If you are in love with Western music and would love to hear Assamese songs presented uninhibit edly in that mode, then Sonpori, an audio music album released recently by Kanak Music Production, might provide you with just what you’re looking for. The album can give you a different taste, with a judicious blend of love-lorn lyrics sung in energetic tunes of rock or rock ’n roll, ably supported by well-strummed guitar, piano, blues harp, and yes! – the nostalgia-inducing, poignant pulsation of the good old mouth-organ!

The team of musicians has shown great courage in producing something that they know is susceptible to immediate rejection by the purists, who fear, though not always without logic, that blatant invasion by such Western imports would eventually eat into the vitals of traditional Assamese music.

This apprehension, however, would possibly dissolve if we look at what is happening in the broader world of Indian music, the soul of which is still classical with its timeless appeal, and which has not unduly been threatened by the invasion of Western elements that perhaps, began way back in the late Eighties. There have since been so many Indipop and rock bands, Hindi remixes (sometimes refreshing, sometimes jarring), and unscrupulous parodying of Western notes and tunes. But the traditional character of the greater Indian music has remained unharmed.

Keeping this in view, it wouldn’t be wrong to say that if, at times, music is presented with the aim to provide variety in entertainment, it should not necessarily send the cultural alarm bells ringing. The album in question is obviously influenced by Western styles of music presentation, but the execution is impressive. The team has versatile artistes, good vocalists and good hands in musical instruments. Chitrali Goswami has written six songs and lent her melodious voice to two, while Ratul Baruah has written two songs. Rupam Bhuyan, Jaya Chakraborty, Max, Tridip Basumatary, Tuhin Sarma and Debojit have also sung various songs, while Aniruddha Baruah, Rajib Hazarika and Endu on the guitar and Ribor on the piano were quite impressive. And Balabhadra Hagjer, who has given tunes to six of the eight songs in the album (the other two by Max), has played the mouth-organ admirably.

The incorporation of the mouth-organ in this melodious mix is a welcome move by Hagjer. The mouth-organ is a difficult instrument to play, specially for the pressure it exerts on the heart due to frequent changes in breathing, and the friction it creates on the lips while getting moved to and fro. The instrument, therefore, has seen a rapid decline in popularity over the years, and with the new generation of musicians not evincing much interest, it has become a sort of relic in the present-day world of music.

This is where exponents like Balabhadra Hagjer can play a role in infusing life into this dying art. He certainly has what it takes to popularise it among the upcoming band of musicians, which should give this wonderful instrument a new lease of life.

The album should get acceptance among the Western music lovers.

Debashish Bezbaruah