दादरा (खमाज अंग) — मौज़ुद्दीन ख़ान

“Dadra in Khamaj” represents Mauzuddin Khan's late-career dadra sides for the Gramophone Company, attributed to c. 1922 — the Banaras thumri master's weighted treatment of the six-beat form, on His Master's Voice 78s.

Where most singers used the dadra for play, Mauzuddin weighted it: Khamaj's two nishads bent into sighs, the six-beat cycle stretched at its seams by bol-banav instincts. His late sides preserve a heavier, darker voice than the salon legends describe — time audible in the grain.

The dadra's small texts of waiting and reproach, in his delivery, borrow thumri's gravity: a taunt becomes an elegy, a quarrel a confession. The Purab ang at dusk.

Mauzuddin's final years were spent in Calcutta amid failing health and a fading patronage world; he died around 1926. The discs of his last period circulated among connoisseurs as relics even in his lifetime — the recorded remainder of an art that lived best across whole evenings.

Together with 'Kaun Gali Gayo Shyam', his dadra sides complete the small recorded testament by which later generations measured Purab-ang singing.