Jayanta Hazarika was arguably the most melodious singer and composer in the world of Assamese music . In His short life span of 34 years he performed playback singing for numerous Assamese films and made a number of vinyl records and audio cassettes. He is the first Assamese singer that targeted the urban youth with his music.

Jayanta Hazarika was pioneer in introducing several western instruments in his songs and till date his songs mesmerise Assamese society with melody and soulful lyrics which typically sets the mood for that eastern state.

Personal life

Jayanta, popularly known as Rana, was born to a family which produced
several gifted musicians/ artists of Assamese music. He was youngest of
six children of Nilakanta Hazarika & Smt. Shantipriya Hazarika,the eldest among them
is Dr. Bhupen Hazarika.

He was married to Manisha Sengupta in 4th aug, 1969; a singer, born and raised in a respectable Bengali family
in Kolkata, had a musical background. Mayukh Hazarika their only son, born on 13 January 1971 in kolkata is also a renowned singer /composer of Assamese modern music.

Assamese singer-composer Jayanta Hazarika is perhaps a classic example Jayanta Hazarika recording songs for the Assamese film Faguni. Also seen are singer Malabika Bora, Pulak Gogoi, director Siva Thakur and music director Dr Upen Kakati.of these famous words by the erstwhile President of the United States of America. His evanescent lifetime was marked by his superior musical gifts, unprecedented success and popularity.

Late Jayanta Hazarika was an eminent singer, instrumentalist, composer and music director. His integration of Western notes into indigenous Assamese tunes positioned him as the archetype of a progressive Assamese musician. He was an expert in a legion of musical instruments including guitar, dumra, mandolin, accordion, tabla, mouth organ and more. He is also one of the few musicians who could play more than two octaves in the harmonium at a time.

He was born on September 20, 1943 to probably the most illustrious family of several gifted artistes and doyens of Assamese music. A younger sibling of musical prodigy Dr Bhupen Hazarika, Jayanta assisted his brother in composing and directing music for many Assamese films; although he composed the first tune in his life at the age of nine for lyrics written by one of his elder brothers, Nripen Hazarika. His career in playback singing started in 1963 with Maniram Dewan (an Assamese feature film). He also sang for films like Lotighoti, Faguni, Chikmik Bijulee, etc. At the behest of his music director-brother, he composed the score and lent his vocals for Mrityu sabati samadhi tolit, a song that overwhelms listeners with its emotional intensity even today.

This trendsetting musician independently composed some of the most memorable tracks of Assamese music. His euphonic contributions cover films like Bonoria Phool, Niyati, Brishti, Dharmakai and Natun Asha (completed by his wife Manisha Hazarika after his death). Some of his evergreen numbers are Tomar morome mor, Dekha nai, Surat magan bhayal rati, Bhorir taluwar pora jodi, Ei akash bor bishal, etc. Besides, he had also composed music for many documentaries like Flora and Fauna of North East India, Wheels and the Horizon, Sanman and Jyoti Chitraban.

Jayanta Hazarika also had an immense love for composing music for plays. During his stint with Lakhimi Theatre of Goalpara, he completed seventeen songs for five dramas, in addition to the background scores. He also handled the music for notable plays like Siraj by Phani Sarma, Baan by Prafulla Bora and Jinty, Janma, Yuddha Ghosanar Din, Jerengar Sati – produced by Progoti Silpi Sangha of Guwahati.

While performing at the International Conference of Political Songs (February 14, 1972) in Berlin, he accompanied Dr Bhupen Hazarika and mesmerized the audience with his soulful compositions and powerful vocals.

Jayanta Hazarika’s avant-garde style was inspired by the pioneering style of legendary filmmaker Jyotiprasad Agarwala. Like Agarwala, he combined the elements of Assamese folk, Indian classical and Western music to create a contemporary musical genre, yet entirely retaining his Assamese roots.

His soulful melodies were usually characterised by melancholy lyrics, eccentric chords and deft use of the guitar and violin. Hazarika also included unconventional preludes and interludes while composing and arranging music. The technical handling of a prelude in the basic 1-3-5 form (tonic, subdominant, dominant), and the interlude beginning in the minor and coming to rest in its relative major are still rare and laudable achievements in Assamese music. Be it the delicate guitar plucking in Surat magan bhayal rati or the rich saxophone score in Mrityu sabati samadhi tolit, he managed to elevate the quality of his songs and deliver a rich euphonic experience every time.

After his premature demise on October 15, 1977, he left behind his wife, veteran musician-singer Manisha Hazarika (who later completed many of his unfinished compositions), and a talented son, Mayukh Hazarika. Manisha was born and raised in a musical ambience in Kolkata, but chose to stay back in Assam after her husband’s death to keep his legacy alive. Mayukh’s singing has echoes of his father’s vocals but has skilfully managed to create his own signature style over time.

The sheer depth, appeal and technical finesse of Jayanta Hazarika’s compositions were way ahead of their times and still continue to inspire aspiring musicians of successive generations. His phenomenal musical legacy can never be encompassed in words. His musical excellence can perhaps be only realised by letting his songs run through our souls. It is extremely unfortunate that his musical journey ended with his unexpected demise, bringing an abrupt halt to the mellifluous years ahead of him.

Career

Jayanta Hazarika was a composer and singer of the style of Jyoti Prasad Agarwala , synthetising the elements of Assamese folk, Indian classical and western music to weave out a distinctive form, intimate and recognizably Assamese in character. The lyrics and tunes of the songs are wedded with a powerful cohesion between them. Most of his songs were penned down by Dr. NirmalPrabha Bordoloi, and each number from this duo bears a unique individuality.

