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Bolstered by support
Bombay Jayashree ... good voice. — Pic by R. Ragu.
BOMBAY JAYASHREE'S vocal recital at the Bharat Kalachar turned out to be a success with a simple pattern and good voice. Swaras in ``Sankari Neeve'' (Begada) and a plain krithi, ``Sri Rama Saraswathi'' (Nasika Bhooshani) had the desired effect. Well_articulated Sriranjani (``Mata Innum'') with Embar Kannan's melodious solid support on the violin were vivid and lucid. More sahitya clarity will enhance the status of Jayashree's performance. Kalyani raga (``Bhajare Re'') lacked depth though rich in Brigas, long elaborations and gamakas. The neraval at ``Devi Sakthi'' had apt sancharas with manodharmaswaras followed by the pulsating Thani of Arun Prakash (mridangam) and B. S. Purushotham (ganjira). The Surutti Ragam, Tanam and Pallavi Neraval (Paramatma, Parandhama-Kanta Jampa) had kalpanaswaras only in Surutti with a Ragamalika Tanam in Begada and Dhaynasi. Neelambari (``Madhava Mamava'') and Amir Kalyani (Ashtapati) were sung with poise.
Jugalbandi effect
The ensemble of Mandolin (U. Srinivas), violin (S. D. Sridhar), double mridangam (Palghat Raghu and Anand) and ghatam (E. M. Subramaniam) was pleasant and enjoyable. ``Intachalamu'' (Begada varnam) was followed by krithis ``Sri Mahaganapathim'' (Atana), ``Manavyala'' (Nalinakanti) and ``Meenakshim'' (Poorvikalyani). Brisk kalpanaswaras were rendered only for the melodious Nalinakanti.
Aesthetically expounded Bilahari alapana dwelling mostly in lower octave created a Sukhabhavam with violinist Sridhar blending well with every subtle nuance. The subsequent fast-paced ``Paridana'' had madhyamakala kalpanaswaras.
The highlight of the concert was ``Vidamuseyave'' (Kharaharapriya) dealt in detail and depth with a volley of swaras by mandolin, meticulously followed by violinist and the percussionists, creating a jugalbandi effect. A vibrant Thani with double mridangam and ghatam added rhythmic value to the overall performance.
— M.N.
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