Gauhar Jan: India’s First Recording Diva

Swanandi Deshmukh
5 days ago
8 min read

Updated: 19 hours ago

(Image 1- Gauhar Jan with Doanna Jan and Chavanni Jan | Bajanaama by A N Sharma)

Gauhar Jan, born as Angelina Yeoward in 1873 in the town of Azamgarh (present-day Uttar Pradesh), was destined for an extraordinary journey. Her father, William Robert Yeoward, was an Armenian engineer. Her mother, Edilian Victoria Imangus, came from a Jewish background and had a deep love for Indian music.

Edilian’s musical dreams slowly faded into the background after marriage. With little support from her husband, she eventually found companionship with a musician named Khursheed. Together with her young daughter, she moved to Benaras, the city that pulsed with the rhythm of Hindustani classical music. There, Edilian embraced Islam and took the name Malka. She began calling her daughter Gaura, a loving abbreviation of the name Gauhar.

In Benaras, Malka devoted herself fully to music. Her years of disciplined practice earned her admiration in the city’s musical circles. But her vision reached far beyond. In 1883, she and her daughter, Gauhar, moved to Calcutta, which was then the cultural and political heart of British rule. Malka, now respectfully known as Badi Malka, stood out among the famed performers of the time. In this rich cultural atmosphere, young Gauhar blossomed. Trained rigorously in music and dance, she grew up to be a performer of remarkable talent and charm. Her voice carried a rare blend of emotion and precision, which quickly made her a favourite at mehfils and gatherings across the city.

(Image 2- Gauhar Jan in a recording session | Wikipedia)

Musical geniuses who shaped Gauhar Jan

Gauhar Jan’s journey as an artist was deeply influenced by the remarkable musicians who surrounded her throughout her life. Among her closest musical collaborators was Ustad Gauri Shankar Misra, who became her chief accompanist and performed with her regularly. He was the son of the great sarangi player Bechu Misra, also known as Bechu Ustad, whose music left a lasting impression on Gauhar. Another key figure in her performances was Ustad Mamman Khan Sarangiya, the son of Ustad Sangi Khan and father-in-law of the legendary Ustad Bundu Khan.

From the very beginning, Gauhar’s training was shaped by a wide range of accomplished gurus. Shrijan Bai introduced her to the deep and majestic forms of Dhrupad and Dhamar. Kallu Ustad, also known as Ustad Kale Khan of Patiala, taught her the styles of pure and light classical Hindustani music.

(Image 3- Gauhar Jan in 1910 postcard | Wikipedia) — (*Image 3*- Gauhar Jan in 1910 postcard | Wikipedia)

To master rhythm and movement, she learned Kathak from the celebrated Ali Baksh and the renowned maestro Bindaddin Maharaj. Charan Dass introduced her to the lyrical and devotional tradition of Bengali Kirtan. These early foundations allowed her to move between styles with ease and elegance.

Gauhar continued to expand her musical world by learning from many other respected artists, including Shiv Prasad Mishra, Bhaiya Saheb Ganpat Rao, Ustad Maujjuddin Khan, and the distinguished vocalist and sarangi player Ustad Nazir Khan of Rampur.

Together, these artists were not just her teachers and accompanists. They were the pillars of a musical legacy that shaped Gauhar into one of the most celebrated voices of her time, an artist whose singing was rich with discipline, emotion and timeless artistry.

(Image 4- Ustad Mamman Khan | Bajanaama by A N Sharma) — (*Image 4*- Ustad Mamman Khan | Bajanaama by A N Sharma)

Gauhar Jan held deep respect for the Kirana tradition and regarded Ustad Abdul Karim Khan as one of her teachers. At a mehfil held in Pune, organised by Abdul Karim Khan himself, she performed before an audience that also included his son Abdul Rehan Khan, later known as Suresh Babu Mane. After her performance, Gauhar bowed before her Guru, placed a nazrana in his hands, and paid her respects as a prevalent custom in those days.

By 1896, Gauhar had begun performing in Calcutta. Known for her thumri, she also sang Khayal, Dadra, Tappa, Hori, and Kajri with equal ease and elegance. Versatile across genres, she navigated all major forms of classical and semi-classical music with effortless command. Her voice carried the colours of every mood and season.

‘My name is Gauhar Jan’

In one memorable Kajri, just as the melody settles, she speaks clearly into the recording horn, "Mera naam Gauhar Jan hai aur maine Kajri gayi hai.” It feels less like an announcement, more like a conversation that reaches across time.

Her singing is powerful (thumri-style bol-baant), yet always balanced with delicacy and lyrical grace. She renders even the most intricate rhythmic structures (layakari) with apparent ease and expressive clarity.

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Recording Gauhar Jan- First Takes, Lasting Echoes

Gauhar Jan lived surrounded by music, wealth and admiration. Her audiences adored her. Patrons gifted her fine jewellery and precious stones. Her concerts drew large crowds, and ticket sales brought in enormous sums. She became a millionaire through music. At the peak of her fame, she owned multiple cars and travelled in grand phaetons drawn by sleek, well-groomed horses.

She had a flair for dramatic entrances. F W. Gaisberg, the pioneer sound recordist, watched her step in wearing a new gown each time. No repeats. Every ensemble was more ornate than the last. Her jewellery changed with every session. No gem made a second appearance.

