USTAD AMIR KHAN

(1912-1974)

 

 

 
 
Hello friends

 

This, my personal web-page, is a tribute to Ustad Amir Khan, one of the most important Hindustani Classical vocalists and a singer I greatly admire.  I first heard his voice during a very non-musical exercise, when I was putting together different voices of classical vocalists for a quiz programme.  It was a time when Hindustani Classical music was something very alien and distant for me.  Coming from South India, more specifically rooted in Karnataka, the only link with Hindustani classical music was Pt Bhimsen Joshi’s renderings of Dasara Padagalu in Kannada.  Of course, I had heard about Pt Mallikarjun Mansur, Pt Kumar Gandharva, Pandita Gangubai Hangal, Pt Basavaraj Rajguru, and felt proud that these eminent singers (including Pt Bhimsen Joshi) were from Karnataka.  During this voice collection exercise, way back in 1989, I happened to listen to an album (one of the few studio recordings of Ustadji, I learnt later) of his rendering of four ragas, which Prof. T V Hegde, one of the English teachers in our college in Shimoga, graciously lent me.  I neither had the time nor the inclination nor the patience to try and understand what the whole thing was about, but somehow the voice and the style stayed with me, not that it haunted me or anything of that sort.  Two years of stay in Pune was supposed to have made me imbibe the finer points of Hindustani Classical music, but nothing of that happened.  It was in 1994 that I happened to come across the same album by Ustad Amir Khan.  I recognized the album by its cover, which somehow managed to remain the same.  I was pondering whether to buy it or not, when a friend of mine, very thoughtfully gifted me the album.  This time I was really hooked and there was no looking back. 

 

Megh and Lalit mesmerized me, but Malkauns was irresistible.  Being a student of literature meant that most of the things went to the head via the eyes, and it was mostly by reading.  I tried very hard to listen to understand this music.  I found out that I did not have the requisite and prescribed patience to sit for a minimum of half an hour (which is the usual duration of a raga on one side of an audio cassette) with total concentration.  Without someone telling me ‘what to listen’ to and ‘how to listen’, it was an uphill task.  Out of sheer habit, I resorted to reading about this music, and there was ample written material on it.  All that ‘pentatonics’ and ‘komals’ and ‘dhaivats’ confused me even more.  I put a stop to all this and decided to just listen for enjoyment without trying to bother about the intricacies, and anyway I didn’t want to become a technical expert.  I simply became a listener and I enjoy listening to Hindustani classical. Sometimes, though, I envy people who are able to identify ragas instantly.  Over these past few years I have unconsciously been trying to make connections between Hindi film songs and the ragas that I have heard.

 

Coming back to Ustad Amir Khan, most of the things that I know about his music are through reading.  I have tried to read whatever I have been able to lay my hands on, and of course, the sleeve notes.  While listening to Ustadji, I used to feel that his rendering of Vilambit is in extra slow motion.  I realized that Ustadji borrowed this style from Ustad Waheed Khan of the Kirana Gharana, who used this style of singing for his riyaz.  Ustad Amir Khan brought this style of rendering onto the performing stage.  This style of singing is called the Meerkhand or the Khandameeru style.  When I read the sleeve notes carefully I saw that most of the Vilambit renderings were in Jhumra Taal (14 beat ryhtymic cycle), which I learnt, because of its ati-vilambit (extra-slow) tempo, suited his singing in the Meerkhand style. But, sometimes the Drut is so fast (especially Malkauns) that you wonder if it is the same person who is singing it.  I learnt that the exuberance of his swift taans and electric sargams were influences from Ustad Rajab Ali Khan of Devas and Ustad Aman Ali Khan of Bhendi Bazaar Gharana respectively.  This much I learnt from reading about Ustad Amir Khan’s rendering.

 

Ustadji was born in 1912 and had his initial training from his father, Ustad Shamir Khan, a Sarangi player employed in the court of the Maharaja of Indore.  Prof Ajit Singh Paintal, a disciple of the Ustad, says that Ustadji did not formally train under an Ustad of any Gharana, and therefore did not wish to identify himself with any Gharana.  As mentioned above, he was influenced by Ustads of many Gharanas.  Ustadji designated his style as the Indore Gharana, after the name of the city in which he had his initial training and acquired his musical consciousness.

