Carnatic Album Reviews..

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Title : Sowmya Vocal (cover is yellow so you can distinguish it easier)

Vocal - Sowmya
Violin - Embar S. Kannan
Mridangam - Neyveli Narayanan
Kanjira - B. Purushothaman
Morsing - Raman

1. Gam Ganapathe - Hamsadwani - Adi (tisra nadai) - Muthiah Bhagavathar
2. Chitham Irangada - Sahana - Misrachapu - Papanasam Sivan
3. Varanarada - Vijayasri - Adi - Thyagaraja
4. Dayarani - Mohana - Jhampa - Thyagaraja
5. Dinamanivamsha - Harikambhoji - Adi - Thyagaraja
6. Bhajare Yadunatham - Peelu - Adi - Sadasiva Brahmendra
7. Thiruppugazh - Arunagirinathar

This album is one of the best i have heard. Sowmya's solid, rich and melodious voice makes the listener want more and more. Gam Ganapathe opens the album, and it is rendered pretty well. The tamil krithi Chitham Irrangada is sung very beautifully, and i am very serious when i say very beautifully, especially her alap. I liked Varanarada a lot, it is a fast moving, or i may say very fast moving song, which is the action part of the album, being the fastest song, and her management to do nereval and katpana or manodharma swarams for this is simply superb and at its best. Dayarani is sung ok. Dinamanivamsha being the obious highlight having alap/raga introduction, the song, katpana/manodharma swarams, as well as the chance for tani avarthanam between the mridangist, kanjira player and ghatam player. This is done very well as well. Bhajare Yadunatam has been sung with a lot of bhava/feeling, and i enjoyed this one as well. Then the thiruppugazh is set in surati, but is actually not a thiruppugazh as i found out last year. It is a thiru-arutpa, therefore it most probably is not composed by arunagirinathar. But overall, this album is very delightful, giving carnatic music lovers a huge taste of everything. It's worth it as well. Do you want to listen to this album and see for yourself? Well, you may listen to this album by Sowmya, as well as other albums by Sowmya, as well as other albums by other artists, at my music website http://carnaticnish.topcities.com
For those wanting to listen to this album...click on vocal in the sidebar, click on Sowmya near the bottom of the webpage and then click on the last album on Sowmya's album page. It should be called "vocal" But overall this is a nice album, why not have a listen? Also, Chittam Irrangada should be available for download at coolgoose.com. Till then, ciao amigos! Have a listen, it is worth it too.
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[RR]

Inreco IP 5103 Compact Disc - Carnatic Classical - Tyagaraja Hrudayam - Neyveli R. Santhanagopalan — Rs. 200.

"THYAGARAJA HRUDAYAM," released by INRECO, comprises 11 songs of Tyagaraja sung by Neyveli R. Santhanagopalan with S. Varadarajan (violin), K. Arun Prakash (mridangam) and S. Karthick (ghatam) as accompanists. "Giri Raja Sutha" in Bangala with kalpanaswaras is a spirited opener.

"Marugelara" in Jayanthasri is a pleasant rendering. Yet, the customary beginning of the charanam sung by most musicians with the solfa phrase, "P P P; P m P M" is likely to offend the lakshana sense of the rasika, since the whole line sounds like Suddhadhanyasi and not Jayantasree.

Lalgudi Jayaraman's version, "D D D; D m P M," is an outstanding example of how the disciplined tenets of grammar could be synthesised effectively with aesthetic sensitivity. "Hecharikaga Ra Ra" announcing the arrival of Lord Rama at the marriage hall, is beautifully tuned in Yadhukulakambhoji, and the singer's interpretation is flooded with rich `bhava.'

"Nidhi Chala Sukhama" in Kalyani, in which Tyagaraja asserts that it is only the Lord's darshana that will give unalloyed bliss and not material wealth, connects with the listener spontaneously.

