In his second EP “Maati” (Earth), jazz pianist Ronojit Chaliha, known as Ron Cha from Assam, introduces a track titled “Lost” that commences with a piano riff reminiscent of the xutuli, an ancient Assamese folk wind instrument shaped like a half moon, believed to have been introduced by Sino-Tibetan groups centuries ago. The renowned Assamese vocalist Kalpana Patowary sings this traditional folk song, passed down through generations, depicting the tale of a boat adrift in water without oars, uncontrollably spinning. About a minute into the track, Chaliha delves into a jazz interlude before returning to his Assamese roots just as Patowary begins the verses. The interaction of instruments—keys, bass, drums, guitars, and a nadhaswaram—creates an open and captivating musical interplay. Notably, Karthikeyan delivers a stunning nadhaswaram solo that deeply resonates and adds perspective to this poignant song.

“Lost” carries Chaliha’s subtle message to the world, emphasizing the beauty of folk melodies, tribal songs, and borgeets—pieces that authentically capture the complexities of Assam’s people—yet remain unheard by many and undocumented. In response, “Maati” stands as Chaliha’s endeavor to showcase folk compositions from his home state infused with his jazz sensibilities. The EP celebrates this blend of influences, instruments, and narratives, presenting them as a cohesive whole.

Beyond “Lost,” the EP features four additional tracks that not only highlight the 24-year-old musician’s artistic prowess but also underscore how young artists are preserving and promoting this invaluable cultural heritage. Chaliha, also recognized in western classical music circles, gained acclaim in 2013 for achieving the highest final score at Trinity College of Music’s Advance Certificate course in India—a record he still holds. However, “Maati” isn’t merely a testament to his formal music education; it reflects his deep connection to his heritage, making the EP a unique and heartfelt expression.

“O mur apuner dekh,” penned over a century ago by literary luminary Lakshminath Bezbarua and composed by Assamese politician and Lok Sabha MP Kamala Prasad Agarwala, appears on “Maati” as an instrumental piece featuring saxophone alongside Chaliha’s piano. Initially evoking a hymn-like quality, the composition transitions seamlessly into the jazz realm, weaving in and out of its folk origins—a testament to its timeless appeal and Chaliha’s innovative approach.

The opening track, “Awakening,” is a striking blend of Patowary’s evocative vocals merging folk and contemporary influences, accompanied by Chaliha’s masterful piano work and subdued vocals, showcasing his refined musical phrasing.

Chaliha collaborates with Biren Deuri, a folk musician from Major Chapori Gaon in Majuli—the world’s largest riverine island situated within the Brahmaputra River—to present “Doi Roi Bidi,” a Bihu folk song infused with vibrant bass lines and dynamic piano and drum interplay. Another track, “Bihu Blues,” sung by Patowary with Schwarz-Bart on saxophone and Chaliha on synth, pays tribute to the harvest season. While individually brilliant, the fusion of folk with jazz feels somewhat strained, lacking the seamless integration found in other tracks.

“Maati” stands as a compelling tribute to Assam, exploring its rich folk traditions through Chaliha’s artistic lens, hinting at future possibilities and leaving a lasting impression on listeners.