Jayanth Flute @ NGS Mini hall (Charsur) on 20th Dec 2018

[krishnan meenakshi]

Carnatic Kucheri Review- Rating (8.0/10):


Pakkavadyam

Voilin: Trivandrum Sampath
Mrudangam: Patri Satishkumar
Ghatam: Dr. S. Karthick

Audience: No. > 100. Very appreciative audience with visible youngsters.


Sampled Ragas:

1. Gambheranatai, Shri Vighnarajam Baje, Uthukkadu- K, S
2. Ragamalika, Shriviswanatham bhajeham, MD-
3. Kanada, Balambikayam param, MD- A, K, S
4. Porvikalyani, Meenakshimemudam Dehi, MD- A, K, S
5. Sindubairavi, Baja baja manasa, Swati Thirunal- K


Observation:

Only 2 ragas considered for review, since other ragas were minor renditions. The greatest advantage to Jayanth in this concert were the accompanists who stood like strong pillars and success bearers of the concert. Since this concert had Patri Satishkumar and Karthik at percussion, their role has been included.

* Kanada: Raga alapana was well explored through 2.5 octave range and Jayanth threaded the raga carefully in the initial stages (since the last raga Sri is closer). Handling of ‘Ga’ (as in durbari kanada) in thara sthayi was appreciated by the audience. Typical aspects of alapana-are many spacings, fast gamaka and briga phrases, varied imagination. Lesser sung ‘Balambikayam param’ was executed well on expected lines with regular sangathies. Swarams at Pallavi were crisp with few poruthams and simple theermanams (triple 5 patterns). The swara prastham after the kurraippu had the shades of Hindustani flautist Pandit Hariprasad Chaurasia. Kanada was bliss to ears.

* Poorvikalyani (Main): Alapana was well structured covering entire gambit of the ragam in detail. Ragam was explored with expertise and fertile imagination. Thara sthayi ‘Sa’ was touched. Using base flute during final stages of the alapana was soothing. Popular kriti ‘Meenakshime mudam’ was the aptly chosen (expected by all) and rendered with fine touches in pace. Swarams at Charanam ‘Mathurapuri nilaye’ were interesting showing glimpse of tisra and khanda nadais. Again, Pandit Chaurasia’s typical ‘ssr, ssg, ssd’ phrases added flavour. Swarams ended with a 3 speed (tisram 1st speed, chatusram and tisram 2nd speed) korvai (Poorvangam = 25 + Utharaangam = 23) in a climactic manner.


Comments:

J. A. Jayanth: is a versatile artist with unique sense of handling the flute- with soft blowing technics, which gives out soft notes like a breeze. His shruti sense is perfect. He requires to master dhurita kalam proyogams. Flute is an instrument well suited for playing kanakku (As Mali and Ramani have demonstrated in the past), which Jayanth may employ in the future.

Trivandram Sampath: proved a real ‘sampath’ for this concert. Very supportive, shruti conscious, bowing was superb and at places out classed the flautist, particularly Kanada alapana. At times the programme seemed like jugalbandi- both flautist and violin engaging in healthy competition. Audience were very appreciative of Sampath.

Patri Satish & S.Karthick: They need no introduction to rasikas- both experts. Mrudangam was in complete sync with Flautist and ghatam added great flavour to the sync mix. Gumki (Thoppi) handling by Patri jwelled Jayanth’s music greatly- very akin to Zakir Hussain’s silky handling of Baayaa-Danga (left drum of Tabla). Mrudangam and Ghatam gelled with each other lifting the concert to another plane. Normally, the upapakkavadhyam would wait for his turn from the main percussionist but here the scenario was that both played simultaneously and ensured success with extempore approach.
Thani however suffered on 3 counts- duration was too short, Ghatam could not catch up with mrudangist on kurraippu kanakku and finally, the eduppu of mohara was miscalculated (had to be 1/2 edam and not at samam)- this led to the korvai being revisited along with the mohara. ‘Aanaikkum adi Sarakkum’.


Since, this is a clinical analysis (unlike general reviews seen in newspapers written by Rasikas) of the Kutcheri, the review tends to be more critical. A good and enjoyable concert by Jayanth.