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Accompanied by delhi sundarrAjan - violin , mridangam -H.S.Sudheendra and ghatam - H PrasannA
I went to hear only the waterfall , but also had a drench in the jOG
. The rtp was in a rarest of the rare jog , I had to jog a lot in my memory , connected almost at many places Jog with thillang and was there a slight egoless Not I (nAttai).The rAga alApanai was for about 6 full minutes with suryaprakAsh taking a slight hindustani start with carnatic aurA . The water gushed little more in Jog after taking a little swirl with light touches by this brilliant violinist for another 3 minutes .
THe waterfall picked up more turns and then started beautifully to fall in tAnam. tAnam was brilliant in 3 rounds with one of the best returns by sunderrAjan.The tAnam took a descent time of 5 full minutes.
The pallavi line was madura mani's impeccable "uNadhu pAdam thunaiyE OrAru mughanE", something that ganAkaladhra took it to dizzying heights in the more established rtp rAga in keeravAni. SuryaprakAsh took the lines used every phrase to stretch the jOg for additionally 4 minutes .
The jogging pallavi then sprinted and became a dudhsAgar with its 2 additional spectacular trajectory named kAnadA and mOhanam ,then gathered heaviness and jOgged finally for a 6 minute swara downpour.
In short , it was one of the greatest pallavi tried by this vidwan, incidentally I searched my entire 200 GB harddisk with jOg , I get only one 3 minute rendition by TanjAvur S kalyAnarAman that too it was mentioned as jOgkauns , I got other results in jOG ,but that was some violinist by vg jOg.
No body has tried this pallavi in jOg and there is no reference for this vidwan in carnatic, it was his attempt and it was his creation,the rtp was for 32 minutes.
This is what is suryaprakAsh ,one of the most creative and expressive carnatic musician.
Other numbers that mattered was the early submain mA JAnaki (RS N S) with his ringing voice kAmbOdhi was brilliant .The main in kalyAni was also excellent to outstanding .Though in kalyAni the rAga that I personally prefer to pass, he charged without any sag , particularly the neraval and swaras(how many patterns there ) were superb.
Delhi sundarrAjan' violin was all thru brilliant , if suryaprakAsh served a half volley,he returned the half volley in ranjani.If suryaprakAsh hit a full valley he returned full volley in kAmbOdhi. If there was a controlled smash in kalyAni he just did the same . There was lot of top spin in jOG.
Both the percussionist gave a very good support , at few places despite a very brilliant srimushnam nAdham by sudheendra ,the percussionist found it difficult to adjust this maNodharmam of suryaprakAsh.
