Late Ustad Latafat Hussain Khan

A Tribute to my Beloved Revered Guru

Ustad Latafat Hussain Khan was the youngest son of Ustad Altaf Hussain Khan, a musician in the Durbar of the Maharaja of Jaipur. He was initiated into the art of music by his elder brother, Padmabhushan Ustad Khadim Hussain Khan. Thereafter he was sent to Baroda, where he received rigorous training from ‘Aftab-e-Mausiqui’ Ustad Faiyaz Khan for about five years, after which he resumed his training ‘Talim’ for 10 yeaars under his elder brother. Subsequently he received advanced training from his uncle Ustad Vilayat Hussain Khan.

A child prodigy, Khan Sahib made his debut at an early age and was in his prime in the Nineteen forties, fifties and sixties. He wan the hearts of people wherever he sang; he swayed his fans by his style and manners; with his kind of vocalism, which was at once reminiscent of Ustad Faiyaz Khan. A remarkable performance in the late forties at a hall called ‘Talmi-Ki-Vadi’ in Bombay, which belongs to Saraswat Brahmins. Here the great Ustad sang for fourteen and a half hours at a stretch; it is undoubtedly a remarkable feat. It is said that the audience were so enthralled by music that he was not allowed to leave the stage.

An ace performer of the Agra Gharana, he is the foremost from among Ustad Faiyaz Khan Sahib’s Shagirds. He inherited, besides other aspects, ‘Rang’ and ‘Tabiyat’ which were characteristic features of Faiyaz Khan Sahib’s ‘Gayaki’. Reviews of Usatd Latafat Hussain Khan Sahi’s numerous concerts proclaim: “With a voice sharper than Ustad Faiyaz Khan’s, Latafat Hussain Khan Sahib almost gave the impression that it was his illustrious uncle who was actually singing with the ‘Rangile’ flourishes of the magnificent Maluha Kedar he chose as his opening piece”.(Hindusthan Standard, 11-01-74). “Among the Agra Gharana singers, Latafat Hussain’s singing is perhaps nearest to the style of the late Ustad Faiyaz Khan. He not only follows the late maestro’s patterns but also the pauses, ‘Jhatkas’, ‘Halats’ and tonal modulations. His solid Talim base makes him true representative of the Gayaki which is marked by clear ‘Rag’ picture, organized presentation and a sense of balance.” (The Statesman).

Ustad Latafat Huassain Khan Sahib was blessed with a strong roust voice which was equally broad and impressive in the ‘Mandra’, ‘Madhya’ ad ‘Taar’ Saptak. His Gayaki was characterized by a colorful depiction of ‘Ragas’ romanticism, a perfect command of ‘Laya’ and various forms of breath-taking ‘Laykari’. He had a dignified method of presenting ‘Athai’, ‘Antara’ and ‘Alap’. Above all, he understood the value of total presentation; patter after pattern were build up with great care and accuracy, reminding one of the architectural construction of a medieval fortress with its gigantic walls, ramparts and turrets. A special mention can be made here of his regal presentation of Ragas Megh and Darbari. One of his critics writes: “Ustad Latafat Hussain Khan rendered a Khayal in Darbari Kanhara most gloriously. The sweeping and the sustained overture brought out the majestic lineaments of this Raga in bold relief with subtle Gamak and Palta lighting up its nuances.”

Along with ‘Khayal’, Khan Sahib was equally well versed in Dhamar, Dhrupad, Thumri and Dadra. His ‘Bol Banav’ and ‘Pukar’ were spell-binding. He breathed life into any composition by his total involvement with it, highlighting its subtle phrases which he embellished in innumerous ways. The Ustad earned great fame by participating in a number of music conferences all over India. He was awarded a gold medal by the Maharashtra Government and was the Special Executive Magistrate of Bombay.

The great master had opportunity to give music direction for a film called ‘Pickpocket’ directed and produced by Bashir Dehlvi and Brij Art Productions respectively. Play-back singing was provided in this film by Ustad Yunus Hussain Khan.

Khan Saheb produced a musical feature for A.I.R, as early as its inception when Z. A. Bukhari was the Station Director. He sang in this feature along with Ustad Amanat Khan of Bhendi Bazar. Needless to say, he was a regular performer of the A.I.R. and was place in ‘A’ top grade. His ‘Alap’ in Rag Darbari is featured in the film ‘The Guru’, where music direction has been provided by Ustad Vilayat Hussain Khan.

