Bade Ghulam Ali Khan’s 122nd birth anniversary falls on April to this year.
As I sit back and enjoy the evergreen melody ‘Jogan ban gayi…’ from Mughal-e-Azam, a very soft and soothing rendition by Bade Ghulam Ali Khan Sahib, I am filled with admiration for this illustrious maestro of Patiala-Kasoor Gharana, whose name resounds through the corridors of musical history. Anyone who listens to his rendition is left wondering at the realm of his unparalleled artistry and innovation; his poise, his ease and his effortlessness.
Endearingly hailed as the Tansen of the 20th century, and ‘Jagat Ustad’; the name of the emperor of ‘Sur’ and ‘Taal’, echoes through time; adorned with unparalleled respect, fame, and a legacy that remains steadfast.
Bade Ghulam Ali Khan was born on April 2, 1902, in the quaint town of Kasur, nestled within the heart of Punjab, British India (now part of Punjab, Pakistan). Among the illustrious lineage of musical talent, he shared his childhood with three esteemed siblings: Barkat Ali Khan, Mubarak Ali Khan, and Amanat Ali Khan. His musical journey began at the tender age of five under the tutelage of his revered uncle Ustad Kale Khan — who had been a court singer in the princely state of Jammu and Kashmir, and his esteemed father, Ali Baksh Khan , who was the court singer of Maharajah Rajinder Singh of Patiala.
Bade Ghulam Ali Khan started by playing Sarangi and singing his father’s and uncle’s compositions . But soon he meticulously evolved his own style by amalgamating three popular traditions. Drawing from the sacred elements of Behram Khani Dhrupad, the graceful gyrations of Jaipur, and the intricate embellishments of Gwalior, he sculpted a musical landscape that transcended time and space, his unique style was later to be known as the famous Patiala Gharana. As a true maestro of the people excelling in the rendition of more light-hearted ragas, such as Adana, Bhupali, Hameer, Jaijaiwanti, and Jaunpuri, he bestowed upon his audience a transcendent musical experience under his pen name Sabrang.
Ustad Bade Ghulam Ali Khan was married to Ali Jiwai who died in 1932. His son Munawar Ali Khan, born in 1930, was also a great classical singer. His grandson, Raza Ali Khan is yet again a Hindustani classical singer, thereby keeping the magic and tradition of musical lineage alive. After the Partition of India in 1947, Ustad Bade Ghulam Ali Khan initially returned to his hometown. However, ten years later, he made the decision to permanently relocate to India. With the assistance of then-Bombay Chief Minister Moraji Desai, he was granted Indian citizenship and provided a bungalow in the serene surroundings of Mumbai’s Malabar Hills.
For a long time, Ustad Bade Ghulam Ali Khan maintained a deliberate distance from film singing, despite persistent efforts from renowned producers and music directors. However, the trajectory of his artistic journey took an unexpected turn when film producer K Asif tried to persuade the maestro to lend his voice to the silver screen. Khan, set a high bar for his services, demanding a hefty fee of Rs. 25,000 per song. This figure starkly contrasted with the modest sums of Rs 400-500, charged by other acclaimed singers, such as Lata Mangeshkar and Mohammed Rafi. Khan’s intention was to dissuade film director. To Khan’s astonishment and disappointment, film producer K Asif not only accepted his fee but also provided an advance payment of Rs. 10,000.
But the journey was not an easy one. Upon entering the Mehboob Studio for recording session, Khan was taken aback by the absence of the Baithak, a traditional sitting arrangement conducive to his musical performance. K Asif swiftly arranged for the necessary setup, ensuring Khan’s comfort. Despite the preparations, Khan’s recording session did not go well. K Asif requested Khan to tone down his performance. This prompted Khan to abruptly leave the studio in protest.
The impasse between Khan and the director threatened to derail the project, but K Asif, took swift action. He hastily filmed the scene in which the song was to be featured and played it back for Khan’s assessment. Finally, Asif succeeded in coaxing Ustad Bade Ghulam Ali Khan to sing two iconic songs, ‘Prem Jogan Ban Ke’ and ‘Shubh Din Aayo’, thus marking a historic collaboration between classical tradition and cinematic grandeur.
Bade Ghulam Ali Khan Sahib, won the prestigious Sangeet Natak Akademi Award in 1962 and In 1967, he became a Sangeet Natak Akademi fellow. He was also bestowed with the esteemed Padma Bhushan Award in 1962, a recognition befitting his extraordinary talent .
Paying tribute to Bade Ghulam Ali Khan Sahib, the famous Historian Rama Chandra Guha writes that “once I was listening to Hamsadhvani a lovely, melodious, raga in the Carnatic tradition, rendered by Bade Ghulam Ali Khan … I discovered, to my great delight, that this particular rendition of Hamsadhvani was from a concert that he had given in my home town, Bangalore, in 1956. … So here was a Muslim musician in India, born in what is now Pakistan, an acclaimed Ustad of a Gharana of Hindustani music patronized by Sikh Maharajas singing a raga of the Carnatic style, in a festival named after the greatest of Hindu deities, held in the grounds of a school built in British times but named after a fort that dated to the 16th century and whose present form owed itself to both Hindu and Muslim rulers.” Such was the spirit of this great maestro, truly Indian.
The celestial voice of Ustad Bade Ghulam Ali Khan departed from this mortal realm on 23 April 1968, his mortal remains are buried in Basheer Bagh Palace in Hyderabad, where he had graced the world with his ethereal melodies.
Bade Ghulam Ali Khan Sahib will always be remembered for ‘Punjab-ang of Thumri’ and for his innovations to ‘Khayal’. The timeless renditions such as ‘Yaad piya ki aaye’, ‘Kate na biraha ki raat’, ‘Aaye na baalam’, and ‘Kya karun sajani’ shall continue to enthral, mesmerize and delight the generations to come.
(Dr. Ramnita Saini Sharda, is a poet, translator, and Prof. of English at HMV Jalandhar)
