Zarsanga is a famous Pashtu singer widely known as The Queen of Pashtun
Folklore. She was born in 1946 at Zafar Mamakhel, a small village of Lakki
Marwat. She belongs to a nomadic tribe that used to settle in Afghanistan in
summer and stay in Lakki during the winter. In 1965, she married Mulajan, a
resident of Sarai Naurang (Bannu) who was also a nomad. Many people believe
she is married to popular folk singer Khan Tehsil, but she denies the
“Actually I sang with him on many occasions and most of our joint
songs got immense popularity. He is not my husband he is just like my own
Zar Sanga has four daughters and two sons. Only Shehzada, her
second son, has stepped into the world of music. At the start of her career, Zar
Sanga would listen to the songs of Gulnar Begum, Kishwar Sultan, Bacha Zarin
Jan, Khial Mohammad, Ahmad Khan and Sabz Ali Ustad. “I liked all of them, but I
have maintained my own traditional way of folk singing. The people would
earnestly enjoy my songs on both sides of the Durand Line (Pakistan-Afghan
border). “I got no education so I cannot sing from a written paper. Most often I
sing the songs that are composed and created by the common folk. However my
husband also wrote some of my popular songs”, she said. A French researcher,
Miss Kia, who worked with Radio France, once said Zar Sanga’s voice was the only
mountainous voice in the Pashto language. Miss Kia took Zar Sanga to France for
a musical concert. In France, many people were fascinated by her sweet melodies.
The Pashto singer described a concert in London: “I was singing a traditional
folk song in Pashto about the mountains and gypsy life of the tribals and when I
finished it, a British person came close to me and proudly remarked that he was
also a gypsy.” The famous numbers of Zar Sanga, which she never misses at any
musical event she plays are Da Bangriwal Pa Choli Ma Za (her first-ever song on
radio), Zma Da Khro Jamo Yara, Rasha Mama Zwi De, Zma Da Ghrono Pana Yara, and
Kht Me Zanzeri De. Zar Sanga has been to Germany, Belgium, Iraq, Dubai, America,
France and UK and has enthralled thousands of Pakhtuns and local people with her
'Alan (Allan) Faqir (1932-2000) was one of the foremost exponents of Sufi music
in Pakistan. He was particularly known for his ecstatic style of performance
marked with extreme devotional rhetoric and sufi dance singing. Deprived of a
mother's love, he went off in search of someone who could replace that love. He
arrived at the tomb of Shah Abdul Latif Bhitai in Bhit Shah and started living
there. Faqir's memory was sharp even though he could not read and write. Hearing
the traditional Latifi Raag sung every night touched his heart. Encouraged by
Faqir Zawar Qurban Ali Lanjwani and Moolchand Maharaj, he began singing Bhitai's
poetry at the shrine and ultimately spent twenty years there until meeting
Mumtaz Mirza, who introduced him to Radio Pakistan and ptv in Hyderabad and
helped him to learn the correct pronunciation of Bhitai's poetry. Eventually, he
became a performing legend.
Many thanks to KF for sharing generously these rare recordings.
"Born in a family of music lovers, Anant Bedekar also played the sitar and
the surbahar. His music, he said, was neither in the dhrupad nor in the khyal
style. His expressive playing technique and the singular sound of his bin made
him an original binkar at any rate, unjustly condemned to obscurity.
Anant Bedekar (1921 - ?), doctor and binkar, enjoyed the mixed instruction
of Laxman Rao Chavan, son of Balvant Rao Chavan, one of Bande Ali Khan’s
Ravi Shankar, composer, sitar player and worldwide music
legend, has died surrounded by family near his home in southern California. He
played at Woodstock, collaborated with the Beatles and fathered Norah Jones.
Ravi Shankar passed away in the presence of his family late
on Tuesday in California aged 92. He had undergone successful surgery last
Thursday, but was unable to recover from the operation. Shankar's family
confirmed the news.
"Although it is a time for sorrow and sadness, it is
also a time for all of us to give thanks and to be grateful that we were able
to have him as part of our lives," his family said.
"Unfortunately, despite the best efforts of the surgeons
and doctors taking care of him, his body was not able to withstand the strain
of the surgery. We were at his side when he passed way," Shankar's wife
Sukanya and his daughter Anoushka said.
