Allauddin Khan known as Baba Allauddin Khan was an Indian sarod player and multi-instrumentalist and one of the most notable music teachers of the 20th century in Indian classical music. Khan was born in Shibpur village in Brahmanbaria, his father, Sabdar Hossain Khan, was a musician. Khan took his first music lessons from Fakir Aftabuddin Khan. At age ten, Khan ran away from home to join a jatra party where he was exposed to a variety of folk genres: jari, baul, bhatiyali and panchali. Khan went to Kolkata, where he met a physician named Kedarnath, who helped him to become a disciple of Gopal Krishna Bhattacharya, a notable musician of Kolkata in 1877. Khan practiced sargam for twelve years under his guidance. After the death of Nulo Gopal, Khan turned to instrumental music, he learned to play many indigenous and foreign musical instruments like sitar, piccolo, banjo, etc. from Amritalal Dutt, a cousin of Swami Vivekananda and the music director of the Star Theatre. He learnt to play sanai, naquara and jagajhampa from Hazari Ustad and pakhawaj and tabla from Nandababu.
Ali Ahmed referred Allauddin to veena player Wazir Khan. Khan became court musician for the Maharaja of Maihar. Here he laid the foundation of a modern Maihar gharana by developing a number of ragas, combining the bass sitar and bass sarod with more traditional instruments and setting up an orchestra. In 1935, he toured Europe, along with Uday Shankar's ballet troupe, also worked at his institute, Uday Shankar India Culture Centre at Almora for a while. In 1955, Khan established a college of music in Maihar; some of his recordings are made at the All India Radio in 1959–60. Khan was awarded the Padma Bhushan in 1958 and the Padma Vibhushan in 1971, India's third and second highest civilian honours, prior to that in 1954, the Sangeet Natak Akademi awarded him with its highest honour, the Sangeet Natak Akademi Fellowship for lifetime contribution to Indian music. Khan's son Ali Akbar Khan, daughter Annapurna Devi, nephew Raja Hossain Khan and grandson Aashish Khan went on to become musicians, his other disciples include Ravi Shankar, Nikhil Banerjee, Vasant Rai, Pannalal Ghosh, Bahadur Khan, Rabin Ghosh, Sharan Rani, Jotin Bhattacharya, Rajesh Chandra Moitra and W. D. Amaradeva.
Anecdotes about Khan range from throwing a tabla tuning hammer at the Maharaja himself to taking care of disabled beggars. Nikhil Banerjee said that the tough image was "deliberately projected in order not to allow any liberty to the disciple, he was always worried that soft treatment on his part would only spoil them". Ustad Alauddin Khan, a documentary directed by Ritwik Ghatak Raga, directed by Howard Worth. Remastered version released in 2010 by East Meets West Music. Maihar Raag, directed by Sunil Shanbag. A look at Allauddin Khan's crumbling heritage in Maihar, which won the National Film Award for Best Non-Feature Film in 1994. Bhattacharya, Jotin. Ustad Allauddin Khan and his music. Ahmedabad: B. S. Shah Prakashan. OCLC 6015389. Ghosh, Anuradha. Ustad Allauddin Khan: the legend of music. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India. OCLC 31815419. Khokar, Ashish. Baba Allauddin Khan. New Delhi: Roli Books. ISBN 978-81-7436-021-2. Shankar, Rajendra. Ustad Allauddin Khan.
Bombay: Kinnara School of Music. OCLC 41971650. McKenzie-McHarg, Sarita; the Great Master of Hindustani Classical Music: Dr Allauddin Khan. Bangalore: Pothi.com. OCLC 868824639. Shankar, Ravi. My Music, My Life. San Rafael, CA: Mandala Publishing. Media related to Allauddin Khan at Wikimedia Commons Ustad Baba Allaudin Khan, Detailed Biography and images at California Institute of the Arts Raga at East Meets West Music
Asha Bhosle, is an Indian playback singer. She is best known for her playback singing in Hindi cinema. Bhosle's career has spanned over six decades, she has done playback singing for over a thousand Bollywood movies. In addition, she has recorded several private albums and participated in numerous solo concerts in India and abroad. Bhosle is the sister of playback singer Lata Mangeshkar. Renowned for her voice range and credited for her versatility, Bhosle's work includes film music, ghazals, traditional Indian classical music, folk songs and Rabindra Sangeets. Apart from Hindi, she has sung in over 20 Indian and foreign languages. In 2006, Asha Bhosle stated that she had sung over 12,000 songs, a figure repeated by several other sources. In 2011, she was acknowledged by the Guinness Book of World Records as the most recorded artist in music history; the Government of India honoured her with the Dadasaheb Phalke Award in 2000 and the Padma Vibhushan in 2008. In 2013, she made her debut as an actress in the film Mai, received critical acclaim for her performance.
