...............................by Sivapriya Krishnan
Bombay Jaysree, today at the Academy proved that she is truly the melody queen among female singers of today. Hers is a voice rich in timbre and is capable of producing complicated musical phrases with melody and ease. Best use of the voice and microphone is an art and skill that she has mastered through the years and excels in it.
She, over the years has been steadfast in her approach towards Carnatic music. Though having forayed in to the cinema world , she is dedicated to Carnatic music, without missing out on the classical idiom. Thanks to her, a new modern approach and format to concert presentation has caught on in the Carnatic world among female vocalists.
A good madhyama kala pramanam was seen throughout her concert with no dull or boring moment. However sadly in a couple of places one noticed very faint strains of slippage of voice and exertion, which she managed beautifully.
Starting with Varavallabha in Hamsadhwani, Sogasujooda tharama, she went on to a fast Dharee ni telusu konti with brisk firework swaras. With a wonderfully elaborated and very involved Kamboji raga, she sang the Lalgudi Pancharatna kriti Mahita Pravrudha, in Tisra Triputa, arai edam , as taught and preserved by her Guru Lalgudi Jayaraman. Kaa Guha in Kosalam , a Koteeswara Iyer kriti was followed by a very good Kapi raga, interwoven with Mohana Kalyani and Dwijavanti .
Her RTP in Adi Tala Misra Nadai , was from the Kamba Ramayanam line, “ Annalum Nokkinan, Avalum Nokkinaal” and was presented with a touch of class.
Neraval , however seems to be a weak point with her. The neraval for the pallavi line was staright jacketed, manouvered and lacked any creativity, as she was more intent on keeping the tala. Veekshehamgada, a NArayana Teertha Tarangam in Yaman Kalyani sounded a little odd and different, rather modern and out of place as one is so used to hearing it in the traditionally soulful Ahiri.
All of Lalgudi’s tillanas , acquire their full proportions only in Jayasree’s hands. Because of her voice felicity, she is able to produce the dhatu swaras and the triple octave swara passages in the tillana and handle the minutest level of instrumentation through her voice. She did the Sindhubhairavi tillana proud.
Embar Kannan on the violin, Patri Satishkumar on the Mridangam and Kartick on the ghatam , are her stock accompanists and know exactly how to embellish her concert well. They presented their mastery alongside of carefully planned accompanying for the main artist.