The post-Independence decades in Assam saw the emergence of a superlative artiste in the field of music whose creativity and renditions were replete with a fresh, tender and vibrant appeal. He synthesised elements of Assamese folk, Indian classical and Western strains, pioneered by Rupkonwar Jyoti Prasad Agarwalla, and succeeded in weaving a soulful brand of music — distinctively Assamese in character.

The tender and wistful lyrics and tunes issuing from a passionate and mellifluous voice gave a unique grandeur and sublimity to the songs. He was the sensation called Jayanta Hazarika, a name adored by all.

Jayanta Hazarika, popularly known as Rana or Rana Bhaiti, was born to Nilakanta Hazarika and Shantipriya Hazarika at Mangaldoi in Assam in 1942, the second youngest of 10 children. Their home, especially in Nizarapar in Guwahati, was the confluence of towering musical personalities like Jyoti Prasdad Agarwalla, Bishnu Prasad Rabha and others. With Bhupen Hazarika as the eldest of the children, a cultural atmosphere of a very high order prevailed in the household. Jayanta’s musical talent first showed its rays in his inclination for musical instruments, particularly the mouth organ. His vocal qualities, too, gradually began to surface. As a 10-year-old, he held the audience spellbound with his mouth organ and singing at the Christmas Day celebrations in the Chatribari Hostel in Guwahati. The song Jetuka Patere Duhat Bolali was set to tune by him when he was only in Class IX. During his schooldays, Hemanga Biswas and others inspired the young prodigy to perform with the Indian People’s Theatre Association (IPTA).

To assess the proficiency of Jayanta Hazarika merely on the light of his extraordinary vocal affluence would be something of a dishonour to his vastly accomplished personality. After all, of the many divisions of musicology, vocal music, however significant, is only one of them and Jayanta Hazarika was master of most. He was at ease with quite a number of instruments — be it the guitar or the drum, the accordion or the tabla. His dexterity over the harmonium with his fingers widened over two octaves was an awe-inspiring sight. Right from his schooldays he had the signs of a promising singer and with a sensitive pair of ears, he began to steadily emerge as an ingenious composer as well.

Some of his songs sound rather simple to the ear but the unique treatment of the numbers, enriched by the supple variations of music, have rendered them inimitable works of art. Jayanta Hazarika’s mastery over both vocal and instrumental music and his keen sense of treatment gave a tremendous dimension to his creativity. The use of an unconventional note in the notations of his numbers was a special trait of his compositions, which aroused and electrified the imagination of the listeners.

As a creative artiste, Jayanta Hazarika was much ahead of his times. The subtleties and rich texture of his works, accomplished so many decades earlier, speak volumes about his ingenuity. He was a singer, instrumentalist, composer and music director all rolled into one. He also had a satisfactory hand at lyrics. Almost all his songs are deeply moving with an underlying note of pathos. He sculpted a genre of music that has grown to become infinitely invaluable. Like his illustrious predecessors, Jayanta Hazarika was not of an age but for all times.

The Sixties and early Seventies of the last century were consistently fruitful for the young artiste. His very first venture, as singer-composer with a long-playing disc by HMV in 1962 with two immortal numbers — Agali Batahe Kopale Kalare Pat by Nirmal Prabha Bordoloi and Krishna Chura by Mayashri Borkataky — was astounding. There is an interesting story behind the composition of the song Agali.... At a wedding party, Nirmal Prabha Bordoloi was offered a cigarette packet by noted poet Hiren Bhattacharyya for composing the lyrics of a song within three minutes, which was to be set to tune by Jayanta Hazarika in equal time. Both unbelievably fulfilled the conditions, to the amazement of all.

Jayanta Hazarika was a regular performer at the All-India Radio. The LP disc produced by HMV after his death consisted of songs and interview excerpts transferred directly from recording spools procured from the radio station.

The pre-eminent artiste began playback singing in 1963 when he lent his voice, along with Shyamal Mitra of West Bengal, for the song (a Goalpariya lokageet) Sonar Baran Pakhire Tor in the Assamese feature film Moniram Dewan with Bhupen Hazarika as music director. In the latter’s Loti Ghoti he sang the duet Jeeban Tu Jodi Abhinay Hoi with Ila Bose and also acted with Manisha Sengupta of Calcutta with whom he tied the knot three years later on August 4, 1969.

The trend-setting singer-composer worked independently as music director in Assamese feature films Boniria Phool, Niyati Brishti, Dharmakai and Natun Asha. During this time he spun out some of the most splendid and heartrending creations of Assamese music: Tomar Morome Mor, Dekha Nai, Dham Dhama Dham Jeevan Madal Baje, Surat Magan Bhayal Rati, Bhorir Taluwar Pora Jodi, Ei Akash Bor Bishal and the like.

In an exclusive interview with AIR Guwahati, Jayanta Hazarika had said that his first love was directing music for stage plays. Among the notable plays where he handled music were Siraj, Baan, Jinty, Janma and Yudh Ghosonar Din, Jerenger Sati. He was with the Lakhimi theatre of Goalpara until the time of his demise where he completed 17 songs for five dramas.

The artiste stood before his audience with solemnity and conviction. His dignified personality, coupled with his extraordinary artistic skill, exerted influence on all sections of people. Almost every song rendered by Jayanta Hazarika contributed to his immortality in the world of music. Hazarika was immensely tender-hearted. The sorrows and misery of people were unbearable for him. The wings of his mind constantly flapped to reach the sky but his eyes were attuned to his native soil. He initiated the formation of Sur Bahini, a mobile musical brigade in Golaghat on June 6, 1977. The organisation was committed to the welfare of the poor and distressed, especially victims of natural calamities like the floods. But the illustrious project destined to be a national organisation lost its grip with the sudden demise of Jayanta Hazarika in Calcutta on October 15, 1977.

The void left by his tragic departure can never be filled. But his noble bearing still rings alive in the strains of his creations — Anar Karane Kolijar Tej, Suwaranee Kunwalire and many others.

l The author is a teacher of English and music and has several books on music to his credit