Artistbase

ARTIST_ID	NAME	GHARANA_ID	GHARANA	GHARANA_TYPE	GURU	INSTRUMENT_ID	SPECIALITY	VISIBLE	HAS_PICTURE	BIO
1	Vinayakrao R Patwardhan	1	Gwalior	Khayal	Vishnu Digambar Paluskar, Ramkrishnabua Vaze	1	Vocal	0	1	Pandit Vinayakrao Patwardhan was one of the most prominent vocalists, Guru, singer-actor and music missionary in early decades of 20th century. He was born in Miraj (Maharashtra) in a middle class family of Dasagranthi Brahmins and was named as Vinayak as he was born on day of Ganesh Chaturthi. Vinayakrao's mother passed away in 1902 and he lost his father Narayanrao, as well a few months later. His paternal uncle took on the responsibility of bringing him up. One of the uncles, Gurudev Patwardhan, was a Pakhawaj player and Pakhawaj and Tabla at Gandharva Mahavidyalay at Lahore which was established by Pandit Vishnu Digambar Paluskar. This second uncle Keshavrao Patwardhan was a disciple of Gayanacharya Balakrishnabuwa Ichalkaranjikar and used to teach music at the Ganesh Sangeet Vidyalaya. Vinayakrao started learning music in this music school in 1905. Vinayakrao was fortune to get selected by Pandit Vishnu Digambar Paluskar as his disciple in 1907. Gangadharpant Patwardhan alias Balasaheb Mirajkar, king of Miraj offered him a stipend of 16 rupees a month for studying under Paluskar in Lahore. After one year, Panditji opened a branch of his music school in Mumbai, they got shifted and Vinayakrao received further training in Mumbai till 1914. With having rigorous training for 12 years under his Guru Pandit Vishnu Digambar, Vinayakrao completed Sangeet Pravesika course (four years) and Sangeet Praveen course (five years, 1919). This was not only music training, but was also a training that imparted values and ideologies to live an ethical life - with inputs for physical health, dress and good conduct, to culminate a student in developing as an all-rounder student's personality. During his study at Vidyalaya, apart from learning and teaching music to junior students, he was assigned to assist in the maintenance of the school building and the work of the press division, play the cashier's role; and also assist Sankarrao Vyas in the co-operative store. This experience helped him later in the discharge of administrative responsibilities. Though essentially a vocalist, Vinayakrao also learnt to play Harmonium, Tabla, Jalatarang, Sitar and Violin. He also acquired some familiarity with the basics of Kathak dance, making him a ‘complete musician’ in traditional Indian definition – a person well-versed in all three forms of music, i.e. vocal, instrumental and dance. After obtaining degree Sangeet Praveen in 1919, Vinayakrao went back to Miraj, where he got an opportunity to study under Gayanacharya Ichalkaranjikar (Guru of Vishnu Digambar Paluskar). In this advanced training, Vinayakrao polished the special Ragas like Malgunji, Malav, Gunji Kanada, Gandhari, Devagandhar, etc. & 150 Bandishes from of repertoire Gwalior gharana from the master and also notated them, which helped him in later publishing in the 7 volumes of “Raga Vigyan”. While he was in Miraj, Vinayakrao had the opportunity also to listen to the music of Ustad Rahmat Khan, the court singer in Kurundavad state and also got opportunity to accompany KhanSaheb on Tanpura where he picked up many nuances in his style of singing. He was particularly impressed by this maestro's style of rendering the Tarana and learnt several Taranas from him. Later he became one of the most able and applauded Tarana singers in country. Later in 1932, even after becoming a successful performer and after establishing his own music school in Pune, Vinayakrao’s urge to acquire more knowledge in music made him learning music under Ramakrishnabuwa Vaze as a Gandabandha (formal) disciple and got to learn many rare Ragas such as Samant Kalyan, MalatiBasant, Bhankar, Khat, Nand, Jayant Malhar, Barari, rare varieties of Todi and Nat, etc. Career on Marathi musical stage: Narayanrao Rajhans aka Bal Gandharva, the most celebrated musical-theatre personality in Maharashtra and a disciple of Pandit Bhaskarbua Bakhale was then on the lookout for a good singer-actor in his own drama company ‘Gandharva Natak Mandali’. He offered Vinaykrao to join him as his hero in the Mandali. Vinayakrao joined the Gandharva Natak Mandali in August 1922 and then after he was a popular singer-actor for 10 years until he left Gandharva Natak Mandali. He acted in many dramas such as 'Vidhilikhit', ‘AmritSidhhi’, ‘Asha Nirasha’, 'Kanhopatra' (Anandrao), 'Menaka' (Vishwamitra), 'Mrichchakatika' (Charudatta), 'Shakuntala' (Dushyanta), 'Samsayakallol' (Ashwin Sheth), 'Shapasambhrama', ‘Saubhadra' (roles – Narad, Arjun), 'Ekacha Pyala', 'Manapaman' (Dhairyadhar). He played role of Krishna in 3 plays - 'Swayamvar', 'Draupadi' and 'Nandakumar'. Later in 1940’s & 1950’s, he