 

In an article in the Indian Express (October 24, 1993) written by Ashish Sharma, we get to know the views of a number of Ustadji’s disciples regarding his music.  Did you know that Pandit Gokulatsavji Maharaj modelled his singing on Ustadji’s style by only listening to his recordings and never having met him even once?  Even Panditji’s voice is so similar to that of Ustadji’s that AIR had received angry letters from listeners in Pakistan indicating that in a programme featuring Ustad Amir Khan someone else’s name was wrongly announced.  It was Pandit Gokulatsavji Maharaj who was singing that day!  Panditji says: “It is my misfortune that I could never meet Khan Sahib, but I listened to his recordings over and over again, and tried to emulate the spirit behind his music” (Ashish Sharma, “A Legend and Its Legacy”, Indian Express, October 24, 1993).  Ashish Sharma says that Panditji has a mind-boggling collection of Khan Sahib’s recordings, which include even thumris, ghazals and qawwalis besides khayals, which add up to around 3500-4000 hours, with rare ragas like Sarparda, Zurtaba, Kalingra, Lachchasakh, Chayanat, Khem Kalyan!  And imagine one man enjoying it all, when we mere mortals have hardly twenty hours of Ustadji’s singing in commercially released recordings! 

 

Khan Sahib never sang thumris during public performances.  Pandit Mahendra Sharma, who accompanied Ustadji whenever he came to Delhi, says that Ustadji did not sing thumris in public even though he was an expert exponent of that genre because he considered Ustad Bade Ghulam Ali Khan as a better singer of thumri.  And people actually speak of rivalry between these two stalwarts!  Some of the articles that I read mentioned that Ustadji closed his eyes to the public while singing and used to be so immersed in his singing that he forgot the listeners.  When I listened to the tapes, many a times I found Ustadji actually explaining and elaborating either the words or the ragas.  This actually shows that the listener was important for him and he wanted his listeners to know what he was singing.  Years after he left us (he died in a car accident on February 13th, 1974), we can even now listen to him speaking to his audience.  Pandit Amarnath, a long standing associate of Ustadji, says: “At least 60 percent of today’s musicians have been inspired by Khan Sahib.”  Pandit Surinder Singh, of the Singh Bandhu duo, and one of Ustadji’s disciples, says in a similar vein: “We are living in the age of Ustad Amir Khan.  While only three or four records of his came out when he was alive, 14 have appeared since his death.”

 

This is all I have to say about Ustadji.  I have compiled a detailed discography of the available cassettes of Ustadji’s renderings (at least of what I have been able to collect).  I have also scoured the world wide web to bring you Ustadji’s renderings available on the internet, and also some essays and articles on Ustadji as well as on Hindustani Classical music.  These articles on Hindustani Classical Music also reflect the way I want to look at Hindustani Music and music itself in general—devoid of hierarchies and itself being subject to many pulls and pressures and influences. 

 

(I completed the final editing of this webpage on February 13, 2002.  I suddenly realized that February 13th is Ustadji’s death anniversary.  I kept delaying the completion of this webpage for various reasons, and it was purely coincidental that it got completed on this particular day.)

 

REFERENCES:

 

Ajit Singh Paintal, Sleeve Notes to Pratidhwani (Music Today, 2001)

Ashish Sharma, “A Legend and its Legacy”, Indian Express (October 24, 1993)

Deepak Bannerjee, Biographical Notes to Ananya (Navras Records, 1998)

G N Joshi’s article on Ustad Amir Khan at www.chembur.com/anecdotes/amirkhan.htm

“Ustad Amir Khan: The Great Genius of Hindustani Classical Music” (author unknown) at www.ercwilcom.net/indowindow/delhimagazine/

Sumit Savur, Sleeve Notes to Taskeen (Ninaad, 1996)

Susheela Misra, “Ustad Amir Khan” in Great Masters of Hindustani Music (New Delhi: Hem Publishers, 1981; 168-173)

Vamanrao H. Deshpande, “Indore and Amir Khan” in Indian Musical Traditions (Bombay, Popular Prakashan, 1987 [first edn. 1973]; 63-66)

 

[My name is S Jayasrinivasa Rao.  I would like to know your reactions, comments, corrections, advice regarding and for this web-page and more information about Ustad Amir Khan.  Kindly write to me: [email protected]] 

 

USTAD AMIR KHAN—A DISCOGRAPHY

 

 

 

MEMORABLE EVENINGS WITH USTAD AMIR KHAN SAHEB

 

