Bombay Jayashree- fundraiser concert for Vedic Temple of Virginia
Time: Sunday, Oct 16, 4-7pm announced, 4:45 to 7:30pm actual
Venue: Eleanor Roosevelt high school, Maryland.
It is very rare that all good qualities about something gels so well into an amalgam. In Charanagathy Gadyam, last of the three GadyaTriyams, Saint Ramanuja describes qualities of Lord Renganatha in superlatives and submits to Him. I could not think of any better analogy when it comes to Bombay Jayashri's music. Her bhava, her brigas, her raga sancharams, her rendition of the kritis and more so of the Ragams are above and beyond. As she sings from an altogether different plane of consciousness, it transcends the listeners too. Add to this, the very tone of her voice and the superior voice modulation she has developed. It may sound like I am praising too much. But, the nuances of her music could be subtly observed and felt. Elevating soulful music.
Unpredictable - Jayashree's brigas and endings are so so unpredictable. You cannot sing along. You will miss that surprise. அந்த இடம் எப்படி பாடுவார், எப்படி அசைப்பார் , எப்படி முடிப்பார் என்று கெஸ் செய்யவே முடியாது .
Atypical - She stands out from regular renditions of other musicians. Not at all a stereotype. I have heard the 'Gopala Gokula' bhajan and the Behag thillana thousands of times from her albums. But, the brigas in the bhajan were quite new.
Some amount of surprise in every song. Starting the Kanada song at anupallavi was one such beauty.
No one can bring those beautiful twists and turns of the thillana as crisp and as brisk as Jayashree. It is as if the Thillana was composed for her singing.
Repertoire - Choice of kritis for this occasion happened to be all of Narayana themed. May be because of the Satyanarayana Seva Samidhi banner. RTP was on Goddess, would like to know who composed it. Thillana on Madhavan's Nephew. I was guessing it would be the YamanKalyani Thillana 'Kandru meithida ganam pozhivan'. I was hoping that the thillana should be her latest Madhuvanti one. Hmm.
Who dares choose a main piece in Subhapantuvarali? Jayashri touched all three octaves in this. உருக்கியது மனதை.
Almost everyone shows off a plethora of ragas in RTP these days. It is the trend. I like the way Jayashri restricts to just 3 ragams most of the times, if not just sticks to one in RTP. A quite refreshing choice of ragams in RTP. This is purely joyous piece, Wah wah. Highlight.
Though started with two routine songs, the choice of Kritis in the concert did not let my happiness down. After all, we audience have started looking for a difference everywhere all the time. Difference sells, even if it is meaningless difference!! That's my generation. But, some of us still do look for that meaning in everything. I do. And find it in Jayashri's rendition.
Accompanists - World Class. Each of them played so well. Never have I enjoyed Tani avartanam so much. A golden amalgam, indeed.
Auditorium acoustics was simply superb. It was a little loud though, may be they knew audience would chatter a lot.
Paridhana michidhae, main piece in Subhapantuvarali and RTP in sweet 3 ragams are the highlights. கண்ணை மூடி மெய் மறக்க செய்யும் இசை, இவருடையதே !
(1) Sriman narayana, Bowli
(2) Sogasu juda Tharama, Kannadagowlai
(3) Paridhana michidae with alapanai and swarams, Bilahari
(4) Enna solli azhaithal, starting at anupallavi Pannagasayana, Kanada
(5) Sri sathtanarayanam, subhapantuvarali, main piece
(6) Santhanagopalam, Kamas
(7) Rtp in ragam Brindavani
Pahimam sri jagath janani, Nithya kalyani
continued in Hamirkalyani and Maand
(8) Kondal vannanai Pasuram followed by Srinivasa thiruvenkaramudaiyan, Hamsanandhi
(9) Gopala gokula bhajan, Vallabhi
(10) Thillana, Behag
I couldn't find all the ragams. Out of touch last 2 years. I enquired about the RTP ragams with her disciple later.
On a different note - 'Kondal vannanai' pasuram of Thiruppanazhwar is dedicated to the residing deity at Srirangam, Trichy - Lord Renganathar. 'En Amuthinai kanda kangal mattrondrinai kaanaave' endru Arangathu Amudhinaiai paadi charan adaigirar azhwar. It is inapt to follow this pasuram with a song on Thiruvengadamudaiyan. The standing and the resting Lords are same. But, the pasuram is dedicated by azhwar to Renganathar ONLY. It is this highlight of pasuram that makes Renganathar as the only deity amongst the 108 Divyadesams to be sung by ALL of the 12 azhwars. This is a key concept discussed in Srivaishnavite lectures. Violinist Embar Kannan could have pitched in.
'AgalagillEn iRaiyum enRu alarmEl manghai uRaimaarbhA' pasuram of Nammazhwar or 'ceDiyaaya valvinaigaL...un padiyaai kidanthu pavalavaai kaanbenae' of Kulasekara Azhwar are awesome pasurams to go with that Hamsanandhi song.
'Kondal vannanai' pasuram could be set to Kamboji or BrindavanaSaranga or Arabhi and followed by................... you guess it?!
