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Divine flavour
GIFTED with a soft (too soft one might say) and malleable voice Bombay Jayashree Ramnath has fine tuned it further by assiduous training so that she is able to render rare sancharas, sangatis, idioms and phrases with the utmost ease which though lacking in strength and depth go home with her rasikas for the devotional flavour it creates.
With no mind boggling brigas or gamakas there is a facade of tranquillity and peace in her music. Melody flows freely and smoothly. Yet her technique will not wash with discerning rasikas who would like a dash of vibrancy and vigour, which alone would add to the variety. She splits the words seemingly to bring to the fore the bhava and fervour in the sahityam, sometimes overdoing it and could be faulted when rendering the charanam line. "Niddura nirakarinchi.'' In the neraval for Tyagaraja's Kaddanuvariki after a meandering Todi alapana. The whole exercise lasting nearly an hour had mixed reaction.
The choice of Khanda jhampa for the Kanada RTP did emphasise Jayashree's vidwat and she sang a ragamalika thanam (Saveri, Bahudari and Hamsanadam). The pallavi line was Paramathma Parandhama Srirama Mampahi. The usual permutations and combinations with fast and slow swaras were made and answered (in greater depth) by violinist Embar Kannan.
The post RTP session consisting of bhajans and tillana were quite entertaining and satiated the appetite of the waiting audience.
Jayashree started off quite briskly with Dikshitar's Anandanatana Prakasam (Kedaram — misrachapu) and Tyagaraja's Neevada Negana (Saranga — jhampa). The choice of Sahana with a longwinding alapana had a sagging effect. But Muthiah Bhagavatar's beautifully worded kriti ``Manama Kavalanu Talli... '' was a good selection. The swaras at the pallavi were decorative. Tyagaraja's Sujana Jeevana (Kamatch) suited her style. Ganapatiraman (mridangam) and P. Rajappa (kanjira) did their supplemental roles effectively. — K.S.
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