Shankar is as famed in the western hemisphere as in his native India, and is
broadly credited with popularizing Indian music in the rest of the world - by
virtue of his nimble fingers and the distinctive sound of the sitar.
A three-time Grammy winner, Shankar played at the 1967
Monterey Festival and at Woodstock. He collaborated with violinist Yehudi
Menhin and with the Beatles in the same era. He taught band member George
Harrison, one of the more famous guitarists ever to have lived, to turn his
hand to India's stringed equivalent.
Shankar has also fathered a Grammy winner, the eclectic vocalist Norah Jones
who has been honored with jazz, pop and country music accolades during the last
One of Shankar's first international awards was secured in Berlin at the 1957
Berlinale film festival, where he secured the Silver Bear Extraordinary Prize
for composing the score for the Bengali movie Kabuliwala.
His influence touched almost every corner of the music industry, including
fellow legends in the business. Jazz saxophone master John Coltrane named his
son Ravi Coltrane.
Shankar also served as an unelected member of the upper chamber of India's
Classic Azerbaijani “mugam” dates back to a
long history. It was developed, polished and passed from mouth to mouth. The
only thing that wasn’t changed is the creative task of bearers of mugam, which
comprises the ability of joining the strict rules of formations and freedom of
its interpretation. A mugam performer sings and plays traditional variant of
classical composition while demonstrating at the same time his ability of
improvisation to listeners that adds a unique colour to the sounds of popular
Traditional mugam ensemble is a trio, casting a
singer-hanende and performers on Azerbaijani national musical instruments
“tare” (stringed) and kyamanche (bow). Drumming (“def”) party of music is
performed by a singer himself.
From the earliest times Azerbaijani mugam art
presents three main performing schools – Karabakh, Shirvan and Baku. Each of
them added their amazing tints to the development and formation of this
The performance of “dastgyakh” can be compared
with climbing to the Everest from all slopes by the strongest, skilled and well
Mugam trio named after Djabbar Karyagdyoglu
offers organic blending of tastes of two schools: lower-Karabakh (in its turn
Karabakh School has three trends: gorno- (mountain), middle- and
lower-Karabakh) – singer-hanende Zakhid Guliev and Baku stringed musical
instrument player Mokhlat Muslimov, and a bow player Fakhratdin Dadashev. Each
of them, possessing an impressive individual performing aspect, tactfully
locates the orientation of the improvisatory fantasy of a partner in the
A repertoire of classical Azerbaijani mugam
ensemble consists of mugams, zerbi-mugams, Azerbaijani-mugams and even
traditional ashug (Caucasian folk) melodies.
Ancient land of Azerbaijan has been always
generous with talents. Majority of them glorified this beautiful land to the
world, entering to the golden foundation of world musical art. Safiaddin
Urmevi, Abdul Kadyr Maragi, Uzeir Gadjibekov, Sadykhdjan, Djabbar Karyagdyoglu,
Mirza Mamed Gasan, Kurban Primov, Bakhram Mansurov and other Azerbaijani
musicologists and performers are the stars of “mugam galaxy”. Undoubtedly, we are the spectators of appearance of new stars, flaring
with special glitters.
Many thanks to Berdak Bayimbetov for the translations and transcriptions, especially the big work of translating the liner notes.
We received only today the sad news that Ustad Mohammad Sayeed Khan of Jaipur-Atrauli Gharana has passed away on the 6th of october 2012, at the age of 77, in Amsterdam where he lived since the 1980s. In the 1970s EMI India released two LPs by him together with his younger brother Mohammad Rashid Khan - who passed away already in the 1980s - under the name Khan Bandhu. The second of these two LPs we present here as a tribute.
Mohammad Sayeed Khan - Khyal-Pionier in Europa
- Nachruf von Yogendra -
Der große Khyal-Sänger Mohammad Sayeed Khan ist am 6. Oktober im
Alter von 77 Jahren in Amsterdam verstorben. Er stammte aus einer alten
Musikerfamilie in Mumbai und war ein Vertreter der Jaipur-Atrauli Gharana.