The Todi kriti, "Ninnuvina," "Sujana Jeevana" in Khamas and "Inta Sowkhya" in Kapi sung with creditable involvement and composure address the mind and heart in a positive fashion.

"Haridasulu" in Yamuna Kalyani brings golden memories of Maharajapuram Viswanatha Iyer's exquisite rendition that invariably led one into a state of ecstasy. "Vinayakuni" on Devi Kamakshi in Madhyamavati, and "Tulasidala" in Mayamalavagowlai complete the album, with grace and melody.

The last song could have been more appropriately fitted in the first section of the programme. The errors in the inlay card are far too many to be listed. — S.P.

http://www.hindu.com/fr/2005/02/04/s...0402380400.htm

[RR]

Sea Records SD CD CCV 2031— Carnatic Classical Vocal — Master Shankaran Namboodiri — Price not indicated.

MASTER SHANKARAN Namboodiri, disciple of T. V. Gopalakrishnan, has blossomed into a full-fledged vocalist since the days he was acclaimed as a child prodigy.

His CD beginning with the Arabhi ratna of Tyagaraja, "Sadinchene," with a lively gait, infuses infectious enthusiasm.

Todi is a commendable exposition of the boy's innate musical sensitivity, and it is to the guru, T. V. Gopalakrishnan's, credit that the alapana is free of irrelevance and blots on the lakshana canvas.

The violinist, one of the TVG brothers as mentioned in the album, plays a mature alapana with the melody motif in full flow. A neat version of `Dasarathe' serves as a platform for the tani avartanam between the ghatam and the mridangam, played by TVG himself.

The artiste's ability to focus on the swaroopa of the raga is well reflected in his interpretation of Kalyani, lacing it with karvais and melodic prayogas in different kalapramanams. The oral range is praise-worthy with the phrases in the tara sthayi even traversing above the panchamam, emerging loud and clear. "Nammivachina," one of the Kovur gems of Tyagaraja replete with niraval and swaras, is indicative of the singer making a mark in his pursuit of classical music.

http://www.hindu.com/fr/2005/03/11/s...1101910400.htm

[RR]

Veteran A. Kanyakumari has teamed up with her disciple V.Sanjeev, on the violin, to present nine tillanas of various composers to the accompaniment of an orchestra.

The disc begins with a well-conceived Sindhubhairavi composition of Kanyakumari, where accent is more on melody than on rhythm. The next is N. Ramani’s tillana in Nalinakanthi followed by the ever popular Sivaranjani number composed by Maharajapuram Santhanam. The orchestral compositions for both these pieces blend into a seamless whole, unlike the umpteen Carnatic CDs flooding the market today, which virtually butcher great compositions with their heavy orchestra. . The Tanjore Quartet’s Kanada in Tisra Nadai opens soothingly with a cascade of strings, flute and violin. An appealing piece with a judicious balance of melody and rhythm — Misra Kalyani (Mishrachapu) — composed by Kanyakumari and Sulochana Pattabhiraman also finds a place in the album. . M. Balamuralikrishna’s evergreen Brindhavani that oozes with the beauty of the raga has been well executed by Kanya and Sanjeev.
Adding grace

The pick of the CD is Thanjavur S. Kalyanaraman’s Dwijavanthi. Kanya breaking off into the fourth string time and again adds grace. Due credit should be given to her for presenting a rare tillana in Thodi, very differently conceptualised by Ramanathpuram Srinivasa Iyengar.

Marking the end is N. Ramani’s Madhyamavathi woven with felicitous phrases — a neat presentation. Punya Srinivas(veena) proves her mettle with expressive expositions even with taut strings. Palghat Sriram (flute) is equally adept. Rex and his group of violins and Solomon Augustine’s keyboard fuse well while Jayachandran (timings) is perfect.

The rhythm support of K.V. Prasad (mridangam), A. S. Murali (ghatam) and Madhusudhan (tabla) is noteworthy without being dominant.