Asha Bhosle was born in the small hamlet of Goar in Sangli in the salute princely state of Sangli, into the musical family of Master Deenanath Mangeshkar, who belongs to the Marathi-speaking Gomantak Maratha Samaj. Her father was an actor and classical singer on Marathi Musical stage; when she was nine years old, her father died. The family moved from Pune to Kolhapur and to Mumbai, she and her elder sister Lata Mangeshkar began acting in films to support their family. She sang her first film song'"Chala Chala Nav Bala" for the Marathi film Majha Bal; the music for the film was composed by Datta Davjekar. She made her Hindi film debut, her first solo Hindi film song was for the movie Raat Ki Raani. At the age of 16, she eloped with 31-year-old Ganpatrao Bhosle, marrying him against her family's wishes. In the early 1960s, prominent playback singers like Geeta Dutt, Shamshad Begum, Lata Mangeshkar dominated the singing for the female lead and the big films. Asha used to get the assignments they refused: singing for the bad girls and vamps, or songs in the second-grade movies.
In the 1950s, she sang more songs than most playback singers in Bollywood. Most of these were in low budget B- or C-grade films, her earliest songs were composed by A R Qureshi, Sajjad Hussain, Ghulam Mohammed, most of these songs failed to do well. Singing in Sangdil, composed by Sajjad Hussain, she got reasonable recognition. Film director Bimal Roy gave her a chance to sing in Parineeta. Raj Kapoor signed her to sing "Nanhe Munne Bachche" with Mohammed Rafi in Boot Polish, which gained popularity. O. P. Nayyar gave Asha a break in CID, she first achieved success in B. R. Chopra's Naya Daur, composed by him, her duets with Rafi like "Maang Ke Saath Tumhara", "Saathi Haath Badhana" and "Uden Jab Jab Zulfein Teri", penned by Sahir Ludhianvi, earned her recognition. It was the first time. Chopra approached her for several of his productions, including Gumrah, Hamraaz, Aadmi Aur Insaan and Dhund. Nayyar's future collaboration with Bhosle resulted in success, she established her status and received the patronage of such composers as Sachin Dev Burman and Ravi.
Bhosle and Nayyar had a personal parting of ways in the 1970s. In 1966, Bhosle's performances in the duets from one of music director R. D. Burman's first soundtracks, for the movie Teesri Manzil, won popular acclaim; when she first heard the dance number "Aaja Aaja", she felt she would not be able to sing this westernised tune. While Burman offered to change the music, she refused, she completed the song after ten days of rehearsals, "Aaja Aaja", along with such other songs as "O Haseena Zulfonwali" and "O Mere Sona Re", became successful. Shammi Kapoor, the film's leading actor, was once quoted as saying– "If I did not have Mohammad Rafi to sing for me, I would have got Asha Bhosle to do the job". Bhosle's collaboration with Burman resulted in a marriage. During the 1960-70s, she was the voice of Bollywood's actress and dancer, Helen, on whom "O Haseena Zulfon Wali" was picturised, it is said that Helen would attend her recording sessions so that she could understand the song better and plan dance steps accordingly.
