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Classy and sublime
CHENNAI, December 24: Bombay Jayashri led the listeners to a state of divine ecstasy with her sublime rendering at Sri Krishna Gana Sabha on December 21, 2013. She gave a new idiomatic expression to the raga rendering after savoring the beauty of each and every raga with great felicity. She made the listener completely at ease, and merge with her music. One may not understand the grammar of the music. Yet, one tends to be impacted by her music. Her melody and expression have a tremendous appeal and force to draw one’s attention. In the world of high advancement of information technology and modern gadgets, music has also tended to be fast, and fails to stay long in one’s mind. The age-old Carnatic music, perpetuated by yester-year Vidwans through constant upasana or meditation of the God, is a significant stress-buster and has a calming impact on the body system. It is imperative that this rich cultural heritage is tapped and put to use appropriately. However, it requires quite an amount of hard work and dedication to carry forward the classical Carnatic music. Skillful handling of the ragas and patanthara alone can produce promising artistes. Bombay Jayashri is an inspiring artiste, and is endowed with good craftsmanship. She invests enormous dedication to music. She has chosen the way shown by many an artiste of the past to make music accessible to all. She knows how to attract the young and old alike. Her tutelage - right from her mother to guru Balamani and late Lalgudi Jayaraman - has made her an artiste of high class that she is today.

Bombay Jayashri’s Kamboji alapana was classy, as she explored the raga with remarkable sancharas. Her diction was impeccable especially while rendering Dikshitar’s “Sri Subramanyaya Namaste”. Viloinist H.N. Bhasakar played with devoted attention, and gave a good support to her. The first item of the evening concert was “Siddhi Vinayaka Arulpurivai” (Natta). This was followed by a Thyagaraja kriti “Mudumomu” (Suryakantam), which was rendered crisply with poise. Her raga alapana in Andolika was exquisite. Her tonal quality was gentle and harmonious. The alapna shone, as she decorated the raga with rich sancharas. She cast a tranquility net around the audience with a beautiful rendition of “Raga Sudha Rasa” of Saint Tyagaraja.

As always, she reserved the best for RTP. She chose Hindustani raga “Patdeep” for RTP (Ragam, tanam and pallavi). Her raga rendering was laden with classy phrases, and her clear expression led to complete refinement of the raga adding beauty to the whole exercise. She designed an attractive Pallavi line on the divine Radhe and Krishna. The pallavi line was: “Radhe Vraja Sundari Madhukara Kamini Rasa Leela Venu Geetha Rasike” set to (Tisra Jhampa Talam in Misra Nadai). She sang tanam and swaras in the main raga. Brindavana Saranga, Behag and Charukesi flowed in a stream, adding aesthetic beauty to the entire RTP. She ended the concert with a Kabir bhajan “Bitu Gaye Din Hari Bhajan Bina” in Sindhubhairavi and tillana. Taniavarthanam between Ghatam artiste Giridhar Uduppa and Mridangist V.V. Ramamurthy was lively and impressive.

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