Gelernt hatte er von Kindheit an von seinem Vater, dem Sarangi-Virtuosen Abdul
Majid Khan, Schüler von Gharana-Gründer Alladiya Khan und Sarangi-Legende Bundu
Khan. International bekannt wurde Mohammad Sayeed Khan in den 1960er und 70er
Jahren auf weltweiten Tourneen und zahlreichen Schallplatten im Gesangsduett als
Khan Bandhu mit seinem jüngeren Bruder Mohammad Rashid Khan. Nach Rashids frühem
Tod ließ er sich über den Umweg Surinam in den 1980er Jahren mit seiner Familie
in Amsterdam nieder. Dort lebte er bis zu seinem Tod als Lehrer und
konzertierender Künstler und wurde so ein wichtiger Pionier indischer Musik in
Sein musikalisches Erbe wollte keines seiner Kinder antreten.
Deshalb entschloss sich Mohammad Sayeed Khan 2007 nach einer Pilgerfahrt nach
Mekka, mit der etablierten Tradition vieler Musikerfamilien zu brechen, wonach
musikalisches Wissen als eifersüchtig gehütetes Geheimnis nur mündlich an
sorgfältig ausgewählte Verwandte oder sehr enge Schüler weitergegeben wird.
Statt seine gesammelten musikalischen Schätze mit ins Grab zu nehmen,
präsentierte er sie 2009 in Buchform mit begleitender CD. 238
Khyal-Kompositionen in 115 Ragas aus seiner Familientradition machte er damit
der Allgemeinheit zugänglich und bewahrte sie so vor dem Vergessen.
Ustad Mohammad Sayeed Khan got the idea of opening his
family's musical riches to the public during a pilgrimage to Mecca in 2007. With
the New Year, the Amsterdam-based son of well-known sarangi maestro Abdul Majid
Khan has fulfilled his dream, with the release of a CD and a book with 238
compositions in 115 Hindustani ragas ranging from Adana to Yaman. The ensemble
was launched recently in Mumbai, London, Delhi and Kolkata.
maestro Shivkumar Sharma complimented the ustad at the Mumbai function for
"sharing the family jewels of his Jhajjar gharana''. "In one stroke, he has
broken an unspoken taboo against the transmission of traditional knowledge which
many old-style pedagogues tend to guard like zealous dragons hoarding buried
treasures,'' he said. "By providing print and audio versions of the heirlooms
with a commentary on the lyrics, the ustad has greatly facilitated the musical
odyssey of the neophyte as well as seasoned performer. It's a milestone in the
renaissance of the classical tradition.''
In the past, many chelas have
complained of difficulties in getting hold of compositions from their
`close-fisted' gurus even after offering years of service to them. Experts cite
this as one of the reasons for the decline in the traditional style of teaching
and the extinction of many exquisite compositions.
Ustad Mohammad Sayeed says
he was inspired to share his family repertoire for the sake of posterity. "I do
not want to take these treasures with me to the grave as has happened in so many
cases,'' he said. "All my children are highly qualified and well settled in the
Netherlands. But they aren't interested in music, which makes it all the more
imperative that I share it with the larger `family of man'.''
recalls how he always used to pray for knowledge whenever he offered namaz. He
said he was grateful for the superlative taalim (musical education) from his
father, who had himself learnt at the feet of the legendary founder of the
Jaipur gharana, Alladiya Khan.
Years later when he went to Mecca for a second
visit, the ustad says he prayed for the first time for public acceptance of the
knowledge that he had received from his forefathers. "Now that, too, is becoming
possible,'' he said while reminiscing about the golden era of Hindustani
classical music (which is evoked in the book through anecdotes of musicians).
That was when his father used to accompany most of the illustrious musicians of
the day on the sarangi. "Many masters visited and stayed with my father, who was
particularly known for his sangat or instrumental accompaniment to the great
diva, Kesarbai Kerkar,'' he recalls. "And it was during the soirees and
night-long addas at home and on the concert platform, from behind the tanpura,
that I picked up many a secret of the classical tradition during our rigorous
Ustad Mohammad Sayeed, a graduate of St Xavier's College,
used to sing jugalbandis with his younger brother Ustad Mohammad Rashid Khan.
Later he went to Surinam on an Indian Council for Cultural Relations fellowship
and travelled thence to Holland with his family in the mid-1980s to eventually
settle abroad. "That was the period when my younger brother died in Mumbai, and
I began to brood about giving back to society what I had received in such
abundance,'' he said.
Veteran sitarist Arvind Parikh, who was also present at
the CD launch, said, "Ustad Mohammad Sayeed's maiden venture focused on the
nayika or the heroine. We are now looking forward to the next volume which
covers the social and cultural aspects of our rich musical heritage.''
