Bansi Vibhushit
Bansi Vibhushit (Raga Miya Ki Todi) is a stuti that describes the Lord very beautifully- 'flute in hand, dressed in pitamber, lips glowing as a result of having eaten butter, and a face beautiful like the moon and lotus-like eyes'. In this stuti the bhaktas express as to how difficult it is know the full self of the Lord in spite of adoring him so intensely.

Shri Krishnashtakam,
Shri Krishnashtakam, (Raga Pilu) written by Shrimad Adi Shankaracharya, invokes Shri Krishna with various names, synonymous specifically with his Leela in Vraj. The composition has a beautiful rhythm. This is followed by Gopala Niranjanam, an aarti full of fervour and gaiety.

Vrindavan Stuti
Vrindavan Stuti- (Raga Dhanashree) This stuti written by an ardent devotee, Shri Chairanya Mahaprabhu (l4th-15th century), glorifies 'Vrindavan' where Shri Krishna spent the most romantic and beautiful years of his life.

Om Namo Bhagwate Vasudevaya
Om Namo Bhagwate Vasudevaya* (Raga Bhimpalasi) is the chant made very popular by Pandic Jasraji himself, wherein Shri Krishna is invoked by his various names. This chant builds up in energy rowards the end and takes one to a state of eternal serenity.

* It is said that pandit Jasraj regularly sings this stuti at most of his concerts and it is among his personal favourites.

Padma Vibhushan Pandit Jasraj
Pandit Jasraj, considered as a living legend in Indian classical music today, is undoubtedly one of it's most outstanding talents. He was born in 1930, in Hissar in the state of Haryana, into a musical family. His father Pandit Moriram and elder brother Pandit Maniram were both vocalists, and it was his brother who completed his induction into the family tradition, which is referred to as the Mewati Gharana. Panditji is blessed with the rare ability to express the essential beauty of the music in a form that is always fresh and appealing ro the listener. His incomparably rich and sensuous voice and technical virtuosity are harnessed to a genuinely devotional spirit, making his music satisfying on many levels. Both a traditionalist and an innovator, he places emphasis on maximising expressive power and aesthetic relish, rather than on holding to traditional practice for its own sake.

1. Bansi Vibhushit
2. Shri Krishnashtakam (Shri Shankarachaya Virachit)
3. Gopalniranjanam (Aarti)
4. Vrindavan Stuti
5. Om Namo Bhagwate Vasudevaya