Some of their other popular numbers include "Piya Tu Ab To Aaja" and "Yeh Mera Dil", among others. By the 1980s, although regarded for her abilities and versatility, had sometimes been stereotyped as a "cabaret singer" and a "pop crooner". In 1981 she attempted a different genre by singing several ghazals for the Rekha-starrer Umrao Jaan, including "Dil Cheez Kya Hai", "In Aankhon Ki Masti Ke", "Yeh Kya Jagah Hai Doston" and "Justaju Jiski Thi"; the film's music director Khayyam, had lowered her pitch by half a note. Bhosle herself expressed surprise; the ghazals won her the first National Film Award of her career. A few years she won another National Award for the song "Mera Kuchh Saamaan" from Ijaazat. In 1995, 62-year-old Bhosle sang for actress Urmila Matondkar in the movie Rangeela; the soundtrack featured songs like "Tanha Tanha" and "Rangeela Re" sung by her, composed by music director A. R. Rahman, who would go on to record several songs with her. During the 2000s, several of Bhosle's numbers became chartbusters, including "Radha Kaise Na Jale" from Lagaan, "Kambakht
Semmangudi Srinivasa Iyer
Semmangudi Radhakrishna Srinivasa Iyer was a Carnatic vocalist. He was the youngest recipient of the Sangeetha Kalanidhi awarded by the Music Academy in 1947 and has received many awards including Padma Bhushan and Padma Vibhushan from the Government of India, Sangeet Natak Academy award, Isai Perarignar from Government of Tamil Nadu and Kalidas Samman from Government of Madhya Pradesh, he was affectionately addressed as "Semmangudi Maama" by his disciples. He, along with his contemporaries G. N. Balasubramaniam and Madurai Mani Iyer, are referred to as the 20th century male trinity of Carnatic music, he was considered the "Pitamaha" or the grand sire of modern Carnatic Music. He was conferred with an honorary doctorate by University of Kerala in 1979, he was born in Tirukkodikaval, Tanjore district as the third son of Radhakrishna Iyer and Dharmasamvardhini Ammal. He lived with his maternal uncle Tirukkodikaval Krishna Iyer, a violin maestro, until the age of four and after his death, moved back to his parents' home in Semmangudi, Tiruvarur District.
At the age of eight he started learning music from his cousin Semmangudi Narayanaswamy Iyer. This was followed by some rigorous training under Thiruvadaimaruthur Sakharama Rao, a famous Gottuvadhyam exponent, an event considered by Semmangudi as a turning point in his life; this was followed by another training stint with Narayanaswamy Iyer, during which time he learnt a lot of varnams and keerthanams. He had a musical apprenticeship with Maharajapuram Viswanatha Iyer. In 1926, he performed his first music recital at Kumbakonam. In 1927 gave a concert in the Madras session of Indian National Congress, another event considered by Semmangudy as a turning point in his life, as it catapulted him into the big league of vidwans at that time, he was known for producing soulful music creative and yet orthodox, despite a recalcitrant voice. He was instrumental, along with Harikesanallur Muthiah Bhagavathar, for the work on the krithis of Maharaja Swathi Thirunal Rama Varma. After attending one of his concerts in 1934, Maharani Sethu Parvati Bai of Travancore was so impressed by his talent and scholarship that she invited him to come to Thiruvananthapuram to edit and popularise the compositions of Swati Tirunal.
He succeeded Harikesanallur Muthiah Bhagavathar as Principal of the Swathi Thirunal College of Music at Thiruvananthapuram, a post he held for 23 years, until the age of 55. At this age, he handed over his responsibilities to another Carnatic legend, G. N. Balasubramaniam and at the behest of the Government of India, became the Chief Producer of Carnatic music at All India Radio, Madras from 1957 to 1960. In life, he concentrated on concert performances and tutoring youngsters, he gave public concerts after the age of 90. Semmangudi was renowned for his virtuosity as a concert performer, he was famous for the meticulous planning that he put into every concert, including the choice of krithis and duration. He was widely acknowledged as a master of improvisation in the form of niravals. Semmangudi was noted for his choice of songs, speed in rendering swarams and his ability to combine choice and speed with Bhakti; some most memorable concerts over the years had geniuses in violin in accompaniment.
Palghat Mani Iyer, Mavelikkara Velukkutty Nair, Karraikudi Mani, Umayalpuram K. Sivaraman, Lalgudi Jayaraman, Nagercoil S Harihara Iyer, T. N. Krishnan, Nagercoil S. Ganesa Iyer, Trichy Sankaran, Guruvayur Dorai, T S Nandakumar and Vellore G. Ramabhadran; some of his famous renditions of kritis included Marubalka in Sri Ranjani raga, Chakkani Raja Margamu in Kharaharapriya, etc. Semmangudi was well known for his uncharacteristically nasal voice in an era when every prominent Carnatic singer had an impeccable voice. In his youth, famous kanjira performer, Dhakshinamurti Pillai commented to his brother and teacher, "His voice is as melodious as the noise created when a coconut shell is scraped on a rock. Don't bother to give him vocal training. Let him learn to play the violin." Despite such criticism, Semmangudi worked hard to improve his voice through practice and rigorous training. In the end, his natural talent for music emerged victorious over his deficient voice and he became a phenomenon in the Carnatic world.
