Born in Hyderabad, Pandit Jasraj was trained in vocal music by his father Motiram and later his elder brother Maniram, with whom he did many duets before moving into his own solo space. It is said he would often skip school to listen to the songs of the legendary Begum Akhtar played at an Irani cafe.

His family left Hyderabad when Jasraj was 16, but he would return every year in the last five decades to hold the ‘Pandit Motiram and Pandit Maniram Annual Music Festival’ in honour of his father and eldest brother. They were the elite musicians in the department of music and arts of the Nizam VII, Mir Osman Ali Khan. Begum Akhtar and Bade Ghulam Ali Khan were also in the Nizam’s court of music and arts.
Jasraj received training as a tabla player from his brother Pratap Narayan and, in his early years, was veering towards becoming a percussionist. However, he did not like the way instrumentalists were treated. An incident where he was insulted publicly by a vocalist catalysed his decision to become a singer.
The pilgrim of music lived a life filled with struggle and stories, but eventually garnered India’s most prestigious awards – including Padma Vibhushan in 2000 and the Sangeet Natak Akademi Award in 1987. “The devotional aspect of Pandit Jasraj’s musical personality is central to his musicianship,” says musicologist Deepak Raja.
Raja cites an interview in which Jasraj said, “…music is not for only enjoyment. The enjoyment is there every time, but it is a prayer to God. So, when I start to teach my disciples, first, I explain to them, think of your mother, father. Think of your guru. Think of your Almighty. We have plenty of gods, so you can think of whichever god you love and offer, this is my service. Please accept it, and forgive my mistakes. Wherever you are making music, you invite him, because God loves music…”
Jasraj penned numerous lyrics and compositions. He was also a master of stagecraft, and viewed music as theatre, writes Raja. “His charming persona, the swaramandala in his lap, his exceptionally large ensemble, often consisting of 3 or 4 tanpuras and two melodic accompaniments, his body language full of dramatic gestures – all contribute to building a majestic aura that enhances the appeal of his music.”