Evocative music at its best
HARISH BAL
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P. Unnikrishnan and Umbayi enthralled the audience with their mellifluous voices.
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SOULFUL: Umbayi's concert featured works of ONV, Mepalli Balan, Sachidanandan and Yusuf Ali Kecheri.
When the younger lot of Carnatic music vocalists started modulating their voice to make their renditions emotive and appealing, it attracted a wide audience of music buffs who were not necessarily into the intricacies of Carnatic music.
P. Unnikrishnan with his mellifluous style of singing stands tall in this set of musicians. He also has his fan following as a leading playback artiste. His concert for M. Mahadeva Iyer and V.S. Mahalakshmi Ammal Memorial Concert, under the aegis of Poornathrayeesa Sangeeta Sabha, at Kalikotta Palace, drew a huge gathering.
The initial pieces were the ones popularised by his guru S. Ramanathan such as the varnam `Sarasijanabha' in Saranga, `Varalanthukom' in Gurjari raga and `Sogasajooda tharama' in Kannada gowla.
Raga Hamsanadam has attained a prominent status in recent times, with musicians going for elaborate alaapanas. Unnikrishnan's alaapana focussed on the upper sthayi, embellishing it with akaras and brigas. His swara essays dwelt on the nishadam and upper rishabham and madhyamam. Unnikrishnan unfurled Anandabhairavi, making its swaroopa clear from phrase one.
Changanassery Harikumar on the mridangam shone as much as the vocalist. The magnetic tenor of his mridangam punctuated the concert and swaras and eduppus were precise. He performed a thani along with Susheel Kumar on the ghatom, for the main piece in Thodi. The chowka rendition of `O Jagadamba' was melodiously complemented by the percussion.
`Bhogeendra shayinam' in Kundalavarali was special with its swaraprasthara that relied much on jhanda phrases. `Kaddanuvariki' in Thodi was the main piece, and the neraval in second speed, supported by Harikumar, was a high point in the concert. Requests poured in for Unnikrishnan's popular light pieces. `Rama Rama Rama Seetha,' a Bharathiyar composition `Kakkaichirakinile nandalala,' and `Manasa Sancharare' in Sama raga elicited generous applause. He also included an ashtapadi `Pashyati dishi dishi,' `Venkatachalanilayam' in Sindhubhairavi and the raga malika `Kurai Onrum Illai.'
New dimension to ghazals
The second day featured Umbayi who has given a new dimension to ghazals in Kerala. His concert featured works of noted Malayalam poets such as ONV, Mepalli Balan, Sachidanandan and Yusuf Ali Kecheri. He began his recital by pointing out that ghazal is interaction and not rendition (`Samvedanam' not `alaapanam'). In between the songs, he talked about his favourites like Mehdi Hassan, anecdotes involving poets and so on.
Umbayi's evocative rendition of his popular number `Veendum paadam sakhi' captured the romance and yearning inherent in the lyrics of the number. The complex lyrics of Sachidanandan `Madhurame nin mukham' were vibrant with pep and tempo. Antony Pippichan on the tabla stood out. He also included popular ghazals like `Ranjish-e-sahi' (Mehdi Hassan), `Pyar bhare do sharmile nain,' `Chupke chupke raat din' (Ghulam Ali) and `Chaand Angdaiyaan le raha hai' (Anoop Jalota).
It was an all-new experience when he paid tribute to K. L. Saigal by singing a few lines from `Soja rajkumari,' which found a sequel in ONV's poem `Paduka Saigal paduka.' He touched the serene strains of raag Miyan Malhar delicately. A short sargam of Yaman heightened the effect of the enchanting piece `Manasse neeyen premaganam.' A touch of poetry and music was found in the poem by ONV `Neelavelicham nilamazha peyyunna bhojanashalakkullil.' He enthralled the listeners with an old evergreen movie number `Oru pushpam maathramen.'
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