JA Jayant performing at Ragapriya Chamber Music Club in Madurai in August 2022. Photo credit: Ashok R
Flutist JA Jayant brings a contemplative feel to his music by using the long bass and double bass flutes in addition to prominently playing the bamboo flute during his concerts. The technique highlights their singing style of instrumentation, which imitates the singing voice. The Gyaki style emphasizes the beauty of the raga or melody with the fluidity and movement of the notes.
As the sahitya in the compositions has a special appeal, his playing style attracted Carnatic music connoisseurs to the TAG Centre. of the Brahma Guna Sabha.
Jayant began the presentation with a lilting varnam, ‘Kurunimpa Edhi Manchi Thirunamu’ (Sahana, Thiruvativar Thyagiyar). Building up the tempo, he then played ‘Sugasu Juda Tarama’ (Kannadagula, Tyagaraj). After this kriti, Kalpanasvara developed slowly and rapidly. Jayant’s ‘Meeru Samana Dhiravardha’ in Mayamalavagula followed. The composition of the slow-paced Tyagaraj moved the audience emotionally.
Jayant was accompanied by Shrimshanam V Raja Rao (mridangam, who was brilliant during the tani) Sumanth Manjunath (violin) and SV Ramani (ghatam), who elevated the concert.
Muthswami Dikshatra’s kriti that can bring rain never fails to enthrall the audience. And, when Jayant translated Amrita Varshni’s composition ‘Anandamruta Krishna’, and explained the raga at high speed, he gave the feeling of rain, and at high speed, the impression of torrential rain. A violinist in raga alapana suit shined. The ensuing Swarkalpan brought out the inner beauty of the raga. This, along with Meredingist’s wit, added a wholesome appeal to the concert. Ghatam artist was also in his element. The best part of the performance was the playing of the beautiful phrases of the raga.
Jayanth chose the Bhairavi to explore the main melody, and alternated with the long flute to touch the lower octaves. An equally fine Bhairavi essay by the violinist set the scene for Dikshatra’s composition ‘Balagopala Palayasamm’. In the Kalpanasvara section, the flute alternates with the long flute to explore the bass effects of the lower octave phrases.