His singing style has been followed, his prominent disciples include Sangeetha Kalanidhis, M. S. Subbulakshmi and her stepdaughter Radha Viswanathan, T. M. Thyagarajan and violinist, Prof. T. N. Krishnan, his senior disciples include Smt Parassala Ponnammal, Trivandrum G Seethalakshmi Ammal, Palai C. K. Ramachandran, Smt. Seetha Rajan, Mavelikkara Prabhakara Varma, Prof. Kumara Kerala Varma, K. J. Yesudas, P. S. NarayanaswamiVaigal. S. Gnanaskandhan, V. Subramaniam, Sri K. R. Kedaranathan, Smt. Meera Kedaranathan, Kadayanallur Venkataraman, V. R. Krishnan, Smt. Seethalakshmi Venkatesan, Smt. Radha Namboodri, Smt. Visalakshi Ramachandran. T. M. Krishna, a leading vocalist of the present day, has taken advanced training from him. At a young age, he was married to Thayyu ammal. Thayyu ammal, was a pivotal factor in the success of his career; the entire family was run with stream line precision by Thayyu ammal, when he had to travel for concerts and spend most of his time involved in music. Sons – Swaminathan, Radhakrishnan Daughters – Shantha, Dharma.
Grand Children – Jayaraman, Sreeraman, Yoga, Padma, Sankar, Srinivas, Vidya, Jagannath
Mungara Yamini Krishnamurthy is an Indian dancer of Bharatanatyam and Kuchipudi styles of dancing. Yamini Krishnamurthy was born in Chittoor District, Andhra Pradesh, she was born on a half moon night, her grandfather named her Yamini Poornatilaka, which means "a full mark on the brow of night." She was brought up in Tamil Nadu. Her mother tongue is Telugu. Yamini Krishnamurthy debuted in 1957 in Madras, she has the honour of being Asthana Nartaki of the Tirumala Tirupati Devasthanam. Some critics have observed, she was known as "torch bearer" of Kuchipudi form of dance. She has a leading place as an exponent of Kuchipudi, she imparts dance lessons to younger dancers at her institute, Yamini School of Dance, Hauz Khas, New Delhi. She released "A Passion For Dance", a book well received by the readers. Yamini Krishnamurthy has never been married, her manager is Shiv Ganesh. Her dancing career brought her many awards, including the Padma Shree Padma Bhushan, Padma Vibhushan, which are among the highest civilian awards of the Republic of India.
She was honoured with "Natya Shastra" award by Shambhavi School of Dance at "Nayika-Excellence Personified" on the occasion of Woman's Day on 8 March 2014. She gave a lecture demonstration on "Contribution of Woman to Kuchipudi", she released a Kuchipudi Dance DVD featuring Prateeksha Kashi, the daughter of Kuchipudi Dansuse Smt. Vyjayanthi Kashi, artistic director of Shambhavi.'A dancer must have tremendous personality. A God like Christ and a godman like Rajneesh had some personality. Combination of talent, dedication and being emotive is imperative. A coupling of these four qualities with technique is essential. Monotony is deterrent as it regards your style and I notice today, that new dancers perform in a startlingly similar fashion."The past has been exciting, the present challenging. As for the future, it holds a lot of promise and many surprises, and I cannot wait to unravel them!' On remaining unmarried, she said `. As for children, all my disciples are my children.'
Ram Narayan referred to with the title Pandit, is an Indian musician who popularised the bowed instrument sarangi as a solo concert instrument in Hindustani classical music and became the first internationally successful sarangi player. Narayan was learned to play the sarangi at an early age, he studied under sarangi players and singers and, as a teenager, worked as a music teacher and travelling musician. All India Radio, hired Narayan as an accompanist for vocalists in 1944, he moved to Delhi following the partition of India in 1947, but wishing to go beyond accompaniment and frustrated with his supporting role, Narayan moved to Mumbai in 1949 to work in Indian cinema. Narayan became a concert solo artist in 1956 and has since performed at the major music festivals of India. After sitar player Ravi Shankar performed in Western countries, Narayan followed his example, he recorded solo albums and made his first international tour in 1964 to America and Europe with his older brother Chatur Lal, a tabla player who had toured with Shankar in the 1950s.
