Read "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