Style and substance marked the concert of Bombay Jayashri
Introspective espousal of melodic aesthetics in raga alapanas and the interpretation of songs formed the core of Bombay Jayashri’s impressive recital after she received the Indira Sivasailam Endowment Medal recently. Her creativity touched music’s sublimity.
For her, Carnatic music is a sanctuary of beauty and grace. Purity and nobility are her main objective in the pursuit of classicism. She stood apart in all these aspects as was reflected in her concert, which also raised some pertinent points – what constitutes good music, what are its virtues, what confers exaltation and what are its drawbacks.
Whether she was exploring the subtle shades of a raga or the emotion of the song, Jayashri’s presentation was reverie-rich like childhood reminiscences. Her serene inclination transformed manodharma into a riveting image of a raga with vidwat and reposefulness coming together. The interplay of karvias and the gentle tonal oscillations (asaivus) highlighted her alapana technique.
The variety, richness and grace of the Poorvikalyani phrasings opened up ecstatic vistas for Jayashri. The sancharas were wrapped in enviable idioms in compact frames.
She sensed the whereabouts of the raga’s rakti which encompassed the image. Their ethos remained an integral part of the impeccable concert. The kirtana was “Meenakshi Memudam.” Its musical depth was matched by Jayashri’s expressional felicity.
The very first item in the evening’s programme was the serene Thodi swarajati “Rave Himagiri Kumari” which ushered in the Navaratri mood. This was followed by “Tulasamma” (Devagandhari), “Hiramayeem” (Lalita), “Darini Telusukonti” (Suddha Saveri) and “Lalithe Sri Pravidde” (Bhairavi). She fathomed the musical vitality embedded in them and sang them with intense svanubhava. She capturing their classical-devotional setting with brilliance.
H.N. Bhaskar, the violinist, was exceptionally competent in playing with delicacy. He revealed what would go well with the introspective approach of the vocalist. Manoj Siva (mridangam) and Anirudh Atheya (ganjira) lent their gently-flowing and meticulous rhythm that enriched the session. The tani provided a subtle mix of percussive style and substance.