Early 20th century shellac recordings from India:

ASADULLAH KAUKUB KHAN_Zila_Bhairavin_HMV_P.1443
Kaukub Khan and his famed brother Keramatullah Khan were the sons and successors of Niyamatullah Khan (1809-1901) - the man credited with modifying the Afghan rubab into the sarod.
Asadullah Kaukub Khan (1852-1915) was known as Professor Kaukab and taught music at a private school in Calcutta. He is believed to have introduced the sarod to Bengal. Both brothers went to Paris with Motilal Nehru. They were the first Indian musicians to visit France (Umar Khan 1978). In transit his sarod was damaged. In order to play his scheduled concerts in France he took the western Banjo and modified it in such a way to be able to play his Raga music on it. Back home in India the Kaukub-banjo became a huge success and all of his recordings were played on the banjo.

WALIULLAH KHAN_Pilu_Manj Khamaj_HINDUSTHAN RECORD_H.170
Waliullah Khan Saheb (1890-1951) was the son of Asadullah Kaukub Khan and the first of the extended family to take up sitar instead of the hereditary instruments sarod or rubab. He became a great and sought after virtuoso performer and some of his programs were advertised as "sitar with one hand", probably in regard of his powerful meend- and krintan-zamzama-laden left hand. His son Noorullah Khan Saheb (1938-2004) was a fantastic sitar player in his own right but remained under the radar as he did not adopt to the modern instrumental styles that had evolved during the mid 20th century..

SHAFIQULLAH KHAN_Brindabani Sarang_Kafi_HINDUSTHAN RECORD_H.57
Shafiqullah Khan (1895-1978) was the son of Kifayet and grandson of Karam Khan Saheb, both legendary sarod players and composers of many gats from Bugrasi ( Bulandshahar) who were employed as court musicians in Dholpur and other princely states.
Shafiqullah´s brother Rafiqullah Khansaheb (1890-1971) was a famous harmonium player during the first half of the 20th century.
Both learned music from their uncle Keramatullah Khan.
Shafiqullah Khan Saheb used to play sitar with two mizrabs and used this to great effect as one can hear in his recording. He trained his son Ghulam Sabir (1948-2014) on the sarod.

SAKHAWAT HUSSAIN KHAN_Gara_Pilu_HMV_P.17572
SAKHAWAT HUSSAIN KHAN_Tilak Kamod_Pahadi_P.17533 (1925)
Sakhawat Hussain Khan was born in 1875. As the son of Shafayat Khan (1838-1915), he already belonged to a significant musical lineage associated with the region of Shahjahanpur – the Shahjahanpur gharana of Enayat Ali Khan (1790-1883). His career was given a tremendous boost when he came under the artistic auspices of two musical heavyweights, Karamatullah (1848-1933) and Asadullah (Kaukab) Khan (ca. 1850-1915). The two brothers had brought national and international recognition to the Lucknow Gharana – or “Bulandshahr Gharana” – of Niamatullah Khan (d. 1903). They enriched Sakhawat's musical education with a tremendous wealth of skill and repertoire. The two strands of sarod playing from Shahjahanpur and Lucknow merged when Sakhawat married the daughter of his mentor, Asadullah (Kaukab) Khan. This genealogy was central to Sakhawat's unique musicianship. His disciple Devrani Chatterjee has edited his autobiographical notes and in her introduction repeats the narrative of Sakhawat's musical genesis:

“The Ustad's initial training was from his father Shafayat Khan. Later he learned from Karamatullah Khan who was the uncle of Ustad, and who was regarded as the most learned sarod player of his time. Ustad became the disciple of Karamatullah Khansaheb with lots of pomp and splendour [a reference to a lavish shagirdi, or discipleship ceremony] and learned a lot of things from him. Later when he married the daughter of Karamatullah Khansaheb's younger brother, Professor Asadullah Khan Kaukab, he also learned from him for quite a long time.” (Khan n.d.: n.p., in Katz 2017)

All of Sakhawat Hussain Khan’s shellac disc recordings feature Pandit Sakharam (1879-1967) on Pakhawaj. The famous duo was known as “Sakha-Sakhi”, or the two Sakhas (“friends”) of Lucknow. Their recitals display a very lively and intimate interplay between sarod and pakhawaj, akin to the dhrupad traditions of singing and veena playing. As SK Chaubey remembers in his memories on Sakhawat Khan: “His weekly demonstrations (at the Marris/Bhatkande College of Music in Lucknow) in the thirties, along with the Pakhawaj accompaniment of Pandit Sakharam, were the most thrilling items. The incomparable pair was known all over U. P.” Susheela Misra in her book about the Bhatkande College:”They would always begin with serious faces but before long, their duet would turn into a duel, each trying to outwit the other with loud clangs and bangs - all in a friendly spirit of course.”
Pdt. Sakharam served the Bhatkande College for most of his life as Pakhawaj and Tabla teacher and has been considered one of the outstanding representatives of the reputed "Nanasaheb Panse gharana".

List of references:

Chaubey, S.K. 1958. Musicians I have met. Lucknow: Prakashan Shakha, Information Department, Uttar Pradesh.

Katz, Max. 2017. Lineage of Loss: Counternarratives of North Indian Music. Middletown: Wesleyan University Press.

Misra, Susheela 1985. Music Makers of the Bhatkande College of Hindustani Music. A Sangeet Research Academy Publication