(Image 5- Gauhar Jan | Paper Jewels) — (*Image 5*- Gauhar Jan | Paper Jewels)

Raag Jogiya- The First Ever Gramophone Music Recording

In November 1902, Gauhar Jan recorded for The Gramophone Co. during their first Far Eastern recording tour in Calcutta. The sessions were led by recording pioneers Frederick William Gaisberg and George Dillnutt. Her first session began on the evening of 11 November. The studio lit up with her voice, her presence, and her command of style. She sang Raag Jogia under the label His Master's Voice, and India got its first-ever gramophone music recording. This 122-year-old recording of Gauhar Jaan carries the breath of a bygone era. Her voice feels alive with a great elegance and a strong sense of confidence and command.

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(Image 6- Gauhar Jan in her prime era) | Bajakhana by Michael Kinnear — (*Image 6*- Gauhar Jan in her prime era) | Bajakhana by Michael Kinnear

In 1888, Gauhar Jan gave her first formal performance at the royal court of Darbhanga Raj. The court recognised her brilliance and appointed her as a court musician. This marked the beginning of her celebrated public career.

She visited Madras in 1910 to perform at the historic Victoria Public Hall. Her music left a deep impression. Soon after, her Hindustani and Urdu songs were printed in a Tamil music publication, reflecting her growing popularity in southern India.

In December 1911, Gauhar Jan received one of the most prestigious invitations of her time. She was called to perform at the Delhi Durbar during the coronation of King George the Fifth. On that grand occasion, she sang a duet with Jankibai of Allahabad. Their voices rang out across the grounds with the song Ye Hai Tajposhi Ka Jalsa, Mubarak Ho Mubarak Ho, a performance remembered for its elegance and ceremonial grandeur.

Raag Desh

Gauhar Jan’s soulful recording of Raag Desh is a masterclass in expressive artistry and emotive depth. Her voice flows with a silken ease, capturing the gentle pathos and the romantic longing that Desh evokes. It feels like the first fragrance of the monsoon with the moist breeze flowing freely.

Even in the grainy texture of the old recording, Gauhar's voice cuts through time, vibrant and alive, touching the heart with startling immediacy.

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Anecdotes

The Governor and the Carriage

During her Calcutta years, Gauhar Jan would glide through the city's main streets in a fine carriage pulled by seven well-groomed horses. It was a familiar sight, elegant and commanding. One evening, her carriage crossed paths with the Governor’s convoy. Not knowing who she was, but struck by her regal appearance, the Governor removed his hat and gave way. When he later found out her identity, he was furious. He issued an order forbidding her from using the road during his evening rounds. Gauhar responded in her own way. She returned every day, paid the one thousand rupee fine each time, and continued her evening ride as usual. After twenty days, the Governor withdrew his order. She had made her point.

A Flair for the Extraordinary

Gauhar Jan never missed a moment to turn life into a performance. When her cat gave birth to a litter of kittens, she hosted a grand feast in celebration. The affair cost her twenty thousand rupees. Hundreds of guests were invited. The story travelled quickly through the city, and soon the entire bazaar was buzzing with talk of the singer who celebrated like a queen.

(Image 7- HMV record label) | New Gramophone House — (*Image 7*- HMV record label) | New Gramophone House

(Image 8- Gramophone Concert Records) | Bajakhana — (*Image 8*- Gramophone Concert Records) | Bajakhana

(Image 9- The Twin Record)| New Gramophone House — (*Image 9*- The Twin Record)| New Gramophone House

A Household Name, A Timeless Voice

The manufacturer of gramophone needles that were used to play 78 RPM records started branding their product “Gauhar Jan Needles,” promising listeners the most lifelike sound possible.

An old advertisement claimed: “If you wish to obtain a natural reproduction of a singer’s voice or a musical instrument on a Disc Talking-machine, you are strongly recommended to use Gauhar Jan needles. By using these needles, you will find your phone to be a life-like singer.”

A thousand of these were sold for just one rupee and eight annas, and they flew off the shelves.

(Image 10- Gauhar Jan Needles advertisement) | Bajanaama — *(Image 10-* Gauhar Jan Needles advertisement) | Bajanaama

Along with gramophone needles, Gauhar Jan’s name was also associated with a local brand of cigarettes called "Gauhar be Baha". Bukhsh Ellahie & Co. was the company that named the brand after her and even featured her in advertisements. Much like her music, even her picture postcards and matchboxes became cherished collectables, passed from hand to hand like little pieces of stardom.

(Image 11- Gauhar Jan matchboxes) | Film History pictures — *(Image 11*- Gauhar Jan matchboxes) | Film History pictures

Last Years

In the early years of the twentieth century, Gauhar Jan formed a close friendship and creative partnership with Amrit Keshav Nayak, a rising star of the Parsi theatre. They met in Bombay around 1904 and worked on several songs that combined beautiful lyrics and emotional depth. His presence provided her comfort after the loss of her mother, and they shared a bond built on art and affection. When Nayak died suddenly in 1907, Gauhar found herself alone again, but she was stronger and more confident.

The years that followed did not lessen her brilliance. Gauhar travelled widely, recorded more than 600 songs in over ten languages, and continued to enchant listeners across the country. Her mastery of Khayal, Thumri, Dadra, Kajri, and other forms remained fluid and expressive. On stage and in recordings, she commanded her space with quiet confidence and radiant charm.

In 1928, Maharaja Krishnaraja Wadiyar of Mysore invited her to join his court as a musician. In the calm elegance of the palace, her voice became part of a refined world filled with listeners and admirers again. She spent her final days in Mysore, surrounded by music, dignity, and royal support. Gauhar Jan passed away on 17 January 1930, leaving behind not silence but an echo that is timeless, graceful, and unmistakably hers.