It was a delightful treat of music that awaited the music lovers as the concert of Bombay Jayashri unfolded at Mithas on the 11th. of April. True to the reputation that precedes her arrival as one of the topmost artistes of Carnatic music, the audience felt and left unsatiated after three hours of melodious music.

Jayashri, after her tutelage under Bombay Balamani, has honed her skills as Lalgudi Jayaraman’s Sishya enabling her innate skills to blossom, She is further endowed with a melodious voice that can transcend higher octaves with nonchalant ease.

The concert opened with an impressive Maya Malawa Gowla Krithi. A raga like Malaya Marutham, is rarely, if ever performed, and it was the interesting and expressive delineation of the raga in all its moods and phases that was striking.. The Purandara Dasa Krithi that followed was rendered with sensitivity and devotional fervor. This was followed by a Dikshithar Krithi in slow tempo in Nilambari raga.

The elaboration of the raga in Thodi was conventional, with masterly touches of Brigha. The richness of her voice contributed to the elaboration. The Niraval and Kalpana Swarams were delicious. The accompaniment of violin and mridangam lent precision to the rhythms and contributed to the nice ensemble.

The Ragam, Thanam, Pallavi was brilliant. This mellowed into a Ragamalika with effortless ease, culminating in the sonorous sounds of Revathi raga for a wholesome ending. The subdued and soft rendering of Narayana Thirtha’s Krithi ‘Madhavame’ was pleasant to hear.

Tanjore Sankara Iyer’s Krithi Manadhukkugandadhu in Sindu Bhairavi was rendered with devotional fervor evocative of Lord Muruga in resplendent splendor. The Thillana was a masterly exposition serving as a rich tribute to the genius of her Guru Lalgudi Jayaraman in the conception and lyrical expression of the beauty of Thillanas.

What characterizes the performance of Bombay Jayashri is her lucid enunciation of the lyrics in words, much in the manner of D.K.Pattammmal and a fervent devotional mood similar to that of M.S.Subbalakshmi in her music. There is no flamboyant display of arrogant virtuosity in her exposition.

In her performance, Bombay Jayashri was ably supported by the violinist H.N. Bhaskar, and on the mridangam by Poongulam Subramaniam. Bhaskar distinguished himself with deft touches during elaboration of the ragas, and with innovative expressions on the violin. One, however felt that better melodic tuning of the violin would have enhanced his performance to higher levels. The Thani Avarthanam on mridangam by Subramaniam was professional and impressive. The richness of Jayashri’s music was embellished by the capable accompaniment of the violin and mridangam artistes.

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