An undimmed passion for music

(R-L) Asaf Khan, Hoimanti Shukla and Bhupen Hazarika at a recording session

Years later, Asaf met renowned vocalist and composer, Bhupen Hazarika. As Asaf hummed a few of his compositions, Hazarika could sense Asaf's obsession for music. He advised Asaf to make up for lost time and inspired him to compose original tunes. From then on there was no stopping Asaf. In his prime, with renewed vigor, Asaf began to train in voice culture from renowned classical artistes of the country.

By 1980 Asaf set off to compose several playbacks for popular BTV serials. Artistes of repute such as Subir Nandi, Samina Chowdhury and others sang his compositions. Soon his long play record was released by HMV, Kolkata. Lately, renowned singers Hoimanti Shukla and Bhupen Hazarika have lent their vocals to Asaf's latest album titled Money Rekho Eyi Bondhurey; a collection of songs composed between 1998 and 2005. The album is an essence of the past where he uses traditional musical instruments, which are rarely used presently.

The album consists of 12 tracks, penned by Manir Khan, Nirmalendu Guun, Kabir Bokul and others. The credit of music composition however, goes mostly to Asaf Khan, who has composed about 60 songs so far.

Listeners respond to several universal moods if provoked at the right depth. The first number Ami Helen kingba Nurjehan ke dekhini contains high lyrical value. Lyricist-composer Abu Zafar, is well known for numerous hits (Eyi Padma eyi Meghna, Tomra bhulei gechho Mollikadir naam and many more).

The lyric blends with vocals, rhythm, instrumental backups and blossoms in melody. The poetry expresses the sentiment of a passionate lover who is charmed by his beloved. For the first time he realises why the Trojan War was fought or why the Taj Mahal was built at all. Asaf, presents the number with fervor and maturity.

The next composition, a choral rendition, Ke naki ekjon is written by eminent composer Lokhman Hossain Fakir.

The trio, Bhupen Hazarika, Hoimanti Shukla and Asaf Khan render the fifth number, Chhoiti ritu dao phiriye. This number is a delightful presentation, in misra Kalavati signifying three old friends, reminiscing on their past. The lyric is an appeal to the inevitable fate for the restoration of all good things that continue to captivate us amidst seasonal changes. The longing for an eternal Basanta or spring has been aptly conveyed.

Keno nindukera joley, presented by Asaf Khan and Hoimanti, is another romantic song, based on raga misra Khamaaj. The combination of notes and usage of the seventh chord (komol nikhad) in the composition hits the spot. Hoimanti's effortless tonal character, mingled with Asaf's composition has a soothing effect.

While many believe that, "time and tide wait for none", there is also another saying "it's never too late". And Asaf Khan is a prime example of the latter. Composers with love for their art are like a breath of fresh air in a music scenario hungry for original compositions.