acted in few plays at special occasions such as Natya-Sammelan. Vinayakrao, along with acting, also composed music for songs in the plays he acted and that were his contribution in development of Marathi NatyaSangeet. In 1926, Paluskar advised Vinayakrao to bring out a book of Natyageet-s with notation in order to propagate this genre of music and Vinayakrao published ‘Natya Sangeet Prakash’ (1930) and Maharashtra Sangeet Prakash (1932). Vinayakrao was one of those who stayed away from the pleasures usually associated with the world of drama in those times. In fact, he would not even drink tea. As a Guru and propagator of music: After this training which made Vinayakrao as a mature artist, Vishnu Digambar Paluskar recruited him to serve the mission of propagating Hindustani music, along with others like Govindrao Desai, Baburao Gokhale, N. M. Khare, Vamanrao Padhye, Sankarrao Pathak, Omkarnath Thakur, Narayanrao Vyas, Sankarrao Vyas, Shankar Bodas, Vishnu Kashalkar, B R Deodhar, etc. These handpicked students, serving later as music missionaries, helped in the growth of connoisseurs (Kaansen) along with actual artists (Tansen). Vinayakrao Patwardhan excelled not only as a student but also as a teacher. After completing Pravesika course, was used to teach the junior students in Gandharva Mahavidyalaya. In 1921, he joined the branch of Gandharva Mahavidyalaya in Nagpur as a Principal where he worked till 19 for a year. During his career as an stage actor in Gandharva Natak Mandali, he trained Vishnu Ghag and Janardhan Marathe. Vishnu Digambar Paluskar died in August 1931 and this made Vinayakrao to left the Mandali to carry forward the mission of his Guru. Hereafter Vinayakrao concentrated more on concerts and music teaching. In May 1932, he established his own music school - Gandharva Mahavidyalala in Pune. The school, which followed the broad vision of Vishnu Digambar, had some important distinguishing features such as a proper syllabus oriented course with use of text books on music theory, writing music in notation and a system for examinations. In 1942, Patwardhan established Bharatiya Sangeet Prasarak Mandal and handed over the school. On 1 May 1952, he started teaching in another music school ‘Vishnu Digambar Sangeet Vidyalaya’. Both these institutions are still working in Pune. Vinayakrao established another institution ‘Vishnu Digambar Smarak Mandir’ in Miraj on 25 February 1966. There were hundreds of disciples of Vinayakrao Patwardhan – some of them became excellent performers, some excelled as Gurus and some became music administrators and also connoisseurs. This is a small list of his disciples – Pandit Dattatreya Vishnu Paluskar (son of Vishnu Digambar), V. R. Athavale, Vinaychandra Maudgalya, Vishnu Ghag, Janardhan Marathe, V. D. Ghate, Mukundrao Gokhale, Rambhau Chandurkar, Rajabhau Kogje, Sunanda Patnaik, Sakuntala Palasopkar, Leela Sardesai, Kamal Ketkar, Lila Limaye, Sita Mavinkurve, Indu Sohni, Lakshmanrao Kelkar, Madhukar Khadilkar (Sarangi player), Hrishikesh Bodas, S. B. Deshpande, his own sons Narayanrao, Madhusudan, daughter in law Sudha Patwardhan, etc. As an artist, concert performer, composer and musicologist: Vinayakrao's career started in 1913 when he sang at the wedding of the daughter of the Holkar-s of Indore. His first grand performance was in the Music conference held by Gandharva Mahavidyalaya in March 1918 and in this concert, he got encouragement and applause from stalwarts such as Ichalkaranjikar, Vazebua, Bakhlebua and Rahmat Khan! He presented a number of music concerts in Nagpur region when he was Principal there. He was regular concert performer even during his career as singer-actor in the Gandharva Natak Mandali. In March 1926, he performed two Bhajan-s for Mahatma Gandhi in Sabarmati. Vinayakrao's first programme broadcast by All India Radio was on 15 August 1927 and he continued as a celebrated vocalist on AIR for 52 years. He gave more than 1000 performances all over India. He also performed in Russia, Poland, Czechoslovakia in 1954 when he toured there as a member of cultural delegation snet by Govt of India. He was performed in Nepal in 1956. Vinayakrao's Khayal Gayaki was essentially Balkrishnabua Ichalkaranjikar and Vishnu Digambar Paluskar’s branch of pure Gwalior Gharana. He had a strong, rich voice and used to sing in pitch F. He was well-versed in other genres such as Dhrupad – Dhamar, Ashtapadi, Chaturang, Triwat, Tarana, etc. He followed the systematic unfolding of Raga with gradual movements such as Alap, Bol-Alap, Behlawa, Bol-Taan, Bol-Bant, Taan. Some of his pet Ragas were Adana, Bahar, Soor Malhar, Asaveri, Bagesree, Bhoop, Darbari, Desi, Hameer, Jaijaiwanti, and Todi along with some uncommon Ragas such as Anandi Kedar, Jayant Malhar, Malgunji and Ramdasi Malhar. He also presented many duet performances (Jugalbandi) with his Guru-bandhu Pandit Narayanrao Vyas and HMV published a record of this jugalbandi in Raga Gaudmalhar and Malgunji. His concerts were full of variety such as Khayal, Tarana, Ashtapadi, Tarana, Sankrit Raga Dhyaan, RagaMala, Hindi Bhajans and Natyageet. His virtuosity in Laya-taal reflected in elaborating Bol-Bant, Bol-Taan and Ladhant-Bhidant in Khayal, rendering Tihai-s in Bandishes. He was also known for high-speed Sargam and ‘Dir Dir’ while singing Tarana. Though his was fluent in Tappa, he rarely presented it in concerts. He totally discared Thumri-Dadra being a puritan. Patwardhan gave many 78 RPM records of Khayal, Natyageet and they were very popular amongst listeners. He also gave 6 educational records with description and demonstration of Ragas. Patwardhan composed many Lakshan-geets, Suravarta-s, Khayal Bandishes. He didn’t have flair of poetry and so he used the lyrics of saint-poets such as Soordas, Tulsidas, Nanak, Sahajobai, Kabir, etc. for composing Bandishes. Along with giving music to Marathi Natyageet-s, he also scored for a Hindi film ‘Madhuri’ in 1931. The publication of 7 volumes of ‘Raga Vigyan’ can be considered as a prominent musicological work by Patwardhan. In these volumes, he published notations traditional and newly composed Bandishes which is a great documentation after Pandit Bhatkhande. He also described the theory of each Raga in detail with comparative analysis. His books ‘Baal Sangeet’ and ‘Shaley Sangeet’ were aimed towards music teaching in school children. He received many honors and titles such as ‘Sangeet Choodamani’, ‘Mahamahopadhyay’ and awards such as Fellowship of the Sangeet Natak Akademi (1965) and Padma Bhushan (1972). He died on in Pune at the age of 77.
2	Vishnu Digambar Paluskar	1	Gwalior	Khayal	Balakrishnabua Ichalkaranjikar	1	Vocal	0	1	Vishnu Digambar Paluskar was born in Kurundwad, a small town falling under the Deccan division of Bombay Presidency during British rule, presently in Maharashtra. His father, Digambar Gopal Paluskar, was a singer of Kirtan, a religious song. He went to a local school in Kurundwad for primary education. But tragedy struck Paluskar at an early age. During a Hindu festival called Datta Jayanti, a fire-cracker burst near his face damaging both his eyes. Being a small town, there was no immediate treatment available and Paluskar lost his eyesight. The king of Miraj recognising the talent in the boy put him under the guidance of Balakrishnabuwa Ichalkaranjikar, a learned musician. Paluskar trained under him for 12 years till in 1896 the relations between the teacher and student became strained. On May 5, 1901 Paluskar founded the Gandharva Mahavidyala, a school to impart formal training in Indian classical music. It was a school open to all and one of the first music schools in India to run on public support and donations rather than the patronage of the royalty. The school was a challenge to the traditional teacher-student method of training music where a student lived under the roof of the teacher. Many students from his early batches became respected musicians and teachers in North India. This brought a change in the way people looked at classical musicians. They started treating musicians with respect which was not associated with the profession earlier. In September 1908 Paluskar went to Bombay (now Mumbai) to establish another branch of the school. As the work-load increased, Paluskar shifted the school from Lahore to Bombay. To accommodate all the students, he took loans and built a new building for the school and built hostels for the students. He worked very hard and gave several concerts in public places but could not gather sufficient funds to pay his debt. Finally, when he was on a concert tour in 1924, his creditors attached his properties and auctioned off the school. This was a big blow to Paluskar.
3	D V Paluskar	1	Gwalior	Khayal	Vinayakrao R Patwardhan, Narayanrao Vyas	1	Vocal	0	1	The extraordinarily gifted son of an illstrious father, Dattatreya Vishnu Paluskar was born in 1921. His father, the legendary Pandit Vishnu Digambar Paluskar was ever on the move - spreading the gospel of classical music. After the patriarch passed away in 1931, Dattatreya learnt music from his cousin Pandit Chintamanrao Paluskar, Pandit Narayanrao Vyas, Pandit Vinayakrao Patwardhan and from Pandit Mirashibuwa, disciple of Pandit Balkrishnabuwa Ichalkaranjikar. To Pandit D.V.Paluskar goes the credit for simplifying the highly complex Gwalior gayaki, and endowing it with a depth of perception and a rich emotive quality. His music, like his personality, was straightforward and touched the very heartstrings. His sudden death in 1955, at the age of 34, was one of the most tragic happenings in the annals of Hindustani music. A promising career was cut short, suddenly and prematurely!
