddin Khan
2 Sons:
1. Arsalan Khan (Jishan)
2. Ilhan khan

5. Aasif Khan
1 Son:
Salim Khan

6. Nasiruddin Khan
7. Zubair Khan


3. Family Of Ustad Shamsuddin Khansaheb (Bhurji Khan)
1 Son:
Azizuddin Khan (Baba)
6 Sons:
1. Alimuddin Khan

2. Fahimuddin Khan
4 Sons:
1. Shamsuddin Khan
2 Sons:
1. Mohommad Farhan Khan
2. Muhommad Ayaan Khan
2. Warisuddin Khan (Chintu)
1 Son:
Muayyad Khan
3. Badruddin Khan (Tinku)
4. Muzaffarali Khan

3. Nuruddin Khan
2 Sons:
1. Nazarahmed Khan (Aashu)
2. Nabilahmed Khan (Shahrukh)

4. Salimuddin Khan
5. Nizamuddin Khan (Babubhai)
6. Naimuddin Khan
3 Sons:
1. Faizan Khan
2. Murtaza Ali Khan
3. Aziz Khan

[Note: This family tree is origional and complete.Please Dont trust on other wrong family trees of Ustad Alladiya Khan]
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Read "Alladiya Khan My Life" online here.

Hi world,
Happy New Year 2012.
Now you can read "Sangeet Samrat Alladiya Khan My Life" online here.
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As a performer Alladiya khansaheb won phenomenal acclaim,even in an age when all the major schools oe vocal music had outstanding representatives. His success as a teacher ensured that his style of singing remained a major idiom in North indian vocal music long after his death: the Jaipur-Atrauli style, as this is sometimes called,is still represented by students of his own disciples, and has clearly fared better than many of the musical idioms that were popular in his time. His own career as a singer and teacher spanned several decades. His music was especially prized because of the great learning it manifested, as well as for its traditional and authentic character. Khalifa Badal khan, the well known sarangi player and popularizer of khayal gayaki in Calcutta, is said to have advised his students to listen to Alladiya Khan as the exponent of authentic khayal gayaki. It is probably true that his style was also seen as being exceptionally difficult, and therefore hard to understand, let alone master; but that would probably add to the awe and mystique that his singing seems to have had.
Reference:
"Sangeet Samrat Ustad Alladiya Khan My Life"
Author: Ustad Azizuddin Khan
Published By: Thema,Calcutta

Ustad Alladiya Khan was born two years before the revolt of 1857

Ustad Alladiya Khan was born two years before the revolt of 1857 and he died shortly before the independence of India. In his long life he withnessed the political and social trasformations that culminated in the emergence of the modern Indian state as a proffesional singer. His life was profoundly influenced by these changes. Born in a family of court musicians,his own career as a performer was fashioned arround pricely and aristocratic patrons. He died having seen a fundamental chanpe in the sturctures of patronage. The period spanning roughly the middle of the nineteenth to the middle of the twentinth century was remarkable in the history of music for a variety of reasons. For one,this is the age when the styles of singing instrumental performance that we are familiar with were fashioned whether we think of the content of musical knowledge,or the social structures that regulated it, it is to this period that we have continually to look. Indian classical music thrives on claims of its extreme antiquity and traditionality; the claims are complex, but it is fairly clear that the kind of music that we are familiar with has a relatively short history.

Reference:
"Sangeet Samrat Ustad Alladiya Khan My Life"
Author: Ustad Azizuddin Khan
Published By: Thema,Calcutta

The Last Khalifa of Jaipur-Atrauli Gharana Indian Classical Vocalist Ustad Azizuddin Khansaheb(Baba) no more.

The Last Khalifa of Jaipur-Atrauli Gharana
Indian Classical Vocalist Ustad Azizuddin Khansaheb(Baba)[90 years old] died on Tuesday 23 August 2011.[islamic Date: 22 Ramzan] at our House "Allahdiya Mazil,Kolhapur" in the morning at 10.30Am.
"Innalillahe wa inna ilayhi rajiun"
Allah unki magfirat farmaye wa jannat me Aala maqam ata farmaye
Aameen

Ustad Azizuddin
Khan was born in
Uniara village(District: Tonk) in
Rajasthan on
February 7, 1921.