A RARE COLLECTION—NEW RECORDINGS 

HMV STC O4B 7371-74  SUPREME  (A set of four cassettes) (pkd. 10/90)

(Source: A Private Collection)

 

Cassette 1: STC O4B 7371

Side A:  RAGA BAIRAGIMansumarat nis din tumharo naam (Khayal in Teentaal)

 

RAGA CHARUKESHILaaj rakho tum mori gusaiyan (Khayal in Teentaal)

 

Side B:  RAGA PURIYAChin chin baat takat hun tori (Khayal in Teentaal)

RAGA MADHUKAUNSBairanbhai rain (Khayal in Teentaal)

 

Cassette 2: STC O4B 7372

Side A:  RAGA SHUDDHA KALYANKaram karo (Khayal Vilambit in Jhumra Taal)

RAGA SHUDDHA KALYANTarana in Teentaal

Side B:  RAGA BAGESHRIBegun kaamna jaage  (Khayal Vilambit in Jhumra Taal)

 

Cassette 3: STC O4B 7373

Side A: RAGA MIYAN MALHARKarim naam tero (Khayal Vilambit in Jhumra Taal)

Side B: RAGA MIYAN MALHARBarasan lagi re badariya (Khayal Drut in Teentaal)

RAGA RAMDASI MALHARChhai badara kaari (Khayal in Teentaal)

 

Cassette 4: STC O4B 7374

Side A: RAGA JOGO balma (Khayal Vilambit in Roopak Taal);

Saajan more ghar aye (Khayal Drut in Teentaal)

Side B: RAGA DARBARIMori aali ri jab se bhanak (Khayal Vilambit in Jhaptaal); Kin bairan kaan bhare (Khayal Drut in Teentaal)

(Khayal in Jhumra [14 beats]):

www.dovesong.com/MP3/MP3_India_kanada.asp

 

è 1989, Original sound recording made by The Gramophone Company of India Ltd.  Copyright owner and manufacturer: The Gramophone Company of India Ltd., 5, Old Court House Street, Calcutta 700 001.  © 1989, The Gramophone Company of India Ltd., Calcutta.

 

AMIR KHAN:  A Bouquet of Rare Live Concert Recordings

 

HMV CLASSIC GREATS  (NEW RECORDINGS)

HMV STC 850350/51 SUPREME  (a set of two cassettes) (pkd. 8/94)

(Courtesy: Mr Adinath Mangeshkar & Mr R H Bengri)

 

Cassette 1: STC 850350

Side A: RAGA BAGESHRI KANADAGore gore mukh par (Vilambit Khayal in Jhumra Taal)

Side B: RAGA BAGESHRI KANADA continued—Gore gore mukh par (Vilambit Khayal in Jhumra Taal)

 

RAGA ABHOGI KANADALaaj rakh lijo mori (Drut Khayal in Ektaal)

 

Cassette 2: STC 850351

Side A: RAGA SHAHANA KANADASunder angana baithi (Drut Khanayl in Teentaal)

 

RAGA DARBARI KANADAYe re man biya biya (Drut Khayal in Ektaal)

(Khayal in Jhumra [14 beats]):

www.dovesong.com/MP3/MP3_India_kanada.asp

 

Side B: RAGA KAFI KANADAAb man laag tumhi sang (Vilambit Khayal in Jhumra Taal)

 

è 1994, Owner manufacturer: The Gramophone Company of India Ltd., 33, Jessore Road, Calcutta 700 028.  © 1994.

 
USTAD AMIR KHAN—TASKEEN: THE ULTIMATE BLISS

 

NINAAD  PREMIUM NC0001/2 (set of two cassettes) (pkd. 12/96)

 

Cassette 1: NCOOO1

Side A: RAGA KOMAL RISHABH ASAVARIJagaat sapna ka karat guman (Vilambit Khyal set to Jhumra Taal)

Side B: RAGA KOMAL RISHABH ASAVARI  continued—Eri ab to (set to Madhya Laya Teentaal)

(Khayal in Jhumra [14 beats]; Khayal in Teentaal [16 beats]):

www.dovesong.com/MP3/MP3_India_asawari.asp

 

RAGA JOG Tarana (set to Teentaal)

 

Cassette2: NCOOO2

Side A: RAGA TODIJa ja re more piya (Vilambit Khyal set to Jhumra);

Man ke panchhi bhaya bavre (Drut Khyal set to Teentaal)

Side B: RAGA MEGHBarkha ritu ayee (Vilambit Khyal set to Jhumra);

Tarana (set to ektaal)

www.ercwilcom.net/indowindow/delhimagazine/

 

Live recording of an open air concert at Mumbai, one of the last concerts of the maestro; digitally remastered at Sumi Audio Studio, Mumbai, by Ashok Shukla; Recording produced by kind permission of Smt Raisa Begum Amir Khan and with courtesy of Shri R H Bengeri.

