Musician Malladi Sooribabu and his sons turn their concert into an intimate jam session

Malladi Suribabu performing with his sons Malladi Sriram Prasad and Malladi Ravikumar at the MS Subbulakshmi auditorium of the Asian College of Journalism. Photo courtesy: M. Srinath

Starting with ‘Shanka Chakra Gadha Paani’ in Purnachandrika to concluding with Ragamalika ‘Udayadri Pai’, the Malladi Trio’s performance at Madrasana’s Unamplified Concert Series had a divine resonance. Malladi Suribabu’s singing with his sons Malladi Sriram Prasad and Malladi Ravikumar was a testament to the enduring vitality of Carnatic music. With accompanists from the extremely talented Amber Kannan (violin) and KV Prasad (Mridangam), the evening turned into a celebration of artistry at its finest.

The concert began with Muthuswami Dikshitar’s field work, ‘Shanka Chakra Gadha Paani’, a praise of Venkateswara of Tirumala. The nuances of Purnachandrika were presented with such precision that it awakened the spirit of literature.

Known for may you have intense devotionAll aspects of Kamavardhini (Panthuvarali) were explored through Alapana by Sooribabu, with Amber Kannan’s violin echoing this introspection. With Tyagaraja’s rendition of the beautiful Thara Deham Ramam, the camaraderie of the trio was evident, creating an atmosphere that felt as intimate as a home jam session.

This was followed by Tyagaraja’s ‘Nama Kusuma Mula’ in Sri Ragam (Rettakalai Aadi Taala), which included a simple yet effective Mridangam Sol Kattu, beautifully underlining the mood of the piece. At the age of almost 80, Malladi Suribabu’s voice astounded the audience with its strength, perfect shruti and unwavering clarity, defying age.

Then came ‘Adheyanamma Harudu’, an interesting composition in Raga Paras/Paraju, composed and popularized by Puliyur Duraiswami Iyer. Beginning the composition with a brief lyrical prologue, Sriram Prasad shared that this fast-paced piece describes Parvati’s imaginary vision of Shiva’s cosmic dance (Tandavam). The trio’s spirit shined as each member’s improvisation matched the others’ energy, creating a competitive but harmonious spirit.

The infectious smiles and energy of the trio created a captivating experience for the revelers. , Photo Courtesy: Srinath M

The highlight of the evening was undoubtedly the highlight of Mohanam. The alapana showcased the individual talents of the trio, beginning with Sriram Prasad, followed by Ravikumar, and culminating in Suribabu’s singing, marked by impeccable breath control, followed by Amber Kannan’s intense bowing to the joy of the entire raga. And a feeling of satisfaction emerged. Tyagaraja’s ‘Mati Mati Ke Delpa Valena Muni Manasaraschita Charan’ (‘O Rama, should I tell you again and again whose feet are worshiped by the sages) was performed with a fascinating interpretation of the depth of the song, leaving the audience enthralled. Was linked to the musician’s devotion. , In ‘Shankarpriya Sarva’, Niraval and Kalpanaswaras gave way to a spirited Tani Avtaranam by KV Prasad.

Throughout the evening, the trio’s infectious smiles and energy created a captivating experience for the revelers. Apart from being a musical feast, the concert was also an educational and emotional journey.

The blend of devotion and karuna rasa expressed in Annamacharya’s Nitya Puja, set to the tune in Dwijavanti by Suribabu, shows his deep understanding of the aesthetics of the raga. The Lake-Dame segment of the trio during the presentation provided a rare insight into Dwijavanti. References to Mehdi Hasan’s ghazals added a unique cross-cultural dimension. Sooribabu’s Mehdi Hassan-inspired rendition of Dwijavanti was both innovative and deeply touching, revealing the universality of musical expression. On this, thunderous applause of the lovers resounded.

As the concert approached its conclusion, the Kshetriya Padam in Surutti (‘Indendu Varchi Timira’) was presented with lyrical beauty. The concluding piece ‘Udayadri Pai’, composed in Ragamalika by Suribabu and sung by Lalitha Sangeetham, was an emotionally intense rendition.

Each piece in the concert was not just performed but presented as an immersive journey.