As music director(for film & theater)

In 1966 Jayanta made entry to the domain of film music, as assistant music director to his brother Dr. Bhupen Hazarika in the film Latighoti (1966,directed by Bhupen Hazarika). In his career he worked in 5 films as an independent music director.

• Bonoria ful ( 1971- directed by Atul Bordoloi)
• Brishti ( 1975- directed by Deuti Barua)
• Dharmakai (1977 directed by Bhaben Das)
• Niyoti ( 1978 directed by Indukalpa Hazarika)
• Natun Asha( 1977 directed by Prabir Mitra)

He was composing music for few more films, but couldn't complete them

• Rongamegh ( Directed by Atul Bordoloi)
• Enajori ( Directed by Gauri Barman, completed 5 songs of this film)
• Pohar ( Directed by Manik Bora, completed 2 songs)
• Upapath( Directed by Hemanta Dutta, finally his wife Manisha Hazarika composed the music for this film)

Xur bahini (সুৰ বাহিনী)

Apart from his commercial performances, Jayanta pioneered the formation of the Sur Bahini, a mobile musical brigade which was committed to working selflessly for the welfare of the poor.

Some Songs

• Aag Loti Kolapaat Lore Ki Sore
• Aagoli Botahe Kopaale Kolore Paat
• Aaji Pranor Mela Paatisu (Xur Baahini)
• Aakou Notun Probhat Hobo
• Aanor Kaarone Jibon Xalita
• Aapun Haate Ghor Bhangili
• Abhiyatri Duroir Yatri (Xur Baahini)
• Auto Ricksaw Cholau Ami Duyu Bhai(with Dr Bhupen Hazarika)
• Bohag Hoy Jodi (with Manisha Hazarika)
• Baraxaar Ritu Bhaal Pau Moi
• Bhoy Nai Bhoy Nai (Xur Baahini)
• Bhorir Toluwar Pora Jodi
• Chitralekhaa Chitralekhaa
• Chuchuk Chamak Koi (with Dr. Bhupen Hazarika)
• Dekha Nai Aaage Ene Chobi Dekha Nai
• Dhom Dhoma Dhom (with Nirmala Mishra)
• Dhumuhar Pakhiye
• Dur Xudur Bone' Bone'
• Duryug Lognor Dekhu Hahakaar (Xur Baahini)
• Ei Aakakh Bor Bixaal
• Ei Ghor Eri
• Ei Logonot Kolu (with Nirmala Mishra)
• Ei Pronoy
• Ei To Logon Aaji (with Nilima Khatun)
• Eitu Prahaar Xunya Prahaar (Xur Baahini)
• Ek Dui Tini
• Eku Naai Xunyo Haai (Xur Baahini)
• Eya Tu Nohoy Ohaar Xomoy
• Godhuli Aahil Tora Jilmil
• Ghuruni Botaahe Bichari Naapale
• Jiri Jiri Je Nijoraate Je
• Jibonor Logon
• Jibon Tu Jodi Abhinay Hoy (with Nirmala Mishra)
• Jibonot Aase (with Manisha Hazarika)
• Jodi Kahaaniba Xur Bur
• Kaar Raatir Prithibir
• Ketiyaabaa Bejaarote
• Kinu Leela Prabhu
• Krishna Churaa
• Luitor Boliyaa Baan
• Luitor Xutot Likha Robo Mur
• Maayaamoy Rupali Jonak
• Modhu Malati Tuponi Juwaa
• Mohila Mohila Koloinu Aahila (with Nirmala Mishra)
• Moi Ji Baatere
• Monor Baatori bur Phulor Papori hoi
• Monore Pokhiti Mur
• Mor Aaukhir Raati
• Mur Ei Naao Maatho Baai Jaao
• Mur Mon Baagh Jodi
• Mur Mon Chatokor
• Mur Minoti
• Mur Naam Anuruddha
• Mur Phagun Aachehi Aahi Roi
• Mure Du Chokule
• Mrityu Xaboti
• Natun Purush (with Dr. Bhupren Hazarika)
• Nibir Bone Je Maatise Ja
• Olop Hanhi Olop Oshru
• Phagun Kiyo Aahil (with Manisha Hazarika)
• Pitaaiti Oo Bhaal Korili
• Prati Aange Aange
• Premor Anya Naam
• Prithibikhon Aaji Hol Heten Jodi (Xur Baahini)
• Rambha Menaka
• Shillongore Monalisa (with Dr Bhupen Hazarika)
• Tomoxa O Nibir
• Tumaar Kothaa Jetiya Bhaabu
• Tumaar Morome Mur
• Xandhiya Aakakhor Ehaali Toraai
• Xaratare Tumi Jun Jen
• Xendur Xendur Phut Tiye
• Xomoy Gotixil
• Xopunot Xore Mou
• Xochake Kuwa Kothati Kuwa (with Nirmala Mishra)
• Xundari Sao Kinu Kolpona (with Arati Mukharjee)
• Xunwarani Kunwaliye
• Xurat Mogon Bhoyal Raati

External links

• Barua, Krishna Dulal Songs Sung True, The Assam Tribune
• http://www.bipuljyoti.in/music/jayantahazarika2.html
• http://www.bipuljyoti.in/music/jayantahazarika.html
• http://www.markinkalpataru.org/modules.php?name=News&file=article&sid=62
• http://bhupenhazarika-news.blogspot.com/search/label/Jayanta%20Hazarika