Here we present two Rudra Veena masters from Dharwar
in South India: Shrikant Pathak and R.V. Hegde. Both are students of Pandit
Bindu Madhav Pathak (1935-2004), an exponent of Rudraveena and Sitar.
Bindu Madhav Pathak was the son of a great Rudra Veena player Pt. Dattopant
Pathak and hails from Hubli. He obtained his early training from his
father (pupil of Late Ustad Murad Khan Beenkar of Jawara) and later from Ustad
Rajab Ali Khan of Dewas. Both Ustad Murad and Rajab Ali Khan were students of
the great Rudra Veena player Ustad Bande Ali Khan.
BMP blossomed into an
accomplished artist at a very young age of 17. He was a top 'A' grade artist of AIR. He performed in
several National Music Programmes of AIR and Doordarshan. Some of his students
are his son Shrikant Pathak, Ramchandra V Hegde and Jyoti Hegde. He was Head of
Dept. of Music in Karnataka University, Dharwad.
Pt Pathak was heavily influenced by the vocal music of Kirana Gharana (that of Abdul Wahid Khan). He insisted his gharana to be Kirana, and not formally
associated with any Dhrupad gharanas. He said he played Khayal style (Kirana
type) of music on Been.
Mr. Pathak, who retired as the Head of the Department of Music of
Karnatak University, was popularly known as "Been" Pathak for his expertise in
playing the Been. Apart from performing for Akashwani and Doordarshan, he was a
recipient of several awards and titles including the Karnataka Kala Tilak Award,
Aryabhata Award, and "Vidyaparipoorna" title. He also served as adviser to the
Union Ministry of Education and Culture .
Mr. Pathak wrote many books and
articles on music, including Bharatiya Sangeeta Charitre.
Bande Ali Khan
He belonged to the Khyal Ang Rudra Veena tradition. Khyal
Ang on veena began mainly with Bande Ali Khan (credited: 1826-1890). An
innovative and iconoclastic musician, Bande Ali Khan was particularly fond of
khyal singing, which he adapted to the bin, the instrument having until then
been solely used to interpret the dhrupad style.
Murad Khan (on the right) and his disciple Krishnarao Kholapure
student Murad Khan was the one who propagated this unorthodox innovation through
the state of Maharashtra. Hindraj Divekar, Bindumadhav Pathak, Jyothi Hegde, and
a number of other beenkars belong to this tradition and play khyal and dhrupad
Another point to note is these people including Bindu Madhavji
played a been manufactured in Miraj (Maharashtra), whereas others like Bahauddin
Dagar play ones from Kolkatta (from what I know).
from a Dhrupad enthousiast from Hubli, Dharwar, from the book "Rudra Veena: An Ancient String
Musical Instrument" by Pandit Hindraj Divekar (see here) and from the excellent
See also here.
The fotos above are from the website
As we were not able to find any recordings by Bindu Madhav Pathak, we present here two musicians belonging to his tradition: his son Shrikant Pathak and his student R.V. Hegde. The music is from All India Radio. We found the recordings a while ago in the internet. Unfortunately we don't remember
the names of the original uploaders.
Shrikant Pathak took Been playing professionally. He has an MA in music and
holds a Ph.D. He teaches Sitar at Pandit Panchakshari Gawai music college run by
Veereshwar Punyashram, Gadag.
Ramachandra V. Hegde was born in 1953 at Halladkai in Sirsi Taluk, Karnataka in
a family with a rich musical background. His grandfather was a well known
musician in that area and as a child he grew up in a house steeped in music. He
began learning Hindustani Vocal and is an accomplished singer but was fascinated
by the Sitar. His love for the Sitar made him give up singing and soon he began
his training under Pt. (Dr.) Bindu Madhav Pathak, a well known Sitar and
Rudraveena player of the Bande Ali Khan Gharana. Under Pt (Dr.) Bindu Madhav
Pathak’s guidance he soon learnt the intricacies of the Sitar. He was also lucky
enough to get a guru who was an accomplished player of the Rudraveena.
The Rudraveena is not an easy instrument to master and there are only a handful
of artists who play the Rudraveena. Under Pt (Dr.) Bindu Madhav Pathak’s
guidance, Ramachandra Hegde was able to master both these classical Indian
Apart from playing the Sitar and the Rudraveena, Ramachandra Hegde believes in
keeping the music of the Rudraveena alive for generations to come. He teaches
music and trains young pupils from all over the country. Many of his students
have gone on to become All India Radio Artists themselves.