4	Narayanrao Vyas	1	Gwalior	Khayal	Vishnu Digambar Paluskar	1	Vocal	0	1	Pandit Narayanrao Ganesh Vyas was a Hindustani Musician of Gwalior gharana. He was a disciple of Vishnu Digambar Paluskar. His 78-rpm discs of Khayals, Bhajans and Thumris were pubished in 1930â€™s and were very famous. Narayanrao Vyas was born in Kolhapur on April 4, 1902. He was the younger brother of Shankarrao Vyas (1898-1956). In 1911, at the age of nine, he joined the Gandharva Mahavidyalaya of Pandit Vishnu Digambar Paluskar at Mumbai. Narayanrao was trained by Pandit Paluskar for ten years. In 1922, with elder brother Shankarrao Vyas, he founded â€˜Gujrat Sangeet Mahavidyalayaâ€™ in Ahmedabad. In 1927, Narayanrao Vyas came to Mumbai. In June 1937, this brother duo opened â€˜Vyas Sangeet Vidyalayaâ€™ at Dadar, Mumbai. From 1929 to 1955, he cut over 150 records in the 78-rpm format for the Gramophone Company (HMV) in Mumbai. The popularity of his records earned him HMV`s best seller gold medal. Narayanrao used to sing on Radio too. He toured and traveled extensively and sang in prestigious music conferences and concerts throughout India. He was also proficient in playing the Harmonium, Tabla, Sitar and Jaltarang. Narayanrao Vyas was honored with Sangeet Natak Akademi Award (1976), Tansen Award (Madhya Pradesh Government, 1977). Among his disciples were his own son, Vidyadhar Vyas, his guruâ€™s son, Dattatreya Vishnu Paluskar, the legendary Carnatic vocalist, M S Subbalakshmi and several others. He died on April 1, 1984.
5	Omkarnath Thakur	1	Gwalior	Khayal	Vishnu Digambar Paluskar	1	Vocal	0	1
6	Malini Rajurkar	1	Gwalior	Khayal	Govindrao Rajurkar	1	Vocal	0	1	Malini Rajurkar (born 1941) is a noted Hindustani classical singer of Gwalior Gharana.[1] She grew up in the state of Rajasthan in India. For three years she taught mathematics at the Savitri Girlsâ€™ High School & College, Ajmer, where she had graduated in the same subject. Taking advantage of a three-year scholarship that came her way, she finished her Sangeet Nipun from the Ajmer Music College, studying music under the guidance of Govindrao Rajurkar and his nephew, who was to become her future husband, Vasantrao Rajurkar. Malini has performed in major music festivals in India, including Gunidas Sammelan (Mumbai), Tansen Samaroh (Gwalior), Sawai Gandharva Festival (Pune), and Shankar Lal Festival (Delhi). Malini is noted especially for her command over the Tappa genre. She has also sung lighter music. Her renditions of two Marathi natyageete, pandu-nrupati janak jaya and naravar krishnasamaan, have been particularly popular.
7	Veena Sahasrabuddhe	1	Gwalior	Khayal	Kashinath Shankar Bodas, Shankar Shripad Bodas, Balwantrai Bhat 'Bhaaw Rang'	1	Vocal	0	1
8	Ram Marathe	1	Gwalior	Khayal	Vilayat Hussain Khan 'Pran Piya', Mirashibua, Krishnarao Phulambrikar 'Krishnadas', Jagannathbua Purohit 'Gunidas', Manahar Barve	1	Vocal	0	1
9	Krishnarao Shankar Pandit	1	Gwalior	Khayal		1	Vocal	0	1
10	Ulhas Kashalkar	1	Gwalior	Khayal	Ram Marathe, Gajanan Anant Joshi, Rajabhau Kogje, Nagesh Dattatreya Kashalkar	1	Vocal	0	1	Ulhas Kashalkar, one of the prime representatives of Gwalior and Jaipur Gharanas, has earned wide recognition in India and abroad. He was initiated to music by his father Shri N.D.Kashalkar an able musicologist. A gold medalist at his post-graduation in music, he was later on trained by Pandit Ram Marathe and Pandit Gajananbua Joshi, stalwarts of Hindustani Classical Music. Gifted with a melodious voice, with superb flexibility, Kashalkar's music appeals to every music lover. His gaykee is especially noted for pure traditional rendering with his own asthetic interpretation. Renowned cassette companies of India and abroad have brought out many cassettes and compact discs of his music, a testimonial to his immense popularity. He has performed extensively in India and abroad. Presently, he is associated with Sangeet Research Academy of Calcutta as a Guru.