Kanyakumari takes credit for the concept and music for the orchestra, very passionately done. A. Dakshinamurthy’s orchestral arrangements move along with the main theme. Sound Engineer Gopi’s brilliant work makes the fare enjoyable. Digitally recorded at Kothandapani Audio Lab, Subramanian has mastered the album. Useful for music students, this tillana collection is also a connoisseur’s delight.

Dancing Melodies

Kum.A.Kanyakumari &

V. Sanjeev (violin)

Sa Re Ga Ma

CD – Rs.150

[R.Latha]

Nagaswaram and thavil as vocalist’s orchestra

Nithyasree Mahadevan has a high pitched and a very pliable voice that obeys her commands to the fullest at present. This could probably be the reason for her to have had nagaswaram and thavil accompanists in M.K.S. Siva and A.K. Palanivel in addition to the violin and mridangam accompaniment of B.V. Raghavendra Rao and J. Vaidhyanathan.The opening strains of Reethigowla on the nagaswaram at the beginning of this album lead on to a prayer song invoking the blessings of the elephant headed Ganesa.

‘Thathvamariya Tharama’ of Papanasam Sivan is the chosen composition. The anupallavi rendition alternates between voice and the wind instrument. It is appreciable that the thavil and mridangam players take turns while accompanying the singer without raising the decibel levels. ‘Devadi Deva’ (Sunadavinodini-Mysore Vasudevachar ) owes its popularity to the exquisite rendering by Dr M. Balamuralikrishna. This composition is rendered vigorously by Nithyasree. A slight harshness is noticeable when the vocalist dwells on the upper gandhara note in a raga phrase in the latter half of the charanam.

The swara bouts by the singer and the nagaswaram player are precise. The korvai is initially shared by both of them before being rendered in unison for ‘Devadi Deva.’ The brief vinyasa of Chakravaham by Nithyasree employing Janta prayogas is a soft version and paves the way for Tyagaraja’s ‘Sugunamule’ in Rupaka tala. The blending of the nagaswaram with the voice is absent when the pallavi and charanam opening lines are played on the wind instrument.

Nithyasree’s Khambodi essay is initially over frilly but sobers down later. The brighas are clear as always with the singer. The violinist Ragahavendra Rao offers a sedate version of the raga. Papanasam Sivan’s masterpiece describing the majestic procession of Lord Kapaleeswara is an involved rendition by the vocalist with the thavil accompanying her during the pallavi segment of the song.

The kizh kala and madhyama kala solfa passages are professional exercises. The korvai before the kuraippu swaras has a thisra nadai appendage. The kuraippu centred around the dhaivatham has voice, nagaswaram and violin taking turns. Nithyasree takes over the sarvalaghu swara singing after the kuraippu and embarks on the korvai which lands with precision at ‘Manickam Vairam. A not-so-oft heard creation of Oothukadu Venkata Subbier in Jayantasri (Neerathasama Neela Krishna ), a Sanskrit composition, is briskly sung.

The Shanmukhapriya alapana on the nagaswaram is bright though with traces of the avoidable Chathsruthi daivatham creeping in. The song sung after the elaborate virutham is by a lesser known composer Sathur Karpagam. The raga snatches of Mohanam and Shanmukapriya vocalised have an extra punch, which would reach out to lay listeners.

‘Broohi Mukundethi’ (Senjurutti-Sadasiva Brahmendra) falls softly on the ears and is in contrast very soothing to the earlier dramatic rendition. The album comes to a close with the overworked tillana in Dhanasri by Swathi Tirunal. Apart from the novelty of having nagaswaram and thavil accompaniment for the voice, they do not contribute much to enhance sedate listening pleasure.

http://www.hindu.com/fr/2009/01/23/s...2351400800.htm

[R.Latha]

SRI KAPALI FINE ARTS
Rendered with verve
Geetha Raja brought out the essence of the chosen ragas with spirit and passion.
http://www.hindu.com/fr/2009/01/23/s...2351150300.htm

[R.Latha]

Springing a surprise

PVK

Album Judicious choice of kritis by Pantula Rama makes this twin-CD pack enjoyable.


