kamaaz..kya Kamal hai..

Kamaz

She originates from the high snowed peaks

still,serene,

cold and even frigid.

D

r

o

p

s

down

the hillocks jiggling, vibrant, tasty plundering all that lie on her way.

Hastening to reach the land, hesitates a bit whenshe reaches there.

Realizes this is her place.

Gushes forth like the blush on the rosy cheek of a maid.

Slows down after the initial

euphoria, of a woman who has just delivered a baby.

Fills up everything that lie on her way, like the sanyasin who renounced the world. Finds her destiny finally in the deep waters.

Again calm.

The calmness which prevailed ather birth.

No more she has longing.

Nothing gives her pangs.

Life is filled up to the brim.

a drop more would spill the joy.

Our Kamaaz takes the same route.

Arokan: S M g M P D N S

Avro : R S N D P M g R g S

The equivalent of Kamaaz in HCM is not very clear.

The raag called by the name in HCM is corresponding to Hari Cambodi of CCM.
In CCM the well known kriti is by Mysore Vasudevacharya "brochevaeverura" reflecting the raaga in all its moods.

The chita swaram inbetween the charanams conform to the various phases of this beautifulraga, as it is sung in the various beats.

It reminds you the journey of a river as we saw earlier.
The film Sankarbharanam, besides other things, popularised the kritiamongst a generation which had no or little exposure to classicism.
A devotional song, "dolaya mann dolaya" is another illustration ofthe raag.

In films, Kamaaz does not seem to have been utilized to the level itought to have been. While I do not remember any in Hindi, the only onein Tamil is an old one belonging to the bygone era when the inimitablenasalised unique Bhanumathi sang the unique song, ""koovadha InbaKuyil Koovum."

It is worthy creating an occasion to hear the song where the rhythm provided by piano blends beautifully with the basic classical patternof the song.A small but vivacious alaap in the beginning gives you the raga's very essence.