The family settled in Kolhapur when he
was an infant. His
father, Bhurji Khan,
who died in 1950.
He was also well-
known vocalist
Azizuddin Khan
started singing at age
8,
stopped singing at
the age of 24
because of some medical reasons.
He played important role in the syllabus of Music Department of Shivaji university,Kolhapur
His disciples :
Pandit Mallikarjun
Mansur
Madhusudan Kanetkar
Pandit Jitendra Abhisheki
Panchakshri Mattikatti
Dhondutai
Kulkarni
Shruti Sadolikar Katkar

Ustad Alladiya Khan (Gulam Ahmed Khan)Founder Of Jaipur-Atrarauli Gharana

Ustad Alladiya Khan (1855-1946) is the
founder of Jaipur-Atrauli Gharana to which several modern titans belong. Born into
a family of musicians in Uniara
(Rajasthan) he lost his father
early. His uncle Jehangir Khan
taught him dhrupad for 5 years
and khayal for another 8. Until
he was 25 Alladiya Khan learnt
and practised music, occasionally
performing but yet to take it
up as profession. After initial success at Ajaygad court as
singer, Alladiya Khan set off on a concert tour visiting Patna,
Mujaffarpur, Allahabad, Calcutta
and other places with successful
recitals everywhere. His concert at Motihari resulted in an invitation by the king of Nepal,
where the ustad spent two years until he felt homesick.
Even during travel Alladiya Khan
would not neglect music. He
practised hard literally from
dusk to dawn even at 51.
Alladiya Khan enjoyed royal patronage at several
places. He was the court musician of the Kolhapur king Chatrapati Shahu Maharaj,
until the king died in 1922 and later moved to Bombay. At
Amlata, he almost lost his voice due to hours of riyaaz daily. for a couple of years. His voice lost
sweetness and he had to depend on taans.So he adopted a new style which helped him sing without
compromising the purity of raga.

His main disciples were his famous younger brother Haider Khan, Bhaskarbuwa Bakhale and his own sons. Khansaheb
invariably started training with
dhrupad-dhamar and took up khayal only after their voices
stabilized and became tonally
perfect. While the second son Manji Khan died in 1937, the youngest son Bhurji Khan
continued to teach his father’s disciples like Kesarbai Kerkar.
Among the others Mogubai Kurdikar (Kishori Amonkar‘s
mother) learnt from Haider Khan while Mallikarjun Mansur
learnt from Manji Khan and Bhurji Khan. Alladiya Khan,Won The Title Gana Samrat (Emperor Of Music)

Specialty & Jod Raags

A highlight of Jaipur gayaki is
the mastery over Jod Raags
(mixed or hybrid Raags; a blend
of multiple Raags that form one
Raag). Singers from other
Gharanas tend to sing one Raag
in Aaroh (ascent) and the other
in Avaroh (descent). Some
others sing one Raag in the
lower half of the octave and
then switch to the other Raag
in the upper half. Alternatively,
they may sing alternate
phrases of the two component
Raags. In Jaipur Gayaki, there is
such perfect fusion of the two
raags that it sounds like a
homogeneous Raag in its own
right, giving the feel of both
component raags, not as a
heterogeneous mixture cobbled
together. The listener hears an
amalgam of both raags without
losing their distinctive identity.
Alladiya Khan introduced many
lesser-known or obscure raags
in his repertoire like Raag
Basanti Kedar, Raag Jait Kalyan,
Raag Kafi Kanada, Raisa Kanada,
Raag Basanti Kanada, Raag
Savani Nat, Raag Savani Kalyan,
Raag Bhoop Nat, Raag Nat
Kamod, Raag Bihari, Raag Khat,
Raag Khokar, Raag Sampoorna
Malkauns, and many others.
Trying to imbibe all these
characteristics without losing
the aesthetics is a tall order
for any musician. Hence this
Gayaki is called a thinking
listener's or connoisseur's
Gayaki. However, it gives equal
pleasure to the uninitiated
listener who may not
understand the technical
intricacies, but responds to the
layakari and the melodic
content of the presentation

Gharana Purity
The Gharana purity of the
Jaipur-Atrauli Gharana has been
an avid discussion among
connoisseurs and scholars alike,
as a result of Utd. Alladiya Khan
purposefully teaching students
to approach the same musical
content differently, causing
internal quarrels within the
Gharana itself, as well. For
instance, the approach to
certain Raags conflict between
branches of the Gharana, as
certain elements of a Raag are
neglected, emphasized, de-
emphasized or treated
differently.
As a result, scholars feel the
purity of the Jaipur-Atrauli
Gharana can be traced from
Utd. Alladiya Khan to his brother
Utd. Haider Ali Khan, to his sons
Utd. Manji Khan and Utd. Bhurji
Khan, as well as Utd. Gulubhai
Jasdanwalla, the only purist
outside of the Utd. Alladiya Khan
family. Today, the Gharana
remains with Utd. Alladiya Khan's
grandson and biographer,
"Baba" Azizuddin Khan.