11	Gajanan Anant Joshi	1	Gwalior	Khayal	Vilayat Hussain Khan 'Pran Piya', Anant Manohar Joshi 'Antubua', Bhurji Khan, Ramkrishnabua Vaze	1	Vocal	0	1	Gajanan Annat Joshi - 'Gajananbuwa' was a famous Violin player, Vocalist and Guru in Hindustani Art music. He had training under his father Pandit Anant Manohar Joshi (an illustious vocalist of Gwalior Gharana), Gayanacharya Ramkrishnabuwa Vaze (of Gwalior Gharana), Ustad Bhurji Khan (Jaipur Atrauli Gharana) and Ustad Vilayat Hussain Khan (Agra Gharana). He was one of the first solo Violin players in Hindustani music and he had a good fame as a Solo Violinist. He frequently performed solo Violin recitals in Tabla accompaniment of Ustad Ahmadjan Thirkawa and also performed Jugalbani with Pandit Ravi Shankar. But he left his career in Violin to persue vocal music. After this, he was more known as a vocalist and a Guru. He worked as a Guru at 'Music Centre' (Department of Music), University of Mumbai and also served All India Radio as a music advisor. Gajananbuwa was a very able and influencial Guru. Many musicians were trained under him, including Shridhar Parsekar, Gajanan Karnad for Violin and Dr. Ashok Da. Ranade, Jayashri Patnekar, Kausalya Manjeshwar, Madhukar Joshi, Sucheta Bidkar, Arun Kashalkar, Ulhas Kashalkar, Shubhada Paradkar, Apoorva Gokhale and Pallavi Joshi, etc. for vocal music. Gajananbuwa also composed many Khayal compositions. His compositions for solo Violin were published in book 'Pandit Gajananbuwa Joshi : Atmacharitra Ani Violinchya Gati' during celebration of his 70th birth year. His Bandishes are published in book 'Malaniya Gundhe Laao Ri'. He received many awards such as Sangeet Natak Academy award (1972), ITC Sangeet Research Academy Award (1982), Tansen Sanman (Government of Madhya Pradesh, 1985), etc.
12	Yashwantbua Joshi	1	Gwalior	Khayal		1	Vocal	0	1
13	Kishori Amonkar	2	Jaipur-Atrauli	Khayal	Mogubai Kurdikar	1	Vocal	0	1
14	Mogubai Kurdikar	2	Jaipur-Atrauli	Khayal	Alladiyan Khan, Inayat Hussain Khan	1	Vocal	0	1
15	Padma Talwalar	2	Jaipur-Atrauli	Khayal	Gajanan Anant Joshi, Kishori Amonkar, Mogubai Kurdikar, Gangadhar Pimpalkhare, Nivruttibua Sarnaik	1	Vocal	0	1	Padma Talwalkar learnt under Pandit Gangadhar buwa Pimpalkhare, GaanTapaswini Mogubai Kurdikar, Pandit Gajanan buwa Joshi and Pandit Niwritti buwa Sarnaik. She has a blend of Gwalior, Jaipur and Kirana styles in her rendition.
16	Raghunandan Panshikar	2	Jaipur-Atrauli	Khayal	Kishori Amonkar	1	Vocal	0	1
17	Manik Bhide	2	Jaipur-Atrauli	Khayal	Kishori Amonkar	1	Vocal	0	0
18	Ashwini Bhide Deshpande	2	Jaipur-Atrauli	Khayal	Manik Bhide, Ratanakar Pai	1	Vocal	0	1
19	Haji Sujan Khan	3	Agra	Khayal		1	Vocal	0	0
20	Ghagge Khuda Baksh	3	Agra	Khayal		1	Vocal	0	0
21	Gopal Mishra	40	Benaras	Thumri		1	Vocal	0	0	Sarangi maestro Pt. Gopal Misra was born to the family of distinguished artists in Varanasi. In early years his training began under his father Pt. Sursahay Misra, uncle Pt. Bade Ramdas and his elder brother Pt. Hanuman Misra. Under the meticulous guidance of these recognized musicians he acquired great mastery over the instrument and emerged as one of the prominent and leading sarangi players of Banaras Gharana. Gopal Mishra was equally best in Sarangi solo playing & accompaniment. He performed in India and abroad for a long time.
22	Chajju Khan	10	Bhendi Bazaar	Khayal		1	Vocal	0	0
23	Maman Khan	8	Delhi	Khayal		1	Vocal	0	0
24	Haddu Khan	1	Gwalior	Khayal		1	Vocal	0	0
25	Hassu Khan	1	Gwalior	Khayal		1	Vocal	0	0
26	Nathu Khan	1	Gwalior	Khayal		1	Vocal	0	0
27	Amir Khan	7	Indore	Khayal		1	Vocal	0	1
28	Alladiyan Khan	2	Jaipur-Atrauli	Khayal	Jehangir Khan	1	Vocal	0	1	Alladiya Khan was born in Rajasthan in a family of musicians. Though his father Ahmed Khan died early, his uncle Jehangir Khan taught him Dhrupad for 5 years and then khyal for another 8 years. 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 Alladiya Khan was acknowledged for his creation and resurrection of many complex Raags such as Nat Kamod, Nat Bilawal, Sampoorna Malkauns, Basanti Kanada 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".