 

© & è  1996  Ninaad Music and Marketing Pvt. Ltd., 5/16 Vrindavan, Tarun Bharat society, Andheri (East), Mumbai 400 099.

 

ANANYA—USTAD AMIR KHAN

 

NAVRAS NAV-RATNA—THE GREAT MASTERS

 

NAVRAS NRCC 0091/92 (set of two cassettes) (pkd. 2/98)

(Archival Recordings from the collection of Mr Ain Rashid Khan & Shahbaz Khan; period 1960s)

 

Cassette 1: NRCC 0091 (71:13)

Side A: RAGA YAMAN

(Khayal in Jhumra [14 beats]; Khayal in Teentaal [16 beats]):

www.dovesong.com/MP3/MP3_India_yamen.asp

www.ercwilcom.net/indowindow/delhimagazine/

 

Side B: RAGA HAMSADHWANI

 

Cassette 2:  NRCC 0092 (60:41)

Side A: RAGA PURIYA

Side B: RAGA ABHOGI

 

Accompanists: Pt Gyan Prakash Ghosh (Harmonium); Pt Gobinda Bose (Tabla)

 

© Navras Records Ltd., February 1998; è Navras Records Ltd., February 1998.

Navras Records Ltd., 22 Sherwood Road, London, NW4 1AD U.K.

Navras Records (Pvt.) Ltd., 102 Astron Apartments Behind Mukund Nagar, Andheri (E), Mumbai 400 059, India.

 

AMIR KHAN—PRATIDHWANI: VOICES OF THE LEGENDS

 

MUSIC TODAY  A01036/37 (set of two cassettes) (pkd. 05/2001)

(Source: Shahbaz Khan)

 

Cassette 1: A01036—Recorded live in 1965, Mumbai; Accompanist: Nizamuddin Khan (Tabla)

Side A: RAGA BASANT MUKHARIPrabhu data vidhata saban ke (Madhyalaya in Jhaptala) (33:59)

Side B: RAGA BASANT MUKHARI continued (06:52);

RAGA NANDAe vaare saiyyan re (Vilambit in Jhoomra Tala);

Man bair bair chahat (Drut in Ektala) (25:31)

www.ercwilcom.net/indowindow/delhimagazine/

 

Cassette 2: A01037—Recorded live in 1971, Mumbai; Accompanists: Gyan Prakash Ghosh (Harmonium); Gobindo Bose (Tabla)

Side A: RAGA TODIKajo re Mohammad Shah (Vilambit in Jhoomra Tala);

Man ke panchi bhaye banware (Drut in Teentaala) (23:52)

RAGA SHAHANASundar angana baithi nikas ke (Madhyalaya in Teentala) (10:10)

 

Side B: RAGA YAMANShahaje karam barmane (Vilambit in Jhoomra Tala)

Aiso sughar sundarva balamva (Drut in Teentala) (32:43)

www.ercwilcom.net/indowindow/delhimagazine/

(Khayal in Jhumra [14 beats]; Khayal in Teentaal [16 beats]):

www.dovesong.com/MP3/MP3_India_yamen.asp

 

Remastered and edited by Pratik Biswas at Digital Sound Studio.

 

© 2001  Original sound recording made by Living Media India Ltd., Registered Office: 9 K Block, Connaught Circus, New Delhi 110 001; è 2001  Living Media India Ltd.