Jaipur-Atrauli Gharana Gayaki (Style & Trends)

Most gharanas apply notes in
simple succession in aalap and
taan, whereas in the Jaipur
gayaki, notes are applied in an
oblique manner with filigree
involving immediately neighboring
notes. Instead of the flat taan,
gamak (taan sung with double
notes with a delicate force
behind each of the component
double-notes of the taan)
makes the taan spiral into
seemingly never-ending cycles.
Meend in aalap and gamak in
taan are the hallmark of this
gayaki. To his immense credit,
the great exponent of Kirana
gharana, Pandit Bhimsen Joshi is
one of the very few singers
outside the Jaipur gharana, who
has adopted the gamak taan to
an extent, complete with long,
uninterrupted patterns clearly
showing an amazing breath
capacity much like the old
masters of Jaipur gharana, but
he has not quite achieved the
intricacy and grace of gamak
that is the signature of Jaipur.
Sharp edged harkats and
murkis (crisp, quick phrases to
ornament the alaap) are
relatively uncommon. Not only
are the notes sung in rhythm
with the taal but progress
between the matras (beats) is
in fractions of quarters and
one-eighths. While being mindful
of so many factors, musicians of
this gharana still have a
graceful way of arriving at the
sam without having matras to
spare! This is particularly
evident in the way bol-alaap or
bol-taan is sung, where
meticulous attention is given to
the short and long vowels in
the words of the bandish that
are being pronounced, and the
strict discipline of avoiding
unnatural breaks in the words
and in the meaning of the lyrics.
No other gharana has paid so
much attention to the esthetics
and laykaari in singing bol-
alaaps and bol-taans.

Biography: Ustad Alladiya Khansaheb

Sangeet Samrat Ustad Alladiya Khansaheb



Background information
Birth name: Ghulam Ahmad Khan
Born: August 10, 1855
Origin: Atrauli, Uttar Pradesh
Died: 1946
Genre(sI: Dhrupad, Khayal,Dhamar
Occupation: singer
Years active:1870 - 1945
Sangeet Samrat Ustad Alladiya Khansaheb




Alladiya Khan (Hindi: अल्लादिया ख़ान) (1855 – 1946) was an Indian classical singer, known as "Gaan Samraat" (Emperor of Music). Khan founded the Jaipur-Atrauli gharana based on the Daghor bani. He is also recognized for his revival and creations of many ragas.

Early life and background:

Alladiya Khan was born in Rajasthan in a family of musicians. Though his father Kwaja Ahmed Khan died early in Alladiya's life, his uncle, Jehangir Khan , taught him dhrupad for 5 years and then khyal for another 8 years.

Singing career:

Alladiya Khan served in the court of various kings of Rajasthan including that of Amlata. He sung so well and so much for the kings that he nearly lost his voice due to hours of riyaaz (practice). While trying to regain his voice he developed a new and profound style of singing by which he could sing without compromising the purity of raga but the passage, taans, and creativity of singing the raga. Later he settled down in Kolhapur as the court musician of the local king, Shahu Maharaj. In 1922 he moved to Mumbai after the king died. With his distinguished reputation, Ustad Alladiya Khan became a gem among the many masters in Mumbai. He taught many disciples and sung in many mehfils in Mumbai to which his reputation as an academic grew.
His autobiography, as narrated to his grandson Azizzudin Khan Sahab, is available in English translation, as My Life, translated with and introduction by Amlan Dasgupta and Urmila Bhirdikar, published by Thema, Kolkata, 2000

Repetoire:
Alladiya Khan was acknowledged for his creation and resurrection of many complex Raags such as Nat Kamod, Nat Bilawal, SampoornaMalkauns, Basanti Kedar, Bhupeshwari, and many more.
Many of these Raags were originally created and sung by the Havelis in northern Rajasthan, where Khansahab grew up. Hearing the Haveli sangeet Khansahab took many of the Raag-based Bhajans (either taking the Raag or Bhajan) and created Raags and Bandishes with them. One of the Raags he resurrected was Raag Basanti Kanada. Few of the many Haveli sangeet dhrupads which he made into bandishes were the famous Raag Nayaki Kanada Bandish "Mero Piya Rasiya" and Bihagda Bandish "Ye Pyaari pag hole".

