Pandit Kumar Gandharva

Though his voice was affected after the illness, he developed his own style of singing. Though he may not have reached the same heights as his contemporaries like Bhimsen Joshi, his style won him appreciation and accolades from one and all. His style of pronunciation was unmatched and he believed that words, if pronounced properly with the correct feel can be very powerful. His style of singing also included many dramatic gestures and smiles, which was thoroughly enjoyed by his audience.
He also experimented with other genres of music like devotional songs known as "Bhajans", folk songs, etc. His unique style and creativity made him compose songs in the same Raga in both fast and slow pace; this was something rarely done by a north Indian musician. Though he refused to follow the tradition of a Gharana, he never rejected completely the rich tradition of music. The great legend passed away on 12th January, 1992, leaving behind disappointed fans but a rich legacy of classical music.

 

Ustad Razzab Ali khan

Ustad Razzab Ali khan born at Narsinghgarh in 1948 on the occasion of Janamashatmi. He got his education in music in Kolhapur. But his work mainly concentrated in Dewas. Because of his ability various emperors honoured him. In 1909 maharaja of Mysoor awarded him with "Sangeet Bhushan". Maharaza of Kolhapur awarded him with Sangeet Ratna, While musical society of Mumbai gave him the honour of Sangeet samrat.
In 1953-54 First President of India Dr. Rajendra Prasad honoured him with the highest Award of indian music. Along with the art of singing he was also expert in BEEN a flute type instrument.
He was a very simple living person. He believed in simple living high thinking. He was one of the brightest Diamond of Malwa's music garland. People of Dewas still feels his presence by means of his Music. This greatest star of music died on 8th January, 1959

Smt. Vasundhara Komkali

One of the leading Female vocalist of the country, with a rare and extra-ordinary voice, Smt. Vasundhara Komkali in the true representative and heir to the Gayaki of Late Kumar Gandharva. She was born in Calcutta and encouraged to learn music from her very childhood. In 1946 she came down to Bombay and initially had her training for more than a decade under Prof. Deodhar a doyen of Gwalior Gharana and a disciple of Pt. Paluskar.
There after she was trained under her husband Pt. Kumar Gandharva. She helped Kumarji in the conception and execution of several specially prepared theme Concerts such as Geet-Varsha, Geet-Hemant, Geet-Vasant, Rituraj-Mehfil, Triveni, Surdas, Tulsidas-Darshan, Mala-Umajlela-Balgandharva.

Vasundharaji was not only the silent force behind the success of Kumar Gandharva's Musical career, but also lent able support and contribution to the success of his concerts. Vasundharaji is a regular broadcaster of AIR and Doordarshan and is a leading soloist in her own right. She has solo cassettes released in her name, which have established her stature as an able torch-bearer of the glorious tradition of the music of Pt. Kumar Gandharva

Kalapni Komkali

Kalapni Komkali is the daughter of Kumar Gandhara and Vasundhara Komkali. An awesome inheritance resides in her genes. The curious consequence of this circumstance is that it is not only an affirmation of what is called the Gwalior Gayaki, but a wholly reconstructed and transformed style that revolutionized Hindustani Classical Music. The Gayaki of Kumar Gandharaa is a difficult inheritance to claim. The reason for this difficulty is obvious when you consider the formidable issues involved in making a credible claim to it.

Kumar Gandharva´s impact on this century of Hindustani Classical Music has not yet been fully understood. This will take time. It is this inheritance however that gives Kalapini a very special place in the art and puts before her the opportunity for a unique evolution in her musical growth. In the last few years Kalapini has been able to cut a path of her own drawing from the inspiration of her father and Guru and has begun to show signs of sudden and unexpected intimations in her art. There are some major elements to be observed in her music. The hardest thing in Hindustani Music is to be able to transcend the scales and make a Raga come to life without making it seem like the notes of the scale being sung. Kalapini has begun to do this.
Kalapini has performed independently across the country to appreciative audiences. After her post graduation in Library Sciences, Kalapini learnt music from her father and is now an active trustee of the Kumar Gandharva Sangeet Academy, which has been structured to present and promote his genius. At present, she trains intensively with her mother.

Ustad Amanat Ali Khan

Ustad Amanat Ali was the disciple of the renowned vocalist Sangeet Samrat Rajjabali Kha Sahab. He has grasped the many touching qualities of the Indian classical music and during his period he has given the new practice the music of that type. The renowned vocalist Lata Mangeskar is his disciple. Dewas has proud on him.

Shri Babulal Verma

Shri Babulal Verma born in 1919 in Dewas, is a quiet unassuming and sincere musician since the age of three he had been learning Dholak from his father Sri Jawahar Shastriya. Later on he became the disciple of the renowned Ustad late Jahangir Khan Saheb Sahib Tabla Nawaz (recipient of president's award) and learnt at his feet for approximately twenty years. He is a Class 'A' artist of Akashwani (AIR) and he has invented "BRAMHA VADYA" in 1982 and since 1984 Babulal Verma toured the country popularizing the Bramhavadya with his demonstrations in major cities and between musicians of repute.

Sh.Babulalji composed "Gehritall"(13 matras) of 64 beats (matras) and "Tringatall" (13 matras) which are altogetherhis own creation.
BRAMHAVADYA is a new discovery in the music world. Lack of means and obscure location could not bring the instrument into limelight is deserves in spite of its creation in late 80s.
BRAMHAVADYA is a new percussion instrument-a combination of Dholak and Tabla. It is named after God Bramha. Who have four faces, this too has four performing faces. The combination gives deeper and more vibrant tone than can be produced on either of the conventional instruments viz. Tabla or Dholak.
BRAMHAVADYA in effect is a replacement of Pakhavaj ( Mridung) Dudur. Kundi, Nakkara Damru, Dholak,Tripushkar & Tabla.