Narayan taught Indian and foreign students and performed outside India, into the 2000s. He was awarded India's second highest civilian honour, the Padma Vibhushan, in 2005. Ram Narayan was born on 25 December 1927 near Udaipur in northwestern India, his great-great-grandfather, Bagaji Biyavat, was a singer from Amber, he and Narayan's great-grandfather, Sagad Danji Biyavat, sang at the court of the Maharana of Udaipur. Narayan's grandfather, Har Lalji Biyavat, father, Nathuji Biyavat, were farmers and singers, Nathuji played the bowed instrument dilruba, Narayan's mother was a music lover. Narayan's first language was Rajasthani and he learned Hindi and English. At an age of about six, he found a small sarangi left by the family's Ganga guru, a genealogist, was taught a fingering technique developed by his father. Narayan's father taught him, but was worried about the difficulty of playing the sarangi and its association with courtesan music, which gave the instrument a low social status. After a year, Biyavat sought lessons for his son from sarangi player Mehboob Khan of Jaipur, but changed his mind when Khan told him Narayan would have to change his fingering technique.
Narayan's father encouraged him to leave school and devote himself to playing the sarangi. At about ten years of age, Narayan learned the basics of dhrupad, the oldest genre of Hindustani classical music, by studying and imitating the practice of sarangi player Uday Lal of Udaipur, a student of dhrupad singers Allabande and Zakiruddin Dagar. After Uday Lal died of old age, Narayan met travelling singer Madhav Prasad of Lucknow, who had performed at the court of Maihar. With Prasad, Narayan enacted the ganda bandhan, a traditional ceremony of acceptance between a teacher and his pupil, in which Narayan swore obedience in exchange for being maintained by Prasad, he served Prasad and was taught in khyal, the predominate genre of Hindustani classical music, but returned to Udaipur after four years to teach music school. Prasad visited Narayan and convinced him to resign his position and dedicate his time to improvement as a musician, although the idea of giving up a steady life was not well received by Narayan's family.
He stayed with Prasad and travelled to several Indian states until Prasad fell ill and advised him to learn from singer Abdul Wahid Khan in Lahore. Following Prasad's death in Lucknow, Narayan enacted the ganda bandhan with another teacher who gave him lessons, but soon left for Lahore and never performed the ritual again. Narayan travelled to Lahore in 1943 and auditioned for the local All India Radio station as a singer, but the station's music producer, Jivan Lal Mattoo, noticed grooves in Narayan's fingernails: sarangis are played by pressing the fingernails sideways against three playing strings, which strains the nails. Mattoo instead employed Narayan as a sarangi player. Traditionally, the sarangi is supposed to play after the singer and imitate the vocal performance, play in the space between phrases. Mattoo advised Narayan and helped him contact khyal singer Abdul Wahid Khan, a rigorous teacher under whom Narayan learned four ragas through singing lessons. Narayan began to consider a solo career.
After the partition of India in 1947, Narayan played at the local AIR station. His work for popular singers increased his knowledge of styles. Narayan played with the classical singers Omkarnath Thakur, Bade Ghulam Ali Khan, Hirabai Badodekar, Krishnarao Shankar Pandit, he accompanied singer Amir Khan in 1948, when Khan sang for the first time at AIR Delhi following the partition; as an accompanist for vocalists, Narayan came to the foreground. Singers of the city complained that he was not a dependable accompanist and too assertive, but he maintained he wanted to keep vocalists in tune and inspire them in a cordial contest. Other tabla players and singers, including Omkarnath Thakur and Krishnarao Shankar Pandit, expressed admiration for Narayan's playing. Narayan became frustrated with his supporting role for vocalists and moved to Mumbai in 1949 to work independently in film music and recording, he recorded three solo 78 rpm gramophone records for the British HMV Group in 1950 and an early ten-inch LP album in Mumbai in 1951, but the album was not in demand.
