<p>Bombay Jayashri and her troupe enthralled music lovers with their recital at the Chowdiah Memorial Hall recently. <br /><br /></p>.<p>They shuttled between different genres of music and took the audience through a journey of various ragas.<br /><br /> She began with Jhanak Jhanak Payal Baje in raag bhupali, after which one of the troupe members presented a popular composition of the raag on the flute. <br /><br />One did not know what was up next. The transition from her original deep, husky voice to the taar saptak and the teevra madhyam was beautiful. <br /><br />The intricate pieces of jugalbandi between the piano, flute and tabla brought out the various facets of the raag and music to the fore.<br /><br />“Often, when we hear music, various images come to our mind. Love is what comes to our mind when we hear a piece. Love and music are different sides of the same coin and so is the journey of the raag from bhav to bhakti,” informed Jayashri.<br /><br /> The shift from one piece to another was immediate, yet smooth. <br /><br />The piano and violin jugalbandi was rare and filled the air with romance and hope. Just as the violinist soothed the ears, the pianist enamoured the audience with his dynamic performance. <br /><br />It was followed by the recital of a Tamil composition by Jayashri.<br /><br />However, what was commendable was that an established singer like Jayashri shared the stage with nine other artistes and gave equal importance to all of them. <br /><br />There was light music too, which she presented with a lot of finesse and style. <br />As the chorus of Aapki Nazron Ne Samjha was hummed by her team members, the audience broke into applause.<br /><br />However, the rendition of Ranjish Hi Sahi a ghazal was a surprise. <br /><br /> This popular ghazal by Mehdi Hasan was sung in a different style by Bombay Jayashri.<br />Raags such as malkauns, bahar, bhimpalasi were used in many of the <br />compositions. <br /><br />She then returned to Carnatic compositions and sung a composition by Thyagaraja in raag saramati.<br /><br /> The best was saved for the last and her team closed with a composition based on Sindhu Bhairavi called Vindu Bare. At the end of it, the audience gave a standing ovation to the team. <br /></p>
<p>Bombay Jayashri and her troupe enthralled music lovers with their recital at the Chowdiah Memorial Hall recently. <br /><br /></p>.<p>They shuttled between different genres of music and took the audience through a journey of various ragas.<br /><br /> She began with Jhanak Jhanak Payal Baje in raag bhupali, after which one of the troupe members presented a popular composition of the raag on the flute. <br /><br />One did not know what was up next. The transition from her original deep, husky voice to the taar saptak and the teevra madhyam was beautiful. <br /><br />The intricate pieces of jugalbandi between the piano, flute and tabla brought out the various facets of the raag and music to the fore.<br /><br />“Often, when we hear music, various images come to our mind. Love is what comes to our mind when we hear a piece. Love and music are different sides of the same coin and so is the journey of the raag from bhav to bhakti,” informed Jayashri.<br /><br /> The shift from one piece to another was immediate, yet smooth. <br /><br />The piano and violin jugalbandi was rare and filled the air with romance and hope. Just as the violinist soothed the ears, the pianist enamoured the audience with his dynamic performance. <br /><br />It was followed by the recital of a Tamil composition by Jayashri.<br /><br />However, what was commendable was that an established singer like Jayashri shared the stage with nine other artistes and gave equal importance to all of them. <br /><br />There was light music too, which she presented with a lot of finesse and style. <br />As the chorus of Aapki Nazron Ne Samjha was hummed by her team members, the audience broke into applause.<br /><br />However, the rendition of Ranjish Hi Sahi a ghazal was a surprise. <br /><br /> This popular ghazal by Mehdi Hasan was sung in a different style by Bombay Jayashri.<br />Raags such as malkauns, bahar, bhimpalasi were used in many of the <br />compositions. <br /><br />She then returned to Carnatic compositions and sung a composition by Thyagaraja in raag saramati.<br /><br /> The best was saved for the last and her team closed with a composition based on Sindhu Bhairavi called Vindu Bare. At the end of it, the audience gave a standing ovation to the team. <br /></p>
