Yehudi Menuhin once remarked, "Music cannot be performed without feeling. Your flaws and mistakes are not important compared to the devotional feeling you have shown ... ". This observation of the great violin maestro aptly describes Prabhat Sarma, who has given an entirely new dimension to the art of playing the flute. Prabhat Sarma’s deep sense of emotional involvement and personal commitment becomes evident every time he takes up the flute. The sheer melody is more than enough to generate a devotional feeling amongst the listeners.

Even today, Prabhat Sarma is immersed in an eternal quest for excellence – an unending search which began from his childhood days.

Born and brought up in an environment suffused with melody and rythm, it was only natural that Prabhat Sarma resolved to take up music as a career from an early age. The exposure to Satriya Sangeet and folk music at Sundardiya Satra in Barpeta, where he had spent his early childhood left an indelible mark on his young impressionable mind. It was at Jayakrishna Sangeet Vidyalaya, Barpeta that Sri Sarma received his initial training in music. His teachers, Motilal Das, Gangadhar Dev Mishra, Narahari Burha Bhakat, imparted to him lessons in traditional Assamese folk music and Satriya Sangeet. One day while tuned into the All India Radio, he heard a flute recital of noted flautist late Pandit Pannalal Ghosh. The recital had a profound affect on Sri Sarma. "The recital stirred up a sublime feeling of fulfilment and I resolved there and then to take lessons in flute. The sweet strains of the flute in the radio programme changed my entire outlook", Sarma disclosed during a conversation with this writer at his Ambikagiri Nagar residence in the city. Very unassuming, media shy and without any self absorbed narcissistic hang ups, Sri Sarma was initially reluctant to speak about himself. "I prefer to let my music speak for me". But on repeated requests he relented.

"I learnt the basics of the flute from Md Abdul Rahman, who was then a staff artiste with All India Radio. Later, I shifted to Calcutta and for five years took training on the finer aspects under the tutelage of Guru Gaur Goswami."

"Completing the training, I joined the Regional Music and Cultural troupe and toured the entire length and breadth of the country. The other members of the troupe were performers of repute like late Moghai Ojha, Manipuri dance exponent Baldeva Singh, Niranjan Sen, Anil Das and late Narahari Burha Bhakat. The group regalled audiences all over the country with finely executed recitals and performances of folk music and instruments."

"A city based musical group Madhu Chayanika organised a show in Guwahati – Dr Bhupen Hazarika Music Sandhya. In that show several celebraties including Talat Mehmood, Himangshu Biswas, Johnny Whiskey and Daisy Irani took part. I was lucky enough to get a chance to perform a solo flute recital during the show. Somehow my performance was well received by the audience present. The then Director of Public Relations and Cultural Affairs, Government of Assam, late Rudra Barua who was also present during the show liked my presentation and appointed me as a performing artiste in the Cultural Department. This was my first major break. Later I joined as the staff artiste of All India Radio, Guwahati."

Prabhat Sarma, with his flawless flute recitals broadcast over the radio, soon became a household name. His melodious renditions of folk and devotional songs went a great way in making the flute popular in this region. His deep commitment in popularising folk music is reflected by his pioneering role in using folk tunes and instruments in mobile theatre. Earlier western musical instruments and tunes played a dominent role. But the efforts of Achyut Lahkar and Prabhat Sarma resulted in most of the mobile theatres using folk based tunes in the plays.

Along with a music group Panchajanya, Sarma and several other musicians performed at various parts of the state during the troubled eighties using folk instruments to spread the message of peace and unity. The group strived for social integration through music with exclusive use of local musical instruments belonging to the various ethnic groups of the state. Panchajanya was well received by the public.

Besides the flute, Prabhat Sarma with his penchant for perfection has ventured into other fields of music as well. He has composed and directed music in a number of feature films, documentary films, tele films, television serials et al. His efforts were recognised and he was awarded the best music director for television serials like Patharughate Ringiyay and Brikodar Baruar Biya.

After his retirement from AIR in 1998, Sarma has passionately embarked on a new project. "Our state is a melting pot of different cultures and we have a very rich heritage of folk songs. It is our duty to preserve and promote it. I see to it that the songs and music of the rural people are preserved as they are and not distorted." His efforts yeilded results and several songs have been recorded in the way it is rendered. Popular among them are Sankare Bole Bani Bhakatak Mati Ani O and Kande O Byadhar Phande Pari. He has directed folk music in more than 100 cassettes. Sri Sarma has now floated a group – Debogandhar to popularise folk instruments. "We give public performances using traditional musical instruments like the Kali, Pepa, Asamiya Been, Sutuli, Dagar, Dutara etc. It helps in making the people aware of our strong cultural roots."

Even today, after making a mark for himself as a leading musician of the state, Sri Sarma practises the flute daily as he did when he first started. "Music without practice can never lead you to perfection, without perfection there cannot be good music."

What is his advice to the new generation who want to take up music as a career? "Firm commitment, patience and hard work is the only recipe for success. There are no short cuts."