 

USTAD AMIR KHAN

 

INRECO  2711-C 398  PREMIUM MUSICASSETTE

 

Side A: AN UNTITLED RAGA (Part 1)

Side B: AN UNTITLED RAGA (Part 2);

RAGA CHANDRAMADHU

Accompanist: Gobinda Bose (Tabla)

 

è & © 1990  The Indian Record Mfg. Co. Ltd., 45, Moti Sil Street, Calcutta 700013

 

A RARE GEM FROM USTAD AMIR KHAN

 

HMV STC 850190  (pkd. 1/98)

 

Side A: RAGA CHANDNI KEDARYe ri thu dhan dhan tero bhaag (Vilambit in Jhoomra Taal)

Side B: RAGA CHANDNI KEDARYe ri thu dhan dhan tero bhaag (Vilambit in Jhoomra Taal)

 

è 1991, Owner manufacturer: The Gramophone Company of India Ltd., 33, Jessore Road, Calcutta 700 028; © 1991

 

USTAD AMIR KHAN

 

EMI  HMV SUPREME STC 5090 STEREO (pkd. 10/92)

 

Side A: RAGA LALITKahan jaage raat (Vilambit);

Jogiya moey ghar (Drut)

 

RAGA MEGHBarkha ritu aai (Vilambit)

www.ercwilcom.net/indowindow/delhimagazine/

 

Side B: RAGA MARWAPia mohe aanat Des (Vilambit);

Guru bin gyan na pawe (Drut)

RAGA MALKAUNSJin ke man ram biraje (Vilambit)

Aaj morey ghar aaila baalma (Drut)

 

Accompanist: Afaque Hossain (Tabla)

 

è 1981  Original sound recording made by The Gramophone Co. of India Ltd.; © 1981, The Gramophone Co. of India Ltd.

 

USTAD AMIR KHAN—THE LEGEND LIVES ON

 

MAGNASOUND/ATLANTIS MUSIC  C3HV0636  STEREO

 

Side A:  RAGA NAND (ANANDI KALYAN)—Vilambit in Jhumra (14 beats); Madhyalaya and drut in Ek Taal (12 beats) (28:58)

www.ercwilcom.net/indowindow/delhimagazine/

 

Side B:  RAGA BAHAR—Drut in Teen Taal (16 beats) (15:03)

RAGA DARBARI KANADA—Vilambit in Jhumra (13:06)

(Khayal in Jhumra [14 beats]):

www.dovesong.com/MP3/MP3_India_kanada.asp

 

è/© 1993  Magnasound (India)/Atlantis Music; Manufactured and Marketed in India by Magnasound (India) Pvt. Ltd., Lorette Ville, 25/E, Main Avenue, Santacruz (West), Bombay 400 054, the Exclusive licensee of WEA International Inc., A Warner Communications Company, USA.

 

AMIR KHAN

 

HMV (MARGA—PATHFINDERS Series) STC 851005 (pkd. 1/96)

 

Side A:  RAGA RAM KALYAN—(Persian composition) Vilambit Jhoomra

Side B:  RAGA SHUDDHA KALYANTarana (Teentaal)

RAGA LALITTadpat hun jaise jal bin meen & Dar aa jane man (Drut in Teentaal)

Accompanist: Sheikh Dawood Khan (Tabla)

 

è 1995, Owner manufacturer: The Gramophone Company of India Ltd., 33, Jessore Road, Calcutta 700 028.  © 1995

 

AMIR KHAN

 

HMV (MARGA—MILESTONES Series) STC 851063 (pkd. 1/96)

Side A:  RAGA AHIR BHAIRAV—Vilambit in Jhoomra Taal; Drut in Teentaal

Side B:  RAGA BAGESHREE—Vilambit in Jhoomra Taal; (Tarana) Drut in Teentaal

 

è 1984, Owner manufacturer: The Gramophone Company of India Ltd., 33, Jessore Road, Calcutta 700 028.  © 1984

 

USTAD AMIR KHAN

 

HMV STCS 850489 SUPREME STEREO (pkd. 11/94)

 

Side A: RAGA HANSDHWANIJai maate vilumbh taj de (Khayal Vilambit in Ektaal); Tarana (Drut in Teentaal)

Side B: RAGA MALKAUNSJin ke man ram biraje (Khayal Vilambit in Jhoomra Taal); Aaj more ghar aaila baalma (Khayal Drut in Teentaal)

Accompanist: Afaque Hossain (Tabla)

 

è 1970, Copyright owner and manufacturer: The Gramophone Company of India Ltd., 5 Old Court House Street, Calcutta 700 001; © 1970, The Gramophone Company of India Ltd.  [“è & © 1996” inscribed on the cassette]

 

RARE AND LIVE—USTAD AMIR KHAN & USTAD BADE GHULAM ALI KHAN  (Live in 1956)

 

MUSICURRY  GOONJ  P0003 (pkd. 10/2000)

 

Side A (Ustad Amir Khan): RAGA ADANA

Side B (Ustad Bade Ghulam Ali Khan):  RAGA BIHAG; Thumri

 

Digitally remastered at Trio Digital studio (Mumbai), by Hassan Sheikh

  

© & è 2000, Manufactured and marketed by Questionable Ventures Media Pvt. Ltd., 1 New Udyog Mandir, No. 2, Mogul Lane, Mahim, Mumbai 400 016.

