Vykom T V Jayachandran at Music Club IIT Madras

Vykom T V Jayachandran - M A Sundareswaran - B Sivaraman - Madipakkam Murali

'vakratuNDa mahAkAyA' - slOkam - sahAnA
karuNimpa idi - sahAnA varNam - Adi - vINai Kuppier (S)
vara vallabha ramaNa - hamsadvani - Adi - GNB (S)
mAmava sadhA janani - kAnaDA - rUpakam - ST
pahimAm srI rAjarAjesvari - janaranjani - Adi - rAmasvAmi sivan
rAma nannu brOvarA - harikAmbhOji - rUpakam - T (NS)
durusuga - sAvEri - Adi - SS (RNS)
himagiri tanayE - suddha dhanyAsi - Adi - HMB
akshayalingavibhO - shankarAbaraNam - misra cApu - MD (RNS)
taniyAvaradanam
teruvadEppO nenjE - khamAs - Adi - nIlakaNTa sivan (R)
pazhani ninru - kApi - rUpakam - periyasAmi tUran (R)
'kR.SNAya vAsudEvAya dEvakI nandanAyaca nandagOpa kumArAya gOvindAya namO namaha' - slOkam - bEgaDa, malayamArutam, bEhAg
srI mAdhavA - bEhAg - Adi - maisUr vAsudEvAcharyA
nI nAma rUpamulaku

The world of Carnatic Music never ceases to puzzle. Artists, who barely deserve to be called so, are flashed across several sabhas while some with genuine talent languish from neglect. Poor Jayachandran belongs to the latter. Endowed with a good voice, sruti suddham, good stage presence, classical training, fluency in niraval and rAga AlApanAs, here is a musician who is hardly known to the Mylapore mafia! This, in spite of the fact that his lone patron features him once a while at Mylapore, in the precincts of rAgasudha hall! The serious rasika could not banish such thoughts while listening to Vaikkom Jayachandran at the accoustically 'sound' Central Lecture Theatre for Music Club, IIT Madras.

Sri Jayachandran started off with a good rendition of the slOkam in sahAnA followed by the varNam with svarams. The small sketch of the rAgam led to the hamsadvani kriti that was nicely rendered with the svarams being well structured. The kAnaDa kriti and the janaranjani kriti (with a small rAgA sketch) were well rendered at a comfortable speed.

The harikAmbhOji kriti was rendered well with neraval and svarams at 'meppulakai kannatAvu nappu baDaga virravIgi'. The sAvEri AlApanai was rich with ideas, though confined to the essential sancarams and not resorting to populist gimmicky phrases. The kriti was rendered at a leisurely pace. The neraval and svarams at 'paramapAvanI kripA vanivinuta padasarOja praNataarti haru rANi' were done extensively with nicely structured sancArams. This was followed by the quick suddha dhanyAsi piece.

The main shankarAbaraNam AlApanai was another neat and elaborate affair with sancArams that were carefully tailored to show the elegance of the ragam. The kriti was rendered with a lot of grandeur and the neraval and svarams at 'badari vana mUla nAyikA sahita' were well executed.

The khamAs and kApi AlApanais were good and so were the kritis which were rendered. The rendition of the slOkam displayed the artist's capabilities to carefully split the words according to the svarams and not use unwanted akArams in the middle. The bEhAg kriti was nice also.

Sri Jayachandran 's abundant talent was in full view, right from the beginning. His tone was rich. All his AlApanais showed the rAga svarUpam right from the first sancAram and never ventured into unwanted phrases. His svara patterns also were carefully tailored to show enough variety.

Sri Sundareswaran was good all thro' the concert. He was appreciative and supportive of the vocalist. His AlApanais matched those of the main artist. His following of the pieces was just amazing. He displayed his talent in the neraval and svarams also.

Sri Sivaraman, though was a bit aggressive and loud in the first couple of pieces of the concert, gradually went in tandem with the main artist and accompanying according what was presented in the subsequent parts of the concert.

Sri Murali displayed his unique talent of exactly accompanying the kriti as presented. His Ghatam playing had a good tonal quality and added more
weight to the concert.

It is rather depressing that, such good artists dont get the recognition they deserve.