I have heard Nithyashree Mahadevan singing the inapt pasuram-song combination earlier. Something musicians need to carefully understand and choose.
Venue: Eleanor Roosevelt high school, Maryland.
It is very rare that all good qualities about something gels so well into an amalgam. In Charanagathy Gadyam, last of the three GadyaTriyams, Saint Ramanuja describes qualities of Lord Renganatha in superlatives and submits to Him. I could not think of any better analogy when it comes to Bombay Jayashri's music. Her bhava, her brigas, her raga sancharams, her rendition of the kritis and more so of the Ragams are above and beyond. As she sings from an altogether different plane of consciousness, it transcends the listeners too. Add to this, the very tone of her voice and the superior voice modulation she has developed. It may sound like I am praising too much. But, the nuances of her music could be subtly observed and felt. Elevating soulful music.
Unpredictable - Jayashree's brigas and endings are so so unpredictable. You cannot sing along. You will miss that surprise. அந்த இடம் எப்படி பாடுவார், எப்படி அசைப்பார் , எப்படி முடிப்பார் என்று கெஸ் செய்யவே முடியாது .
Atypical - She stands out from regular renditions of other musicians. Not at all a stereotype. I have heard the 'Gopala Gokula' bhajan and the Behag thillana thousands of times from her albums. But, the brigas in the bhajan were quite new.
Some amount of surprise in every song. Starting the Kanada song at anupallavi was one such beauty.
No one can bring those beautiful twists and turns of the thillana as crisp and as brisk as Jayashree. It is as if the Thillana was composed for her singing.
Repertoire - Choice of kritis for this occasion happened to be all of Narayana themed. May be because of the Satyanarayana Seva Samidhi banner. RTP was on Goddess, would like to know who composed it. Thillana on Madhavan's Nephew. I was guessing it would be the YamanKalyani Thillana 'Kandru meithida ganam pozhivan'. I was hoping that the thillana should be her latest Madhuvanti one. Hmm.
Who dares choose a main piece in Subhapantuvarali? Jayashri touched all three octaves in this. உருக்கியது மனதை.
Almost everyone shows off a plethora of ragas in RTP these days. It is the trend. I like the way Jayashri restricts to just 3 ragams most of the times, if not just sticks to one in RTP. A quite refreshing choice of ragams in RTP. This is purely joyous piece, Wah wah. Highlight.
Though started with two routine songs, the choice of Kritis in the concert did not let my happiness down. After all, we audience have started looking for a difference everywhere all the time. Difference sells, even if it is meaningless difference!! That's my generation. But, some of us still do look for that meaning in everything. I do. And find it in Jayashri's rendition.
Accompanists - World Class. Each of them played so well. Never have I enjoyed Tani avartanam so much. A golden amalgam, indeed.
Auditorium acoustics was simply superb. It was a little loud though, may be they knew audience would chatter a lot.
Paridhana michidhae, main piece in Subhapantuvarali and RTP in sweet 3 ragams are the highlights. கண்ணை மூடி மெய் மறக்க செய்யும் இசை, இவருடையதே !
(1) Sriman narayana, Bowli
(2) Sogasu juda Tharama, Kannadagowlai
(3) Paridhana michidae with alapanai and swarams, Bilahari
(4) Enna solli azhaithal, starting at anupallavi Pannagasayana, Kanada
(5) Sri sathtanarayanam, subhapantuvarali, main piece
(6) Santhanagopalam, Kamas
(7) Rtp in ragam Brindavani
Pahimam sri jagath janani, Nithya kalyani
continued in Hamirkalyani and Maand
(8) Kondal vannanai Pasuram followed by Srinivasa thiruvenkaramudaiyan, Hamsanandhi
(9) Gopala gokula bhajan, Vallabhi
(10) Thillana, Behag
I couldn't find all the ragams. Out of touch last 2 years. I enquired about the RTP ragams with her disciple later.
On a different note - 'Kondal vannanai' pasuram of Thiruppanazhwar is dedicated to the residing deity at Srirangam, Trichy - Lord Renganathar. 'En Amuthinai kanda kangal mattrondrinai kaanaave' endru Arangathu Amudhinaiai paadi charan adaigirar azhwar. It is inapt to follow this pasuram with a song on Thiruvengadamudaiyan. The standing and the resting Lords are same. But, the pasuram is dedicated by azhwar to Renganathar ONLY. It is this highlight of pasuram that makes Renganathar as the only deity amongst the 108 Divyadesams to be sung by ALL of the 12 azhwars. This is a key concept discussed in Srivaishnavite lectures. Violinist Embar Kannan could have pitched in.
'AgalagillEn iRaiyum enRu alarmEl manghai uRaimaarbhA' pasuram of Nammazhwar or 'ceDiyaaya valvinaigaL...un padiyaai kidanthu pavalavaai kaanbenae' of Kulasekara Azhwar are awesome pasurams to go with that Hamsanandhi song.
'Kondal vannanai' pasuram could be set to Kamboji or BrindavanaSaranga or Arabhi and followed by................... you guess it?!
I have heard Nithyashree Mahadevan singing the inapt pasuram-song combination earlier. Something musicians need to carefully understand and choose.
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