 

USTADJI SANG FOR A FEW FILMS TOO!

 

 

BAIJU BAWRA (Prakash Pictures, 1952)

 

HMV SPHO 830124 (Economy)

 

Music: Naushad; Lyrics: Shakeel Badayuni

 

Tori Jai Jai KartaarRaga Puriya Dhanashree

 

Aaj Gawat Man Mero (with Pt D V Paluskar)—Raga Des

Sargam

 

JHANAK JHANAK PAYAL BAJE (Rajkamal Kalamandir Pvt. Ltd.)

 

HMV SPHO 820582 (Economy) (combination cassette with DO AANKHEN BARAH HAATH)

 

Music: Vasant Desai

 

Jhanak Jhanak Payal Baje (with chorus)—Raga Adana (Lyrics: Hasrat Jaipuri)

 

RAAGINI (Ashok Pictures Pvt. Ltd., Bombay; 1958)

 

HMV SPHO 820922 (Economy) (combination cassette with KALPANA)

 

Music: O P Nayyar

 

Chhed Diye Mere Dil Ke Taar (Lyrics: Jan Nisar Akhtar)

 

SHABAB (Sadiq Productions Pvt. Ltd.)

 

in CLASSICS FROM FILMS: CLASSICAL ARTISTES SING FOR FILMS

HMV SPHO 44251 (economy)

 

Daya Kar Giridhar Gopal (Music: Naushad; Lyrics: Shakeel Badayuni)

 

LINKS TO USTAD AMIR KHAN’S RENDITIONS AVAILABLE ON THE NET:

 

 

 

RAGAS MEGH, NAND and YAMAN:

www.ercwilcom.net/indowindow/delhimagazine/

 

RAGA YAMAN (Khayal in Jhumra [14 beats]; Khayal in Teentaal [16 beats]):

www.dovesong.com/MP3/MP3_India_yamen.asp

 

RAGA KOMAL RISHABH ASAVARI (Khayal in Jhumra [14 beats]; Khayal in Teentaal [16 beats]):

www.dovesong.com/MP3/MP3_India_asawari.asp

 

RAGA DARBARI KANADA (Khayal in Jhumra [14 beats]):

www.dovesong.com/MP3/MP3_India_kanada.asp

 

LINKS TO ARTICLES ON USTAD AMIR KHAN AND SOME ARTICLES ON HINDUSTANI CLASSICAL MUSIC:

 

Article on Ustad Amir Khan by G N Joshi: www.chembur.com/anecdotes/amirkhan.htm

 

“Ustad Amir Khan: The Great Genius of Hindustani Classical Music” www.ercwilcom.net/indowindow/delhimagazine/

 

“USTAD AMIR KHAN” by Susheela Misra (from GREAT MASTERS OF HINDUSTANI MUSIC [New Delhi: Hem Publishers, 1981; 168-173])

www.sawf.org/newedit/edit07232001/amirkhan.htm

 

“Some Words about Khyal” by Warren Sanders

www.medieval.org/music/world/warvij.html

 

“On Raga Charukeshi”  by Rajan P. Parrikar

www.sawf.org/Newedit/edit10292001/musicarts.asp

(this site has a link to other articles on Ragas in Classical Music by Rajan P. Parrikar)

 

“Hindustani Classical Music: A Secular Tradition”

www.ercwilcom.net/indowindow/delhimagazine/

 

“Carnatak Music and Hindustani Music: a long history of cross-pollination”

by Shantha Benegal

http://minchu.ee.iisc.ernet.in/mirror/iicm/ch.txt

 

“Raga on the Rocks” by Jitendra Pratap

www.indian-express.com/ie/daily/19980812/front.html

 

Gharanas or Schools of Hindustani Classical Music

www.culturopedia.com

 

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Recently added

 

Recently added!

Ustad Amir Khan specific links and

Latest inclusions to discography

Go to Page 2

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Recently added

 

Ustad Amir Khan’s disciples talk about his music.

Read article written by Ashish Sharma in

The Indian Express in 1993

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