I have wanted to revise and post some excerpts from my master’s research in Hyderabad recently, so here is a part of my research that explores the history of three distinct paramparas of tabla transmission in Hyderabad.
There are three distinct paramparas (musical lineages that have more than three generations of transmission) that have roots in Hyderabad because of the Nizam’s love for the instrument. The first stems from Niyamat Khan’s son, Musahib Khan, who left the courts of Indore for the court of the Nizam in Hyderabad around 1920 (the exact date is unknown). Although he did not stay for long, three of his disciples (the first two of which were his own sons) Ustad Bahadar Khan, Ustad Karmu Khan, and Ustad Maulla Baksh, stayed in Hyderabad and under the Nizam’s patronage for their entire career. Aban Mistry suggests that “after circa 1926 A.D., . . . the new Maharaja [of Indore] was fond of music but severely lacked his father’s extraordinary flair for music . . . So during his reign, many artists left Indore and went away. As per popular belief, most of Indore’s artistes settled down south in the courts of Hyderabad” (Mistry 1999:286). Consequently, Musahib Khan’s parampara in Hyderabad represents the Indore connections to Hyderabad.
The second parampara emerges from Ustad Munir Khan, who learned from the son of Ustad Haaji Vilayat Ali (the founder of the Faroukabad gharana), Hussain Ali Khan. Although he was not born in Hyderabad, he settled there early in his life because his father, Karim Baksh, who was not a tabla player, found work and moved to the budding metropolis. As a result, Ustad Munir Khan lived and taught in Hyderabad most of his life but eventually settled in Bombay. Some of his most famous students who did not live in Hyderabad, Ustad Amir Hussain Khan of Bombay and Ustad Jan Thirakwa Khan, continued to visit and learn from him while leaving their mark and traces in the Hyderabad tabla community to the present day.
The third parampara in Hyderabad includes Ustad Shaik Dawood Khan but stems from the son-in-law (Ustad Hussain Baksh) of the founder of Faroukabad gharana. It is important to note here that both the son and the son-in-law of Ustad Haaji Vilayat Khan are represented as two distinct paramparas of tabla in Hyderabad (they continue to be quite divided today). Ustad Hussain Baksh was loved by the Nizam so much so that it was said that he “would place himself next to his [the Nizam’s] royal seat and play the whole night through, while the Nizam languishing in the soothing effect of his Vaadan would doze off intermittently” (Mistry 297). Ustad Alladiya Khan, the son-in-law and senior disciple of Ustad Hussain Baksh, also earned his seat as a member of Nizam’s court musicians as well as his two sons, Ustad Mohammed Khan and Ustad Chote Khan.