29	Ghagge Nazir Khan	6	Mewati	Khayal		1	Vocal	0	0
30	Abdul Karim Khan	5	Kirana	Khayal	Kale Khan 'Saras Piya'	1	Vocal	0	1
31	Abdul Wahid Khan	5	Kirana	Khayal		1	Vocal	0	1
32	Fateh Ali Khan	4	Patiala	Khayal		1	Vocal	0	1
33	Ali Baksh Khan Kasurwale	4	Patiala	Khayal		1	Vocal	0	1	Ustad Ali Baksh Khan Kasurwale was disciple of the famous Ali Baksh Khan â€˜Jarnailâ€™ of Patiyala Gharana. He was resident of Kasur, a small town in Punjab-Sindh. He was father and Guru of Ustad Bade Ghulam Ali Khan. His other son Barqat Ali Khan was also a notable singer, especially known for Thumari and Ghazal. Ali Baksha Khan Kasurwale also trained Mubarak Ali and Aman Ali Khan.
34	Inayat Hussain Khan	11	Rampur-Seheswan	Khayal		1	Vocal	0	0
35	Faiyaz Khan 'Prem Piya'	3	Agra	Khayal		1	Vocal	0	1	Ustad Faiyaz Khan was doyen of Rangile Gharana (a branch of Agra Gharana). He was born at Sikandara near Agra in 1886. He was the son of Safdar Hussain Khan, who died three months before his birth. He was brought up by his maternal grandfather, Ghulam Abbas Khan (1825-1934), who taught him music up to the age of 25. He was also a student of Ustad Mehboob Khan "Daraspiya", his father-in-law. Faiyaz Khan's specialties were Dhrupad and Khyal, but he was also capable of singing Thumri and Ghazal. According to well known musicologist Dr. Ashok Ranade who was a former Director of Music Centre, University of Bombay, "There was no chink in his armour". He was a frequent performer in the musical conferences and circles of Lucknow, Allahabad, Calcutta, Gwalior, Bombay and Mysore and in concerts organised by provincial princes. Faiyaz Khan served for a long time as the court musician of Sir Sayaji Rao Gaikwad, the Maharaja of Baroda, where he was awarded the "Gyan Ratna" (Gem of Knowledge). The Maharaja of Mysore awarded him the title "Aftab-e-Mousiqui" (the Sun of Music). Some of his best-known students are Dilip Chandra Vedi, Shrikrishna Narayan Ratanjankar 'Sujaan', Sohan Singh, Asad Ali Khan and apart from in-house disciples such as Khadim Hussain Khan, Vilayat Hussain Khan, Latafat Hussain Khan, Ata Hussain Khan and Sharafat Hussain Khan. Failing health due to a bout of typhoid in 1945 followed by tuberculosis restricted him to lower his pitch to "B" and "B Flat" though in his prime, he always sang in "C Sharp" and "C". The available recordings of the Ustad are almost entirely from his later years. By the time he died at Baroda, he had earned the reputation of being one of the greatest and most influential vocalists of the century. He was a great composer who composed several Bandishes with pen-name 'Prema Piya'.
36	Mehboob Khan 'Daras Piya'	3	Agra	Khayal		1	Vocal	0	0
37	Kale Khan 'Saras Piya'	3	Agra	Khayal		1	Vocal	0	0
38	Ghulam Abbas Khan	3	Agra	Khayal		1	Vocal	0	1	Ghulam Abbas Khan was one of the old maestros of Agra Gharana. He was grand father and Guru of Ustad Faiyaz Khan 'Rangile'.
39	Vilayat Hussain Khan 'Pran Piya'	3	Agra	Khayal		1	Vocal	0	0
40	Khadim Hussain Khan 'Sajan Piya'	3	Agra	Khayal	Altaf Hussain Khan	1	Vocal	0	1	Khadim Hussain Khan (1907 – Jan 11 1983) was born in Atrauli, Uttar Pradesh, India. Initiated into music by his father Altaf Hussain Khan, also got trained under his grand uncle Ustad Kallan Khan (younger son of Ustad Ghagge Khudabaksh). They were both court musicians of the Jaipur. Khadim Hussain Khan had a long and arduous training for 12 years, practicing for more than 12 hours every day. He moved to Bombay in the late twenties and was part of the Mumbai music circles for many decades. He was a superb teacher. Famous for his Layakari, it was difficult to grasp for the untrained. He was a revered composer and composed several Bandishes with pen name "Sajan Piya”. His disciples include his younger brother Ustad Latafat Hussain, Saguna Kalyanpur, Babanrao Haldankar, Jyotsna Bhole and Lalith Rao. He was awarded with Maharashtra State Award (1978), Sangeet Natak Akademi Award (1978), Padma Bhushan (1982), Tansen Samman from Govt, of Madhya Pradesh (1986) and ITC Award. His students set up a trust under the name "Sajan Milap" in the seventies.