The Mumbai film industry offered a good salary and obscurity for work that would have lowered his stature among classical musicians. For the next 15 years he played and composed songs for films, including Adalat, Gunga Jumna, Kashmir Ki Kali, Milan, Mughal-e-Azam, Noorjeh
Gangubai Hangal was an Indian singer of the khyal genre of Hindustani classical music, known for her deep and powerful voice. Hangal belonged to the Kirana gharana. Gangubai Hangal was born in Dharwad to Chikkurao Nadiger, an agriculturist and Ambabai, a vocalist of Carnatic music. Hangal received only elementary education and her family shifted to Hubli in 1928 so that Gangubai could study Hindustani music, she began to train formally aged 13 with Krishnacharya Hulgur, a kinnari player, studying Hindustani classical music. From Hulgur, Gangubai learned sixty compositions in one year before he stopped teaching her after an argument about his fees, she learned from Dattopant Desai before studying under Sawai Gandharva, a respected guru. Hangal could only study sporadically under Gandharva when he returned to his home, but she received an intensive training of three years after he relocated permanently to Hubli. Hangal's mother's family was considered to be of low social status and for women of her generation singing was not considered appropriate employment.
She performed all over India and for All India Radio stations until 1945. Hangal had performed light classical genres, including bhajan and thumri, but concentrated on khyal. However, she refused to sing light classical, saying she sang only ragas. Hangal served as honorary music professor of the Karnataka University, she gave her last concert in March 2006 to mark her 75th career year. She had overcome bone marrow cancer in 2003, died of cardiac arrest at the age of 96, on 21 July 2009, in Hubli, where she resided, she had her eyes donated to increase awareness for organ donation. Hangal married at age 16 to a Brahmin lawyer, they had two sons, Narayan Rao and Babu Rao, one daughter, who died from cancer in 2004, aged 75. Gangubai Hangal received a number of awards, which include: Karnataka Sangeet Nritya Academy Award, 1962 Padma Bhushan, 1971 Sangeet Natak Akademi Award, 1973 Sangeet Natak Akademi Fellowship, 1996 Padma Vibhushan, 2002The Karnataka state government declared two days of mourning for Hangal.
A state funeral was announced for 22 July in Hubli by the district commissioner of the Dharwad district. In 2008, The State Government of Karnataka decided to name the proposed Karnataka State Music University, Mysore after Gangubhai Hangal. Subsequently, the Karnataka State Dr. Gangubai Hangal Music and Performing Arts University Act, 2009 has been passed by the State Legislature. Presently the Karnataka State Dr. Gangubhai Hangal Music and Performing Arts University operates from Mysore, Karnataka. Gangothri — the birthplace of Gangubai Hangal — has been converted into a museum by the Government of Karnataka. Dr Gangubai Hangal Gurukul in Hubli trains artists in traditional Guru-Shishya parampara to become performing artists. Nanna Badukina Haadu, as told to Mr. N. K. Kulkarni, translated into English by G. N. Hangal, published by Hubli. Bhimsen Joshi Kundgol Hubli Dharwad Karnataka Gangubai Hangal at AllMusic Gangubai Hangal page at Vijaya Parrikar Library of Indian Classical Music Gangubai Hangal Detailed Biography Gangubai Hangal feted on her 94th birthday Gangubai Hangal auf culturebase.net
Pandit Jasraj is an Indian classical vocalist, belonging to the Mewati gharana. Jasraj was born on 28 January 1930 in Pili Mandori, a village in the Hisar district of Haryana in a middle-class Brahmin family to Motiram, a classical singer. Motiram died in 1934 when Jasraj was four, on the day he was to be appointed as the state musician in the court of Osman Ali Khan. Jasraj's elder brother, Pratap Narain, was an accomplished musician and was the father of music composer duo Jatin-Lalit, singer-actress Sulakshana Pandit and actress Vijeta Pandit. Jasraj spent his youth in Hyderabad, travelled to Sanand in Gujarat to study music with musicians of the Mewati gharana; the Thakur Sahib of Sanand was dedicated to classical music, was an accomplished musician himself. He had collected around him a court of scholarly and accomplished musicians, a lot of Jasraj's musical training happened in this environment. In 1946, Jasraj moved to Kolkata. Jasraj was married to Madhura Shantaram, the daughter of film director V. Shantaram, whom he had first met in 1960 in Mumbai.