If anybody has more information or more recordings by these artists or other artists from this tradition, please share.
Recently in India a CD by Jyoti Hegde was published:
Born in 1907 Abid Hussain Khan was an accomplished vocalist and also a Beenkar (a Rudra-Veena player). He traced his musical heritage from Shri Mishri Singh Rajput of Jaipur who once accompanied Miyan Tansen on Rudra Veena before emperor Akbar. As a child, Abid Hussain Khan had been initiated in music by his father Late Ustad Jamaluddin Khan of Bidar state during the twenties and thirties of last century.
Here we present four Ragas on two CDs. Only one Raga - Raga Darbari Kanada - is played on Rudra Veena. The others are vocal: the two Ragas on the first CD are sung in Dhrupad style and the second Raga on CD 2 is in Khyal style. The recordings are probably from All India Radio.
Ustad Abid Hussain Khan: The Maestro Par Excellence
By Roop Narayan Dixit
(Roop Narayan Dixit is a retired professor of English who became a
Ganda-baddh disciple of Ustad Abid Hussain Khan in 1963)
Late Ustad Abid Hussain Khan of Indore hailed from Baroda and the court of
the erstwhile state of the Nawab of Jinjira but had settled down at Indore
during forties and fifties of the last century.
Born in 1907 this grandson of
Raza Ali Beenkar was an accomplished vocalist and also a Beenkar (a Rudra-Veena
player). He traced his musical heritage from Shri Mishri Singh Rajput of Jaipur
who once accompanied Miyan Tansen on Rudra Veena before emperor Akbar. As a
child, Abid Hussain Khan had been initiated in music by his father Late Ustad
Jamaluddin Khan of Bidar state during the twenties and thirties of last
In prime of his youth, he became the court-musician of the Nawab of
Jinjira, a Muslim state in the coastal area of Maharashtra where he lived in a
cottage facing the rolling waves of the Arabian Sea. Perhaps the resonance of
his voice, and his own style of Alap and taking Taans reflecting the elegance
and grace of an ocean, was due to this.
A versatile genius, Ustad Abid
Hussain Khan could sing Dhrupad and Dhamar, Khayal, Tarana, Tappa with
competence. His singing enamoured the audience while reaching rare heights. The
manner of Alap came to be recognized as Bidar ang with its distinctive
development by gliding from Mandra Saptak to pause at Shadja and gradually
ascending toward Madhya Saptak where he stayed considerably. The swara-s he
applied were graced with nuances (Kana) and Meend. After a relaxed immersion in
the lower and middle octaves, Khan Saheb touched the Tar Saptak, yet plunging
back to Mandra and Madhya at times. The Alap in Dhrupad and Dhamar was given
ample time to establish notes and relationships. The Alap done in a pleasing and
interesting manner, it never tired the patience of the audience. His
pronunciations established his Dhrupad lineage from Khandarbani explaining his
use of Nom Tom for alap.
When he sang a Khayal or Tarana his Alap was brief,
yet he continued to be dynamic and graceful in compositions; in Bol-s and
Bol-taan-s, he applied Gamak with force of thunder and lightning. In his Tan-s
he was equally graceful, elegant and forceful.
Not only the style but his
very persona underwent a change when he sang a Thumri, a Dadara or Hori.
Invariably each performance was totally subjective and its intense intimacy
touched the hearts of each member of the audience.
Khan Saheb preferred
common and well-known Raga-s in his concerts. Mostly, the Raga-s were Bilawal,
Malhar, Todi, Malkauns, Megh, Darbari, Kaphi and Chhayanat. His compositions
were mostly in Teen-tal, Tilwada, Jhoomara and Ada Chautal. He also gave a few
memorable concerts singing less common Raga-s like Barwa, Khat, Durga, Shankara
Shri Vimal (Bimal) Mukherji (Sitar-player), chief among his
illustrious disciples is the foremost representative of the Gharana. His
prominent representative for vocal style is Bhavyanand Bhatt of Indore who has
retained the charm and uniqueness of His Ustad’s Khandarbani style. His
accompanists were Late Ustad Alladiya Khan in Sarangi, Pt. Ambadas Agle Pant on
Pakhawaj and Ustad Dhulji Khan on Tabla. Among the living generation, Ustad
Moinuddin Khan had accompanied him on Sarangi and Ustad Yusuf Khan on Tabla.