41	Latafat Hussain Khan 'Prem Das'	3	Agra	Khayal		1	Vocal	0	1
42	Sharafat Hussain Khan 'Prem Rang'	3	Agra	Khayal	Faiyaz Khan 'Prem Piya', Vilayat Hussain Khan 'Pran Piya'	1	Vocal	0	1	Sharafat Hussain was born in a small village called Atrauli in Uttar Pradesh. Many maestros from Atrauli have made their mark in the world of music. To name a few, Ustad Mehboob Khan ‘Daras Piya’ of the Atrauli Gharana, Ustad Alladiya Khan of Jaipur Gharana and Ustad Vilayat Hussain Khan ‘Pran Piya’ of Agra Gharana. These and many other notable musicians had settled down in a locality in Atrauli called Mousiki Mohalla (Music Street). Sharafat Hussain Khan was born in July, 1930, to Ustad Liaquat Hussain Khan, a court musician in the erstwhile Jaipur State, and Alla Rakhi Beghum. From his father's side, Sharafat was a descendant of Inayet Hussain Khan (1845 - 1936), founder of Atrauli Gharana, and from his mother's side, and of his maternal grandfather Mehboob Khan (Daras Piya), also of the Atrauli Gharana, but whose music was greatly influenced by the Rangile Gharana of his mother's family, founded by Ramzan Khan (1759 - 1806). In early childhood, Sharafat was trained by his father. When Sharafat was only eight years old, his prodigious talent impressed the legendary Faiyyaz Khan (1886 - 1950) during one of his visits to Atrauli. The maestro, without a son despite three marriages, adopted Sharafat, and took him away forthwith to Baroda to groom him as his heir. Ustad Faiyaz Khan, who happened to be the maternal grand-uncle of Sharafat Hussain, took him under his wings and taught him the intricacies of art music. As a result of incessant Riyaz, Sharafat Hussain gained a deep insight into music. During this time he used to accompany Ustad Faiyaz Khan on the Tanpura in many concerts and gained valuable experience in gauging the pulse of the listeners and creating the right atmosphere towards the commencement of a Mehfil. Sharafat was a child prodigy, who rose meteorically after his adoption by Faiyyaz Khan. At the age of eight, he made a stunning debut at the influential Matunga Music Circle in Mumbai. When he was eleven, he was hailed as the "Rising Sun" of vocalism at the Gaya Conference. By the age of twelve, he has made his first disc with HMV/ EMI, and topped the prestigious Baroda State Music Competition. Sharafat was only 20, when Faiyyaz Khan died. Thereafter, he started studying with his maternal uncle, Ustad Ata Hussain Khan of the allied Atrauli - Rangile Lineage. Soon thereafter, he acquired a third guide - his scholarly father-in-law, Vilayat Hussain Khan of the Agra Lineage. Thus, like his foster-father, Sharafat Hussain came to represent a magnificent confluence of three intimately connected lineages - Agra, Atrauli, and Rangile. Due to certain reasons, Ata Hussain parted company with Faiyaz Khan and settled down in Culcutta along with Sharafat Hussain. In due course, Sharafat Hussain gained the stature of an independent vocalist and gave numerous delightful concerts, some of which were memorable. He had a vast repertoire of compositions and used to sing many rare Ragas of the Agra Gharana in an authoritative manner. He was proficient in Thumris and Dadras as well. He was made an Honorary Fellow of the Performing Arts Academy of Uttar Pradesh (Northern Provinces) and was honored with the “PadmaShree” by the President of India. In 1985, Sangeet Natak Akademi held a special ceremony to honour him shortly before he succumbed to lung cancer at the age of 55. He also got a Tansen Award. During latter years of his life, Sharafat Hussain settled down in Atrauli. He preferred its quiet atmosphere and the surrounding countryside to the glamour of the big cities. He was also extremely fond of hunting and fishing. In 1984, Sharafat Hussain was stricken with lung cancer and he died on July 7.
43	Yunus Hussain Khan 'Darpan'	3	Agra	Khayal		1	Vocal	0	0
44	Zohra Bai	3	Agra	Khayal		1	Vocal	0	1
45	Asad Ali Khan	13	None	None		24	Rudra Veena or Been	1	1	Asad Ali Khan was a 7th generation rudra veena player and was described by 'The Hindu' newspaper as the best living rudra veena player in India. Never married, he performed all over the world.
