The audience enjoyed every bit of Bombay Jayashree's recital.

This was one of the best concerts of Bombay Jayashee. She performed for South Indian Cultural Association as part of its annual music series held at Ravindra Bharati.

Her concert was mature and animated, the audience enjoying every bit of what she was rendering. She was very creative in presenting all the technicalities associated with prime ragas, Chandrajyothi, Sankarabharanam and later a rare technique she evolved in presenting the Ragam, Tanam and Pallavi in the rare known Tridhara technique adapting Surati, Andolika and Kalyana Vasantham. She was in the company of Kannan on violin, Manoj Siva on mridangam and Anirudh Atreya on Kanjira.

Sri Maha Ganapathi Ravatumam in Gowla, opened Jayashree's well set repertoire that struck rapport with the appreciative audience. She revealed a voice that was melodious, with an expanded vocal span. The swaras were quite exercising. Makelara Vicharamu in Ravichandrika was expressive. The lyrical rendition was with sahitya clarity. Chandrajyothi for Bagayaneyya' another Thyagaraja composition had an added appeal. . The kriti had well chiselled kalpana swarms, in building up lengthy phrases. Mokshamu Galada in Saramati was a moving presentation. Later she presented the main raga of the concert, Sankarabharanam, for Swara Raga Sudha of Thyagaraja. The nereval and Swarakalpana carried the melodic line. After a break with brief Maravairi Ramani in Nasika Bhushani, she chose to go for the rare Ragam-Tanam-Pallavi session.

The ragas Surati, Andolika and Kalyana Vasantam, which she presented in elaborate Tanam and Pallavi. The pallavi was set in Tisra Jaati Adi talam. The pallavi was a Tamil line. The swara prasthara was again in the ragamalika format. The contribution of the violinist was praise worthy for its complementary quality creating a consummate appeal. The percussionists came out with tani avartanam matching the mood of the concert. She ended the recital with a couple of Narayana Teertha's compositions.