The ‘Sur Singar Samsad’ in Bombay celebrated his 50^th birthday by organising ‘Jashne Latafat’. He was felicitated by the same institution on the 30^th November 1986, where he was honored with the title ‘Swar Vilas’. This was his last visit in Bombay, The city where he spent the best part of his life.

Ustad Latafat Hussain Khan was accompanied on the Tabla, from a very early age, by stalwarts like like Ustad Ahmed Jaan Thirakwa, Ustad Mohammed Ahmed (a great friend of his) and Ustad Alla Rakha. Some of his close friends were Ustad Bade Ghulam Ali Khan and Ustad Amir Khan; the three of them were the famous trio of Bombay. Another close friend is the great Shehnai Nawaz Ustad Bismillah Khan, with whom he has sung a duet, a memorable performance which was organized by an industrialist friend, Shri Sher Mohammed of Bombay.

Music India released a long playing record of his in the early seventies featuring Ragas Miyan Ki Todi and Gara Kanhara. It is also available in a cassette form.

A composer of note, Ustad Latafat Hussain Khan composed various ‘Bandishes’ under the pen name of ‘Prem Das’. His masterpiece is a composition “Allah Meri Jholiyan Bhar Dijiye” in Rag Bhairavi. He used to tell us that this composition was such a favorite of his fans that he was made to sing this at the end of every performance.

There were certain Ragas which were great favorites of his. He immortalized them by his emotive and soulful rendering. These are Darbari, Megh, Barwa, Gara, Jaijaivanti, Kapar Gauri, and so on. He has to his credit may disciples; prominent among them are Ustad Shafi Ahmed Khan, of Aligarh University, The famous film star Suraiya, Kichlu brothers, Kumar Mukherjee, Velangar, Bokul Chatterjee, Zainul Abedin, Ruby Mallik, Mannubhai Amarsay of Bombay and Gurudayal of Allahbad.

He was to the last only interested in imparting ‘Talim’ to his Shagirds whom he loved like his own children. He was a senior Ustad of Agra Gharana in the Sangeet Research Academy in Calcutta.

While giving us Talim he would ask us to get involved in what we were singing saying ‘Swar Ka Maja lo’. He would tell us that until we are able to please ourselves by our music, we would be unable to please anyone. He was so fond of his Shagirds that he could not bear it if he did not see and talk to any of his students for more than a day or so. Wile teaching us he never kept back anything. If we asked him to teach us just one composition he teach us four. He himself was unaware of how many compositions he knew of a Raga.

When he taught us a Raga, he would put before us so many of facets of it that never for a moment would we get bored. I learnt Raga Bihag from him for one year and not for a single day did I feel it was getting monotonous and that I should learn a new one. Instead it became more and more interesting.

Sometime while teaching us a favorite Raga of his beloved uncle and Ustad Faiyaz Khan Sahib, he would get so moved he would start crying remembering the magnificent way his Ustad rendered the Raga. He would tell us we were indeed unfortunate we had not heard Faiyaz Khan Sahib’s concerts. He told us Faiyaz Khan Sahib used to almost cast a spell on his listeners by music.

A devout religious man Latafat Hussain Khan Saheb was a desciple of Peer Sahib Ashfaq Ali Shah Sahib Chisti-Sabri (he is considered the spiritual head of Agra Gharana). He was regular in saying Namaz and remembered his Allah for every little thing he got, or wanted. After his Namaz he would ask for blessing of all his Shagirds. It was due to this great love for Allah that he was taken away from us so suddenly.  

Comments-

"a great and learned musician, and what endeared him to others was his ability to empathize with their sufferings."

-Smt. Girja Devi

" ....a maestro with a remarkable repertoire of ragas and bandishes. He had the ability to delve deep into a raga and explore its richness to the fullest."

-Ustad Nisar Hussain Khan

"....the greatest stalwart of the Agra Gharana after Faiyaz Khan. His exceptional musicianship was particularly reflected in his execution of the initial alaap of raga."

-Pandit Nivruttibua Sarnaik

"....the artiste whose music made you feel that Faiyaz Khan had come back to life. As a person, he was simple and unassuming."

-Shri A.T.Kanan

-Ruby Mallik

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