Sasivadana and Manipravalam

Pantula Rama Carnatic Vocal Audio CD (Price: Rs. 195 each)

The two audio compact discs released with the divine blessings of Sri Kandukuri Sivananda Murthy have intricate and manodharma dominated music of a high quality offered by Pantula Rama. She has made her music reach out to the connoisseur's and she has come to be recognised as a Pallavi specialist. Her more or less permanent accompanists M.S.N. Murthy (violin) and V.V. Ramanamurthy (mridangam) provide their services for these discs admirably.

‘Sri Vighnarajam' (Gambira Nattai-Oothukkadu Venkata Subba Iyer) in Khanda gathi is a good choice as the opening number. The sahitya enunciation is clear.

Pantula Rama's voice is ideally suited for Carnatic music and has uniform ‘azhutham' in the Madhya, Tara and Mandra sthayis. The brigas are also executed with finesse.

A vivadi raga, Chandrajyothi is slightly lengthy. A briefer version would have created a better impact. Tyagaraja's ‘Sasivadana' on Lord Siva is a spirited rendering followed by kalpanaswaras for the pallavi. The violinist responds with ease to the swara bouts.

Madhyama sruti based ragas were generally not taken up by the past masters for Ragam, Tanam and Pallavi suites as their scope for vinyasa is limited.

The ragas would mostly be one amongst Thodi, Sankarabharanam, Kalyani, Khambhodi, Bhairavi or Kharaharapriya. Shanmukhapriya found place as a pallavi raga later on. Other rakti ragas such as Saveri, Nattakurinji, Sriranjani and Madhyamavati would be sparingly taken up for pallavi renditions.

Pantula Rama springs a surprise by choosing Chenchuruti (Janjhuti) for the pallavi. The alapana is nevertheless very good and is handled very convincingly. The vocalist's gnanam is evident as prayogas of Kurinji and Navroz are judiciously eschewed in the vinyasa. The tanam is gone through more as a formality. The singer is very impressive in her handling of the pallavi which is set to Adi tala two kalais and commences on the beat (samam). The base structure of the sahitya ‘Marakatha Mani Nibha Deha Mamava Sada – Janakipathe' covers three speeds. The niraval and trikalam exercise are flawless and is reflective of the homework done. The credit for composing the pallavi, as per the inlay card, goes to M.S.N. Murthy, the violinist. His accompaniment for the pallavi enthuse Rama to give her best. The kalpanaswaras sung at different points make mature music. The thani avartanam by V.V. Ramanamurthy is to the point and subdued without being noisy.

A padyam from the opera ‘Prahlada Bhakthi Vijayam' in Kapi is followed by ‘Pahi Kalyanarama' in the same raga and brings the disc to a good finish.

Rare compositions

The second disc titled ‘Manipravalam' covers compositions in Kannada, Tamizh, Telugu and Malayalam. Purandaradasa's Atana devarnama ‘Sakala Graha' is sung with all the charanams which is rare to hear.

A brief exposition of Kedaragowla is gamaka rich and moves on to Ramaswamy Sivan's ‘Natanam Seyyum.'

This song seems to be one of the vocalist's favourite Tamizh composition and this scribe has listened to her frequent rendition of this song in her Chennai concerts.

Pantula Rama's Kalyani vinyasa is powerful and majestic in a unhurried manner. The rare kriti of Tyagaraja ‘Karu Velpulu' with its plethora of sangatis is sung gracefully. The swaraprastharas for this song however falls slightly short of Rama's musical standard.

A haunting sketch of Dwijavanti leads on to Swati Tirunal's ‘Tharuni Nyan' and is leisurely vocalised befitting the nature of the lyrics.

http://www.hindu.com/fr/2010/03/26/s...2651180400.htm