About Jamaluddin Khan
Jamaluddin Khan was the son of Reza Ali Beenkar of Jaipur.
The family traces its root to the Seni Gharana. Descendents of Tansen selected
Rudra Veena for members of the family;
to other disciples they taught Surbahar and Sitar. Jamaluddin had mastered the
art and became a court musician at Baroda. His performance at Music Conference
held in Baroda in 1916 was excellent and remained in memory of listeners. He
trained his son Abid Hussain in Been as well as vocal music.
Sadiq Ali Khan (1893-1964), a renowned Veena player, was born in Jaipur. He
studied at home mainly under his grandfather Ustad Rajab Ali Khan. He was a
court musician of several states including Jhalawar, Alwar and Rampur. He was
expert in Alapa and liked depth in music. Unlike many other musicians he
disliked percussion competitions. He had nine children by his first wife, but
unfortunately, all of them except a daughter, Khurshid Jahan, died young. Asad
Ali Khan was the son by his second wife. He was a bosom friend of Vilayat Husain
Khan (Agra) and Ayodhya Prasad, the well-known Pakhawaj player of Uttar Pradesh.
He died in Rampur on July 17, 1964.
From: Musicians of India by Amal Das Sharma, published by Naya Prokash (1993)
We are very grateful to KF, the original compiler of these recordings, who
created these two CDs for his own collection and shared them generously. Recordings on CD 2 courtesy of VN.
Ustad Rajab Ali Khan & His Descendants
In the last centuries
the court of Jaipur was the musical center of Rajastans. The generous patronage
of Maharaja Ram Singh II assembled in his ruling times (1835 - 1880) numerous
instrumentalists, vocalists and dancers in Jaipur. Among them was the Binkar
Ustad Rajab Ali Khan, who was teaching also the Maharaja himself on the
Since Ustad Rajab Ali Khan did not have a son, he passed on his art to his nephew Ustad Musharaf Ali Khan, who became later court musician in Alwar.
Ustad Musharaf Ali Khan performed as one of the first Indian musicians in Europe
- 1886 in London. Around the beginning of the 20th century he and Ustad
Jamaluddin Khan where two of the most famous Veena players of the country. His
golden painted Veena can still be found today in the Alwar Palace
Ustad Sadiq Ali Khan (1883 - 1964), one of the five sons of Ustad
Musharaf Ali Khan, took over the position of his father in Alwar after his
death. Later he shifted to Rampur, another famous musical center. Here he lived
until the end of his life as court musician of Nawab Raza Ali Khan.
the court environment of Rampur also his 1937 born son Ustad Asad Ali Khan was
growing up. At the age of ten he began his lesson on sitar. Four years later his
father started to teach him on the Rudra Veena. It followed another thirteen
years of intensive schooling and practice (riyaz) in which he also accompanied
his fathers concerts.
Ustad Asad Ali Khan is today the last famous
musician who combines the mastery of the traditional Been techniques with
profound knowledge of the raga. His family tradition makes him also to be one of
the last representatives of the Khandarbani, one of the main styles of the
This mainly on the Been played style is known for the precise
control of the microtonal fineness and the simultaneous ornament rich
development of the melody. With worldwide concerts and classes to Indian and
Foreign students he works for the continuation of the Rudra Veena tradition. His
nephew Zaki Haider lives and learns with him since his childhood. Beside that
Ustad Asad Ali Khan teaches also some other disciples on the Rudra Veena.
In the West the Rudra Veena is mainly known through two great masters of the instrument: Ustad Zia Mohiuddin Dagar (1929-1990) and Ustad Asad Ali Khan (1937-2011) (see here).
We are starting now a series of three posts of great masters of the Rudra Veena who lived a generation earlier. As far as I know, never any recordings of these masters have been published. The recordings we present here are mostly from broadcasts by All India Radio.
For more information on the Rudra Veena, its masters and its history see:
We start with Ustad Mohammed Dabir Khan, the grandson and pupil of Wazir Khan of Rampur (the teacher of Ustad Allauddin Khan) who traces his
lineage back to Tansen. He was proficient in instrumental Rudra Been as well as
in vocal Dhrupad music. He was the recipient of the Sangeet Natak Akademi award
in 1969. He passed away in 1972.