They married in 1962 living in Kolkata, moved to Mumbai in 1963. They have two children, a son, Shaarang Dev Pandit, a daughter, Durga Jasraj. Jasraj's wife Madhura has directed documentaries and children's plays, directed and produced ballets, Geeta-Govinda, Kaan Kahaani and Surdas, the TV series, Faster Phene. Madhura made a film, Sangeet Martand Pandit Jasraj in 2009 and directed her first Marathi film, Aai Tuzha Aashirwad, in 2010, in which her husband and Lata Mangeshkar sang in Marathi. Jasraj was initiated into vocal music by his father, but trained as an accompanist, playing the tabla at vocal performances by his brother, the singer Maniram, he credits Begum Akhtar, as inspiring him to take up classical music. Jasraj began training as a vocalist at the age of 15, performed his first stage concert as a vocalist at the age of 22. Before becoming a stage performer, Jasraj worked as a performing artist on radio for several years, he trained as a classical vocalist with his brother and with the vocalist Jaywant Singh Waghela and Gulam Kadar Khan of Mewat gharana.
In addition, he trained under Swami Vallabhdas Damulji of the Agra gharana. Although Jasraj belongs to the Mewati gharana, a school of music known for its traditional performances of khyals, Jasraj has sung khayals with some flexibility, adding elements of lighter styles, including the thumri, to khayal singing. During the initial stages of his career he was criticised for incorporating elements from other schools of music, or gharanas, into his singing. Music critic S. Kalidas has noted, that this borrowing of elements across gharanas has now become more accepted. Jasraj created a novel form of jugalbandi called Jasrangi, styled on the ancient system of moorchhana, between a male and a female vocalist, who each sing different ragas at the same time, he is known for presenting a variety of rare ragas including Abiri Todi and Patdeepaki. In addition to performing classical music, Jasraj has worked to popularise semi-classical musical styles, such as Haveli Sangeet, which involves semi-classical performances in temples.
Additionally, he has sung classical and semi-classical compositions for film soundtracks, such as the song,'Vandana Karo,' composed in Raag Ahir Bhairav by the composer Vasant Desai, for the film Ladki Sahyadri Ki, a duet with vocalist Bhimsen Joshi for the soundtrack of the film Birbal My Brother, a ballad, Vaada Tumse Hai Vaada for a horror film titled 1920 directed by Vikram Bhatt. In memory of his father, Jasraj organises a musical festival every year called the Pandit Motiram Pandit Maniram Sangeet Samaroh in Hyderabad, India; the festival has been held annually since 1972. On 28 January 2017, the production house Navrasa Duende celebrated Jasraj's 87th birthday and 80 years of his service to music as a classical music concert with the title'My Journey', an Intimate Evening with Pandit Jasraj at Jawaharlal Nehru Stadium, New Delhi, he received a standing ovation. Jasraj has tutored several students who have gone on to perform as classical musicians including Saptarshi Chakraborthy, Sanjeev Abhyankar, Kala Ramnath, Tripti Mukherjee, Suman Ghosh, Shashank Subramanyam, Kavita Krishnamurthy, Anuradha Paudwal, Sadhana Sargam, Shankar Mahadevan, Ramesh Narayan.
He is the founder of schools for Indian classical music in Atlanta, Vancouver, New York, New Jersey, Pittsburgh and Kerala. Sumitra Charat Ram Award for Lifetime Achievement Padma Vibhushan Padma Bhushan Sangeet Natak Akademi Award 1987 Sangeet Kala Ratna Master Dinanath Mangeshkar Award Lata Mangeshkar Puraskar Maharashtra Gaurav Puraskar Swathi Sangeetha Puraskaram in 2008 Sangeet Natak Akademi Fellowship Marwar Sangeet Ratna Award Samagana Matanga 2012 award Raga Symphony Anuraag Devotionally Yours The Glory of Dawn – Morning Raagas Invocation Kanha Khazana In Concert Vancouver Vols. 1 & 2 Malhar – A Downpour of Music The Meditative Music of Pandit Jasraj Parampara – The Mewati Tradition Pride of India Multaani & Din-ki-Purya Shri Krishna Anuraag Songs of Krishna Vol. 1 & Vol. 2 The Spiritual Journey Baiju Bawra Vols. 1 & 2 Upasana Miyan Tansen Vol 1 & Vol 2 Tapasya Vol. 1 Darbar Maheshwara Mantra Soul Food Haveli Sangeet Inspiration Ragas Triveni and Multani Live Ragas Bihada and Gaud Giri Malhar Worship By Music/Live Stuggart'88 Ornamental VoiceFilmography Ladki Sahyadri Ki Birbal My Brother (1973, music