After completing second grade in a local school, she moved to Mumbai at the age of eight with her elder sister Girijabai, who was also a singer.
[5] During the 1920s and 30s in Maharashtra, the genre of Bhavageet began to take root, especially in the sung poetry scene of Mumbai.
Keshavrao had good relations with singers like Manji Khan, Ramkrishnabuwa Vaze, Mallikarjun Mansur and Master Krishnarao among many others.
Meanwhile, Jyotsnabai trained and studied with many teachers, including singers from the Bhendibazaar gharana, to hone her skills.
Within a few months, she received the appreciation of Prof. B. R. Deodhar and avid listeners after singing at a concert in the latter's musical circle.
Ragas such as Gorakh Kalyan, Bhim, Madhmad Sarang, Shuddha Bhatiyar, Shamkalyan, Jaldhar-Kedar etc.
[5] In addition to live concerts, Jyotsnabai’s songs were also broadcast by the Mumbai[6] and Delhi[7] stations of the All India Radio (AIR).
[8] In her performances, she mostly used to sing compositions of poets and lyricists like Raja Badhe, Anant Kanekar and M. G. Rangnekar.
In the year 1932, Krishna Cinetone's film Sant Sakhu was being shot with music by Keshav Bhole.
[2] The play was not only a modern drama in that sense, but the bhavgeet based on Anant Kanekar's writings were also effective and relevant.
[12] Jyotsnabai's debut on the theatre stage was historically significant due to her combination of form, music and acting.
Other notable plays of Bhole were Ashirwad, Alankar, Ek Hota Mhatara, Rambha, Vidya Haran, Bhoomikanya Seeta, and Radhamayi.
Four years later, she published a letter-book called Antarichya Khuna, which included letters written to her daughter during her trip to Britain and Europe.
They had four children which included three sons - Kishor (b. November 1932), Suhas (b. August 1935), Anil (b. April 1938) and a daughter - Vandana (b.
[19][non-primary source needed] A two-day event to celebrate the birth centenary of Jyotsnabai took place in Goa in 2013, which included musical evenings and a short film.