Mati review: Talented jazz pianist Ron Cha’s huge new album makes an impression – Henry’s Club

In Maati (Earth), the second EP by Assam-based jazz pianist Ronojit Chaliha aka Ron Cha, a song titled Lost opens with a piano riff, which attempts to emulate the sound of the centuries-old Assamese folk wind – zutuli. The yantra which is shaped like a crescent moon and is believed to have been brought to Assam by Sino-Tibetan groups centuries ago. Famous Assamese singer Kalpana Patwari sings this song – an Assamese folk passed down through generations, it is the story of a boat that moves in water, uncontrollable, without a paddle. About a minute into it, Chaliha turns inward taking the jazz route and goes into a spectacular continuation of the interval, returning to her Assamese roots just before Patowary’s verses begin. It is wonderful to see such an open ended interplay of keys along with bass, drums, guitar and nadaswaram. What touches the heart and adds perspective to this song of sorrow is a stunning single on Nadaswaram by the extremely talented Karthikeyan.

Lost is Chaliha’s Hidden Message to the World, where she sheds light on how beautiful folk songs, tribal songs and borgets – which intrinsically capture the lives of the people of a complex state – have neither been heard by many , nor have they been documented. And to this he has brought to the fore his jazz sensibilities as well as his effort to present folk works from his home state of Mati-Chaliha. The EP revels in this web of sensations, devices and ideas, while presenting it all in a comprehensive way.

Khoi and four other nuances in this EP not only give us a glimpse of the 24-year-old musician’s gifts as a performer, but it also takes home how it’s voiced, unlike the young artist maintaining it. are trying. , Document this intangible heritage and allow it to reach a wider audience.
Chaliha aka Ron Cha’s fame in the world of western classical music precedes him. The young jazz pianist came into limelight when his final score at Trinity College of Music (Advance Certificate Course) in 2013 was the highest ever in India. He still holds that record today. But in the EP, it’s not just about what he learned in music school, but much more about his legacy; And this is what makes soil special. The way he presents his music from two perspectives but has made it alike is a stroke of sheer ingenuity.

O Mur Apuner Dekh (O my beloved country) was written over 100 years ago by litterateur Laxminath Bezbaruah and composed by Assamese politician and Lok Sabha MP Kamala Prasad Agrawal. It appears as an instrument on the saxophone with Chaliha’s piano on the mat. Almost like a hymn, this piece soon veers into jazz territory, swirling around a bit and back to the original folk tune. This is probably the best instrument in the iconic song.
The opening part, Awakening, is stunning and Patwari’s experiential voice sinks deep into one’s heart, blending contemporary with folk, accompanied by freewheeling jazz. Chaliha’s mastery over the keys, and her calm tone, gives us a glimpse of the elegant idiom she is capable of.

They have also included Biren Deuri, a folk musician from Major Chapori village in Majuli – the largest river island in the world – within the Brahmaputra, a distinctive cultural heritage. Deori sings a bihu folk doi roi bidi, with Dey layering his powerful bass riff with drums and piano. Another tribute to the harvest season, called Bihu Blues, is sung by Patwari with Chaliha on Schwarz-Bart’s saxophone and synth. While everyone works well individually, folk doesn’t mix seamlessly with jazz and feel a bit harsh and forced. It’s a song that doesn’t last, although the genius of the musicians lives on.

Maati is a fascinating endeavor and a compelling tribute to Assam. A glimpse into the state’s beloved folk and chaliha’s own sensibilities and its prospects in the years to come, this detailed exploration leaves a mark.