Flute Jayanth has a good feel of the ragas and is assertive in his ideas.

A good blowing technique in addition to a sound patanthara and a firm grip over laya, are the hallmarks of young flautist J.A. Jayanth. Having been groomed by his grandfather, senior flautist, T.S.Sankaran, Jayanth's playing adheres to classical values.

The compact disc commences with a sedate version of 'Sarasijanabha ' (Nagagandhari-Muthuswamy Dikshitar) which is soothing. The next composition offers a good contrast and happens to be the Manoranjani kriti of Tyagaraja 'Atukaradani'. There is good clarity while handling the vivadhi swaras and the customary sangatis associated with this song are rendered with grace.

Engaging korvais

Jayanth's portrayal of the kriti 'Ambaparadevathe' (Rudrapriya-Krishnaswamy Ayyah) is burdened with too many minor variation sangatis, which robs the crispness of the composition. The korvai at the close of the kalpanaswaras for this song is patterned on the

Arohana-Avarohana of Rudrapriya and is engaging.

The alapanas of Shanmukhapriya and Sankarabharanam are the main segments, followed by 'Marivere' (Patnam Subramania Iyer) and 'Sarojadalanetri' (Syama Sastri). Jayanth has a good feel of the ragas and is assertive in his ideas. The handling of the kaisiki nishada in the Shanmukhapriya essay is reduced to a great degree from the swarasthana too frequently. A judicious mix of a plain kaisiki nishada would have had a better effect, especially in the slower raga phrases.

Professional skill is revealed in the niraval, swara, kuraippu and korvai sections of the Sankarabaranam song.

Vittal Ramamurthy’s swara relies on the violin are worthy of appreciation. His alapanas are chiselled and not overdone. Instrumental music

gets appreciated better when there is a good laya support from the percussionists. Seasoned players Thiruvarur Bhaktavatsalam (mridangam) and Vaikom Gopalakrishnan (ghatam) are pillars of strength to Jayanth in this album. Bhaktavatsalam's anticipatory playing during the kriti renditions adds charm.

Jayanth concludes with ‘Pibare Rama Rasam' in Ahir Bhairav, using the longer flute.