Students:
Khansahab's most principle disciples were his younger brother, Ustad Haider Khan and his own sons, Ustad Manji Khansahab and Ustad Bhurji Khansahab. Khansahab's brother helped grow the Jaipur-Atrauli Gharana after Khansahab's demise. Ustad Manji Khan, the first son, died early in 1937, so it was Ustad Bhurji Khan, the youngest son, who passed on the Gayaki of his father to others worthy of it.
Apart from family, Khansahab's initial disciples were Sarangiya Ustad Abdul Majid Khan, Bhaskarbuwa Bakhale, and Wamanrao Sadolikar, and in succeeding generation came proteges like, Mallikarjun Mansur and Mogubai Kurdikar,Shruti Sadolikar.
In Mumbai, Alladiya Khan saheb's prime disciples were Kesarbai Kerkar, Mogubai Kurdikar and Nivruttibuwa Sarnaik.

Legacy:
The Annual Ustad Alladiya Khan Music Festival is celebrated in Mumbai every year, where several singers and musicians perform, giving homage to Khan. In 2005, the 150th birth anniversary of the musical legend was celebrated
In 2007, the story of 'Ustad Alladiya Khan', and his noted disciple, Kesarbai Kerkar, was the subject of Namita Devidayal's acclaimed debut book, The Music Room.

Annual Ustad AlladiyaKhan Music Festival By Times of india in 2003

HINDUSTANI Classical music lovers
in chembur are once again
enjoying the festive season till
April 20. The annual Ustad
Alladiya Khan festival is being held to pay
tribute to the maestro of the
Jaipur Atrauli gharana at Bal
Vikas Sangh, D K Sandu Marg,
Chembur. The festival draws
large music loving audience.
This year the programme began
with Tulika Ghosh redering vocal
music of Agra atrauli gharana.
Tulika Ghosh is the daughter of
the legendary tabla player
Pandit Nikhil Ghosh and niece of
flautist Pandit Pannalal Ghosh.
Among the other vocalists are
Dr Ram Deshpande, Pandit
Chandrakant Limaye and Ustad
Aslam Khan. There is a special
programme by the veteran
guitarist Pandit Brij Bhushan
Kabra on April19.

Classical Music: Recital in memory of UstadAlladiya KhansahebBy Screen in 2005

Music compositions in
films are mostly based
on ragas from Indian
classical music. Music
directors select ragas having
relevance to specific moods
inherent in songs which then
create the expected impact and
also impart eternal significance
of film songs.
Indian classical music has
therefore a specific,
indispensable value. While there
are different gharanas in
classical music, the main aim is
to achieve the emotional impact
relevant to ragas. A two-day
music concert as also
presentation of a few stalwarts
through their gramophone
records marked the celebration
of the 150th birth anniversary
of late Alladiya Khan, an
exponent of the Jaipur gharana
in the Indian classical music. A
veteran institution Gayan Samaj
Deval Club having a cultural
legacy of 120 years joined with
the Kolkata-based ITC music
research centre and organized
the programme in which eminent
classical singers participated.
Amit Mukarjee, a disciple of
Shankar Mujumdar belonging to
Amir Khan gayaki presented
raags Yaman Kalyan and Abhogi
with a very serene and duly
cultivated voice. His taans and
boltans created an impact
peculiar to these ragas.
Mr.Mukarjee, who left a secure
government job in the Union
government by sacrificing
promotion to a high
bureaucratic status, dedicated
himself to classical music in
which he is interested since
childhood. As a mature artiste
he is also director and teacher
in the ITC research centre at
Kolkata.
Ulhas Kashalkar, a Mumbai-
based classical singer who is
now teaching classical music in
the ITC Research Centre
presented raag Nat-Kedar Kafi-
Kanada and concluded with
Bhairavi. His superb presentation
of notes and varied
combinations, besides a very
appealing creation of beauty
and dexterity relevant to ragas
enthralled the audience. His
expertise in achieving perfection
of sur and laya(notes and
rhythm) - which combination
alone can let the sincere
audience realize the eternal
experience of ecstasy in
classical music - was highly
appreciated by Kolhapur
audience.
Shruti Sadolikar, who belongs to
the Jaipur gharana also
presented a few bandishein
(compositions) specially belonging
to Jaipur gayaki. She also
interviewed Azizuddin Khan,
grandson of Alladiya Khan and in
this question-answer interview
the peculiarities of Jaipur
gharana, the way Alladiya Khan
was doing his riyaaz and other
memorable incidents in his life
were disclosed by Mr.Azizuddin
Khan. The recorded recital of
past veteran singers of
Kolhapur revived the good old
days when stalwarts in classical
music nurtured the Jaipur
gayaki which is also known as
Kolhapur gayaki.