46	Lalit Rao	3	Agra	Khayal		1	Vocal	0	0
47	Ali Ahmad Hussain Khan	9	Benaras	Khayal		19	Shehnai	1	1	Ali Ahmed Hussain Khan is on of the topmost Shehnai player from India. His grand-father Wazir Ali Khan was the first to perform Shehnai at Buckingham Palace. His father Ali Jan Khan and gurus late uncle Nazir Hussain Khan and late Imdad Hussain Khan of Benares were also renowned Shehnai specialists. He has taught Shehnai at Sangeet Research Academy, Calcutta since 1974. He is regularly featured on All India Radio and Indian Television. He holds the distinction of composing the signature tune for Indian Television with Pandit Ravi Shankar. He has played jugalbandhi both commercially and in live performances with artists such as Vilayat Hussain Khan on sitar, V. G. Jog on violin and Munawar Ali Khan, vocals. His recordings are numerous and under variety of labels. Ali Ahmed has extensively traveled in India and abroad. His concert tours have included countries like United Kingdom, Germany, Switzerland, Holland, France, Belgium, Russia, Tunisia, Thailand, Singapore, Indonesia and Philippines, over a span of twenty years. On several occasions he has been invited/sponsored by governments and/or music festivals. He performed a duet with pianist Peter Michael Hamel at the Indo-German Festival. He participated in Music Festival Raag-Mala in the U.S. and Canada in 1994. Ali Ahmed has extensively traveled in India and abroad. His concert tours have included countries like United Kingdom, Germany, Switzerland, Holland, France, Belgium, Russia, Tunisia, Thailand, Singapore, Indonesia and Philippines, over a span of twenty years. On several occasions he has been invited/sponsored by governments and/or music festivals. He performed a duet with pianist Peter Michael Hamel at the Indo-German Festival. He participated in Music Festival Raag-Mala in the U.S. and Canada in 1994. TRIOS & JUGALBANDIS Late Ustad Munawar Ali Khan(Son Of Late Ustad Bade Ghulam Ali Khan)[Vocal] Late Ustad Vilayat Khan [Sitar] Late Pandit V.G.Jog[Violin] Pandit Ajay Chakroborty Late Pandit V.Balsara[Piano] Mr.Peter Michael Hamel[Piano]. AWARDS & MEDALS Sangeet Natak Academy,Bangabibhushan, Top grade Artist of All India Radio,All Bengal Music Conference(Award & Gold Medal),Gavati Devi Music(Gold Medal), Tansen Samarooh,Gold Medal awarded by Mr.M Farooque in Bihar Sharif. Indian Classical Music Circle Of Austin held at Austin USA awarded him certificate of Excellence,Bishwa Banga Sammelan Award given by the Honourable Speaker of the Parliament Of India Mr.Somnath Chatterjee,Awarded by the Government Of Port Blair,Awarded by Indian Community held at Bangdung ,Indonesia,Sruti nandan(Kolkata),Binapani Sanskrutika Anusthan (Cuttack),Bankim Kumar Pal Memorial Music Conference,Indian Council For Cultural Relations & Indian Musieum presented Parvati C.14 Cent A.D at Indian Independence Kingdom National First time in City Of Joy Kolkata in M.V Minerva Ship by the Govt Of Indian Tourist Office,Diploma from The State Committee Of YEREVAN (Armenia).
49	Rajan & Sajan Mishra	9	Benaras	Khayal		1	Vocal	0	1	Rajan and Sajan Mishra - a brother-duo are renowned Khayal singers of Banaras gharana. Rajan (born 1951) and Sajan (born 1956) Mishra were born and brought up in Varanasi. They received their musical training from their grandfather Bade Ramdas Mishra and also their father Hanuman Prasad Mishra, uncle Sarangi player Gopal Mishra. They are excellent performers who have performed all over the globe and given many commercial recordings. They are awarded with Padma Bhushan in 2007, Sangeet Natak Akademi Award in 1998, Tansen Samman 2012.
50	Dilawar Hussain Khan	10	Bhendi Bazaar	Khayal		1	Vocal	0	0
51	Aman Ali Khan 'Amar'	10	Bhendi Bazaar	Khayal	Chajju Khan	1	Vocal	0	1	Aman Ali Khan was a illustrious musician and a composer of his time. He has composed many compositions under the name of 'Amar'. Aman Ali was the son of Chhajju Khan who came from Muradabad, Uttar Pradesh and settled in the Bhendibazar area of Mumbai, hence the name the gharana. Aman Ali's music was especially noted for its rhythmic sargam patterns, for which he derived inspiration from Carnatic music. The great vocalist Amir Khan considered Aman Ali to be a major musical influence in his life. Khan saheb's disciples such as Vasantrao Deshpande, ShivKumar Shukla, Pandurang Amberkar, Ramesh Nadkarni and T D Janorikar kept the tradition alive after him.
ARTIST_ID	NAME	GHARANA_ID	GHARANA	GHARANA_TYPE	GURU	INSTRUMENT_ID	SPECIALITY	VISIBLE	HAS_PICTURE	BIO