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Bombay Jayashri takes to progressive path
Quality is her watch word. She packs it artistically in her singing. This heady mix makes her concert for Narada Gana Sabha on December 30, 2009 eminently listenable. Bombay Jayashri does not hesitate to innovate. A dynamic artiste, she, however, stays within the prescribed boundaries. Her flawless presentation reflects her dedication and discipline. It is easier said than practiced. This two-D mantra has pushed her to greater heights.

RTP, it is often argued, is her forte. She uses to combine two ragas in a Pallavi. Now, the combination has increased to three ragas. In this concert, Jayashri goes in for a three-raga alapana, followed by tanam singing and pallavi exposition. Swaras, too, roll out in three ragas. And, she goes on to shower the rasikas with a few bumper ragas. Her learning from Lalgudi G. Jayaraman and her unique way of exploring new avenues all show up on this day. As Jayashri sings Pallavi and Tanam in Karnaranjani, Hamir Kalyani and Maand ragas, the audience looks so happy. The RTP is akin to an acrobatic feat. Even a single mistake can simply bulldoze the whole thing.

The line from Divya Prabandam - “Alinilai Balakanai Andru Ulagam Undai Alinaharkku Adipathiye” – is chosen for the pallavi. It is a lovely selection on Lord Ram. She modifies it a bit, perhaps to suit the tempo. She sets it to Adi talam in Misra nadai.

Even as she sings the Pallavi in three ragas, she combines it with a garland of kalapanaswaras in bonus ragas such as Valachi, Desh and Sindhubhairavi. She then reverses to Karanaranajani by skillfully touching the half dozen ragas she traversed on the upward march. The audience sits spellbound through out. This is followed by a Taniavarthanam, which brings out the individual excellence of Patri Satish Kumar and Ghatam S. Karthick.

She begins her evening concert with a brisk Nattai varnam “Siddhi Vinayaka Arul Purivai” and follows it up with kritis such as “Sanatanagopalam Upasmahe” (Kamas) of Dikshitar and Muruga(Saveri) of Periasami Thooran.

Her clear diction, inimitable expression and perfect delivery have brought a whole new meaning and dimenstion to `Ranganayakam’ (Nayaki) of Dikshitar. Thyagaraja’s “Etavunara” follows a fine alap in Kalyani. She does a niraval at “Vagadeeshwari Yani Sita Gowri” with incredible swaras. “Raga Sudha Rasa” (Andolika) is rendered with Ranjakatvam. She made its spicier by sprinkling it with inspiring swaras. Though a famous composition, artistes render it infrequently on concert stage. “Bhajare Bhaja Manasa Ramam (Kanada) peps up the interest further in the audience. Jayashri excels while rendering this particular kriti. She makes good balance between the Kalpana sangeetham and Kalpitha sangetham within the available time. Embar Kannan on the violin is brilliant for the way he followed Jayashri with dedication.

The concert comes to an end with the song “Pozhudu”(Revati) and a tillana in Tilang.


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