Though his father Ahmed Khan died early in his life, Khan's uncle, Jehangir, taught him dhrupad for 5 years and then khyal for another 8 years. Khan would practice palta exercises for six hours daily well into his 50s.
Career
Alladiya Khan served in the court of various kings of Rajasthan, including that of Amlata.
Setback
Due to overextension of the voice at the request of his patron, Khan lost his voice in his late-30s for nearly two years. His recuperated voice is said to have not regained the quality and sensitivity he had employed earlier. These limitations resulted in the conception of what would become the Jaipur gayaki.
Touring
Khan traveled to Bihar, Patna, Allahabad, Nepal, and Baroda for some years in the early part of his life to perform for kings.
In 1922, he moved to Mumbai after the king died. He taught many disciples and sang in many mehfils in Mumbai. There, he grew fond of natya sangeet singers like Balgandharva and continued to teach his students until his death. Alladiya Khan died in Bombay on 16 March 1946. His autobiography, as narrated to his grandson Azizzudin Khan Sahab, is available in English translation, as My Life, with an introduction by Amlan Dasgupta and Urmila Bhirdikar, published by Thema, Kolkata, 2000.
Musicianship
Repertoire
Alladiya Khan was acknowledged for his creation and resurrection of many complex Raags such as Nat Kamod, Bhoop Nat, Kaunsi Kanada, Sampoorna Malkauns, Basanti Kedar, Shuddha Nat, Malavi, Savani Kalyan, DhavalaShree. Many of these Raags were sung in the Havelis in northern Rajasthan, where Khansahab grew up. From Haveli Sangeet tradition, Khansahab brought many of the Raags in the realm of live concerts and also created Raags and Bandishes rooted in 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 KanadaBandish "Mero Piya Rasiya" and Bihagda Bandish "Ae Pyaari pag hole". "Khan Saheb had never allowed his voice to be recorded."
Students
Khansahab's major disciples were Azmat Hussain Khan, his own younger brotherHaider Khan, his own sons, Manji Khan and Bhurji Khan, and his grandson Azizuddin Khansahab. Khansahab's brother helped grow the Jaipur-Atrauli gharana after Khansahab's death. Manji Khan, the second son*, died early in 1937, so it was Bhurji Khan, the youngest son, who passed on the gayaki of his father. Mallikarjun Mansur and Dhondutai Kulkarni are among the noted disciples of Bhurji Khan. Apart from family, Khansahab's initial disciples were Bhaskarbuwa Bakhale, Kesarbai Kerkar, Mogubai Kurdikar Govindrao Shaligram, and Dhondutai Kulkarni.
Badeji Khan
Alladiya Khan's eldest son, Nasiruddin "Badeji" Khan, could not pursue singing as a profession because of health reasons, so Azmat Hussain Khan and Manji and Bhurji Khan took forward the tradition.
Legacy
The Annual Ustad Alladiya Khan Music Festival is celebrated in Mumbai and Dharwad each year, where several singers and musicians perform, giving homage to Alladiya Khan.
Recordings
Khan was adamant about not having his voice and style recorded for fear of copyright. Though, there have been suspicions that ambiguous recordings may belong to Khan or his kin. A recording of a thumri is alleged to be featuring Khan singing.
