Hyderabad Brothers - Vocal
Peri Sree Ramamurthy - Violin
Srimushnam V Raja Rao - Mridangam
Nemani Somayajulu - Ghatam
Vandeham - Hamsadhwani - Jampa - Annamacharya
Ranganathuday - Sowrashtram - Rupakam - Ponniah Pillai
Vinatha - Jayanthasena - Aadi - Thyagaraja
Eti Janma - Varali - Mishra Chapu - Thyagaraja
Namaste - Devaranjani - Rupakam - Muthuswamy Dikshithar
Sudhamayi - Amrithavarshini - Rupakam - Harikesanallur Muthiah Bhagavathar
There are two aspects of Hyderabad Brothers' singing that one is compelled to marvel at, something that students of carnatic music should try to emulate.
One is Seshachary's and Raghavachary's steadfast fidelity (adherence) to tradition. Theirs is a no frills, no gimmicks (and therefore) no nonsense music, that have obviously helped them ingratiate themselves with the lovers of this brand of music. The second is their perfect diction, at least while rendering Telugu and Sanskrit songs-something that has made some musicians, such as M.S.Subbulakshmi, immortal.
These aspects are to the fore in this album, which is really good from start to finish. The highlights of the album are the Jayanthasena and Amrithavarshini both of which are elaborate, prefixed and suffixed with a gracious alapana and swaras. Jayanthasena-remember it if you please, as Kambhoji minus the Ri-is not a raga that one gets to hear often, hence the elaboration is very instructive. Thyagaraja's Vinatha comes out very beautiful.
Harikesanallur Muthiah Bhagavathar's Sudhamayi is one of the 'frequents'. Seshachary's has proved his mettle in the alapana with a karvai on the lower panchamam with evident ease. The alapana and swaras have been rendered in considerable elaboration, which again is a welcome feature.
There are other beautiful nuggets in the album. One wishes that the artistes had taken up the Varali piece Eti Janmamu also for a similarly elaborate treatment. The absence of (even) swaras at the end of the song is somewhat disappointing. Namaste in Devaranjani is yet another beautiful rendered piece, another rare raga and the artistes deserve credit for choosing this.
The album contains no alapana on the violin or a tani. Whether this is good or not, is debatable.