Tranquil delights
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Bombay Jayashree was at her mellifluous best for Krishna Gana Sabha.
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SERENE: Bombay Jayashree
When music seeps into the hearts of rasikas without themselves perceiving it, then it can be said to have served its ethereal purpose. For, sangita's tranquil delights lie hidden in the depths of the heart waiting to be activated by a sensitive artiste like Bombay Jayashree. Her sensitivity is rooted in tenderness stimulating her music and music, in turn, lending itself to contemplation.
What has helped Bombay Jayashree gain this stature? Her innate serenity envelops her raga alapanas and articulation of the sahityas of songs. Her apparently simple performing demeanour conceals her unerring insight into aesthetic classicism. The picturisation of ragas at her hands is not so much on how she develops them, as on how she gives shape to their nuances. This she achieves by her capacity to lift her exposition to higher levels of felicitous finesse and exalted lyricism by delectable artistry. At the singing level its mellifluous quality is overwhelming and at the receptive level the perception of listeners deepens to experience santham.
All these excellences were in full flow at her Krishna Gana Sabha concert in the Gokulashtami series. The earlier part was reflective of her mind. "Raave Himagiri Kumaari," the Todi swarajati of Syama Sastri struck a mood of reverie. She magnetised the rasikas with its soulfulness.
Crest jewel
"Kaamakshi Bangaru Kaamaakshi" (Varali) was the crest jewel in her recital. With commendable intuition she laid bare the elusive shades of Varali. The kirtana with neraval was a document of delicacy, musingly savoured and suggestive of Bombay Jayashree's reverential vision of the song.
Kedaragowla was taken up for ragam, tanam and pallavi. The raga sancharas were meticulously chiselled. V.V.S. Murari, on the violin, made an honourable effort to get near Bombay Jayashree's standard. J. Vaidyanathan evoked on the mridangam eloquent rich patterns suiting its decibel to the voice modulation of the vocalist. His tani was piercingly sharp and brief indicating his class and experience. Trivandrum Rajagopal (kanjira) was a faithful camp follower of Vaidyanathan.
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