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Classical texture, contemporary style
CHENNAI: In this modern mechanized world, Bombay Jayashri creates a tranquilizing effect with her magical ability to weave magnificent music. She was elegant as she brought lilting melody to the beautiful vivadi mela Vagadeeshwari with her impeccable voice. Her recital for Kalarasna at Rani Seethai Hall on December 18, 2011 was wholesome. This venue has always been special for her, especially in the Margazhi season. Her concert this year stood out differently. She presented the Manodharma sangeetham (creative music) in a crisp and interesting way. Her concert was balanced and comprised adequate amalgam of composed music and creativity. She has a style that at times resembles the divinity approach pursued by late M.S. Subbulakshmi. Jayashri, nevertheless, is a new generation artiste. Her style bears the inimitable Bombay Jayashri tag. She has the ability to internalize the kritis and present them in her own style. The maturity in her presentation and a sense of balance in her creativity prove that she has come a long way.

Not surprisingly, it was a full house concert for Kalarasana. Purity is the quintessence of her concert. She did justice to her Lalgudi lineage. Jayashri began with a varnam of Lalgudi Jayaraman “Nive Gati Yani” (Nalinakanti) in (Adi talam). It was a good start. Her brief Atana alapana followed “Ni Iranga Enil” . It was touching. Her Vagadeeshwari alapana glowed with gamaka-laden phrases. She explored the raga with exquisite beauty. Her rendition of Thyagaraja’s “Paramathmudu Velige”(Adi talam) clearly brought out the message of the Saint composer. After a sumptuous alapana in Bilahari, she sang Dikshitar's “Sri Balasubramanya”in (Misra Chapu). She created a good impact with neraval at “Kanakavallideva Senopetha Kaivaliyadatha” and interspersed it with simple and attractive swaras.

Her Kharaharapriya alapana was rich and classy. She glided the octaves with effortless ease and drew a new dimension to the raga. Thyagaraja's “Sau Mithri Bhagyame Bhagyamu”in (Adi talam) was decorated with swaras and a neraval at “Chitra Ratnamaya Seshatalpamandu”. She made it grander with her delightful expression and cast a spell on the audience. Tani avarthanam between J.Vaidyanathan on Mridangam and Udupi Sridhar on ghatam proved a good instrumental conversation. Bombay Jayashri selected an unusual raga “Saranga Tarangini” for Ragam, Tanam and Pallavi (RTP). H.N. Bhaskar played the violin with intense dedication and absorption. The Pallavi line was “Durge Narayani Namostute Lalithe Saranga Tarangini” (in chatusra jampa khanda nadai). The raga name was embedded into the pallavi deftly. She slipped into ragas such as Lalita Narayani, Durga and Saranga. Every bit of the RTP was enjoyable and melodious. After rendering “Dehimudham” of Narayana Tirtha, the curtain came down for the three-hour concert with a Thillana in Abheri.

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