Begum Akhtar - Thumrees & Dadras - ECSD 2374 - (Condition 90-95%) - HMV Black Label - LP Record

 Akhtari Bai Faizabadi, also known as Begum Akhtar (7 October 1914 – 30 October 1974), was a well known Indian singer of Ghazal, Dadra, and Thumri genres of Hindustani classical music.

She received the Sangeet Natak Akademi Award for vocal music, and was awarded Padma Shri and later, Padma Bhushan, posthumously by Govt. of India. She was given the title of Mallika-e-Ghazal (Queen of Ghazals).

Her father, Asghar Hussain, was a young lawyer who fell in love with her mother Mushtari and made her his second wife. He subsequently disowned her and his twin daughters Zohra and Bibbi (Akhtar).

Akhtar was barely seven when she was captivated by the music of Chandra Bai, an artist attached to a touring theatre group. However at her uncle's insistence she was sent to train under Ustad Imdad Khan, the great sarangi exponent from Patna, and later under Ata Mohammed Khan of Patiala. Later, she travelled to Calcutta with her mother and learnt music from classical stalwarts like Mohammad Khan, Abdul Waheed Khan of Lahore, and finally she became the disciple of Ustad Jhande Khan.

Her first public performance was at the age of fifteen. The famous poet Sarojini Naidu appreciated her singing during a concert which was organised in the aid of victims of the 1934 Nepal–Bihar earthquake. This encouraged her to continue singing ghazals with more enthusiasm. She cut her first disc for the Megaphone Record Company, at that time. A number of gramophone records were released carrying her ghazals, dadras, thumris, etc. She was amongst the early female singers to give public concert, and break away from singing in mehfils or private gatherings, and in time came to be known as Mallika-e-Ghazal (Queen of Ghazal).

Begum Akhtar's good looks and sensitive voice made her an ideal candidate for a film career in her early years. When she heard great musicians like Gauhar Jaan and Malak Jan, however, she decided to forsake the glamour of the film world for a career in Indian classical music. Her supreme artistry in light classical music had its moorings in the tradition of pure classicism. She chose her repertoire in primarily classical modes: a variety of raags, ranging from simple to complex. After the advent of talkie era in India, Begum Akhtar acted in a few Hindi movies in the 1930s. East India Film Company of Calcutta approached her to act in "King for a Day" (alias Ek Din Ka Badshah) and Nal Damayanti in 1933.

Like others of that era, she sang her songs herself in all her films. She continued acting in the following years. Subsequently, Begum Akhtar moved back to Lucknow where she was approached by the famous producer-director Mehboob Khan, to act in Roti which was released in 1942 and whose music was composed by the maestro Anil Biswas. "Roti" contained six of her ghazals but unfortunately due to some trouble with the producer, Mehboob Khan subsequently deleted three or four ghazals from the film. All the ghazals are available on Megaphone gramophone records. Begum Akhtar, meanwhile, left Bombay and returned to Lucknow.

In 1945, Akhtari Bai married a Lucknow-based barrister, Ishtiaq Ahmed Abbasi, and became known as Begum Akhtar.[7] However, after marriage, due to her husband's restrictions, she could not sing for almost five years and subsequently, fell ill. That is when her return to music was prescribed as a befitting remedy, and in 1949 she returned to the recording studios.[8] She sang three ghazals and a dadra at Lucknow All India Radio station. She wept afterwards and returned to singing in concerts, which she continued to do unto death. She sang publicly in Lucknow, in a women's only concert in aid of the war, which was held in 1962.

Her voice matured with time, acquiring richness and depth. She sang ghazals and other light classical pieces, in her inimitable style. She has nearly four hundred songs to her credit. She was a regular performer on All India Radio. She usually composed her own ghazals and most of her compositions were raag based. She sang the timeless Bengali classical song "Jochona Koreche Aari" (জোছনা করেছে আড়ি).

On October 7, 2017, Google dedicated a Doodle commemorating the 103rd birthday of Begum Akthar.

Record Details


Begum Akhtar - Thumrees & Dadras - ECSD 2374


Murli Manohar Swarup, Mohd. Ahmed & Ustad Mohammed Ahmad


Harmonium, Sarangi & Tabla


Begum Akhtar


Indian Classical (Vocal)




HMV Black Label

Releasing Year


Made In



The Gramophone Company Of India Limited

Serial No.

ECSD 2374

Side One

  • Jab Se Shayam Sidhare - Thumri

Begum Akhtar

  • Ankiyan Neend Na Aae

Begum Akhtar

Side Two

  • Zara Dhire Se Bolo - Dadra

Begum Akhtar

  • Balamwa Tum Kya Jano Preet - Dadra

Begum Akhtar

  • Mori Toot Gai Aas - Poorvi Dadra

Begum Akhtar



12 Inches


33 RPM

Record Condition


Cover Condition


Artist - 1 Murli Manohar Swarup
Artist - 2 Mohd. Ahmed
Artist - 3 Ustad Mohammed Ahmad
Instrument - 1 Harmonium
Instrument - 2 Sarangi
Instrument - 3 Tabla
Record Details
Genre Indian Classical (Vocal)
Label HMV Black Label
Language Hindi
Releasing Year 1962
Size 12 Inches
Speed 33 RPM
Singer - 1 Begum Akhtar
Side1 - Song1 Jab Se Shyam Sidhare -Thumri
Side1 - Song2 Ankiyan Neend Na Aae - Thumri
Side2 - Song1 Zara Dhire Se Bolo - Dadra
Side2 - Song2 Balamwa Tum Kya Jano Preet - Dadra
Side2 - Song3 Mori Toot Gai Aas - Poorvi Dadra

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Begum Akhtar - Thumrees & Dadras - ECSD 2374 - (Condition 90-95%) - HMV Black Label - LP Record

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Tags: begum akhtar, thumrees dadras, ecsd 2374, condition 90-95, hmv black label, lp record, indian classical vocal