Ustad Azizuddin Khansaheb

The years 1936-46 were for me the most memorable. Before those years, I remember, when I was very young, Chote Abbaji(Haidar Khansaheb) gave me an ektaari and taught me the basics of music. Bade Abbaji(Alladiya Khansaheb) used to come kolhapur from mumbai and he too taught me dhrupad, dhamar and khayal. I was the only child of my parents, and they loved me very much. My mother was seriously ill, and would not allow Bade Abbaji to take me to Mumbai for learning music. I used to go to school in kolhapur and learn a little singing from my father(Bhurji Khansaheb).
In 1936 I went to Mumbai. I used to live with Abbaji, and be with him day and night. What would be the daily routine of a great, sagelike singer like him! Apart from daily chores, he was always drowned in music, thinking of music, teaching music. Even when he seemed to be sitting quickly, he would be thinking of music. His fingures were always counting beat. Because he was old, and also because of the doctor's advice about my health, he could not give me rigorous training. But Abbaji taught that the family tradition must continue and taught me the astai-antaras of several rare ragas. It was thought that my father would train me in the common ragas and also get me to practise the rare ragas that Abbaji had taught.
I used to take him to Leelabai Shirgaonkar's house after breakfast. Shri Gulubhai Jasdanwala used to come for his training in the evening. I used to go to Shrigaonkar's house in the evening to take lessons from Abbaji with Shri Jasdanwala. After that, we would go to Band Stand in Chowpatti. Abbaji would rest a little, or sometimes teach us rare ragas. Gulubhai would then drop us home.
Shri Anantrao Shrigaonkar and seth Gulubhai Jasdanwala looked after Abbaji in the last years of his life. They strove hard to fulfil his only wish "Mujhe achhi mitti do!" and acquired a plot in the century. They informed him of this before died, and gave them many blessings. The Shrigaonkar family built a marble kabar. Gulubhai and Shrigaonkar also got Abbaji's statue installed in Kolhapur.
Abbaji was fond of eating paan. Before and after dinner he would rest a little. After dinner he would sit chewing paan and talk about many things the astai-antaras of various raags, anecdotes of ancestors memorable events of his youth, memories of travel, concerts, and how he acquired the family music tradition.
I wrote these things down, collected in this way, and I am happy to make it available to students of music
Author: Azizuddin Khansaheb

Ustad Alladiya Khansaheb

SANGEET SAMRAT USTAD ALLADIYA KHAN(1855-1946) was regarded as one of the greatest exponents of khayal in the golden age of Hindustani classical music. He was born in a family of traditional dhrupad singers, and served in the courts of Jaipur and Jodhpur before settling down in kolhapur, Maharashtra, around the end of the nineteenth century as the court singer of Shahu Maharaj. His own style was discribed by his contemporaries as being particularly rich and coplex. He trained many eminent disciples including his brother Ustad Haidar Khansaheb and his sons Ustad Nasiruddin Khansaheb, Ustad Manji Khansaheb and Ustad Bhurji Khansaheb. Outside his own family his students included Pandit Bhaskarbua Bakhle, Sm Kesarbai Kerkar, Sm Mogubai Kurdikar, Shri Tribhuvandas Jariwala, Sm Leelabai Shrigaonkar, Sm Sushilarani Patel, Pandit Nivruttibua Sarnaik and Shri Gulubhai Jasdanwala. The Jaipur-Atrauli style that he established continues to be among the most respected idioms of Hindustani music in the country today, and among its contemporary exponents the names of Pandit Malikarjun Mansur(d. 1992), Sm Dhondutai Kulkarni, Sm Kishori Amonkar, Sm Shruti Sadolikar and Pandit Rajashekhar Mansur are well known. He narrated this account of his life to his grandson Shri Azizuddin Khansaheb in the last years of his life.