Ajay Nerurkar ....
> "naniwadekar wrote:
> > In the 'kaunsspeak' clip, Jha Sahab says that there is no other raag
> > this big in currency,
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> Jhasaab's point was that in Malkauns every swar is equally important and is
> related to every other swar, and this is what distinguishes it from the
> other big enchiladas of HCM. He was not making an absolute comparison of the
> three raags in question in any way; that would be a wholly futile exercise.
> His other insight was that Malkauns has something to offer both the novice
> and the veteran. Its pentatonic scale and straightforward movement mean it
> can be easily conjured up by the tyro, but it also has a profundity that can
> be plumbed only by the experienced musician.

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In the same vein , from Parrikars site :

" The signal characteristic of Malkauns concerns its nyasa locations: each one of its swaras is considered apposite for nyasa. No other raga has this attribute. The implication being, you cannot go wrong in Malkauns. With five locations available for nyasa, the vistar area extends far and wide, overcoming the limitations of a restricted tonal space inherent to pentatonic ragas. "

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Meetkalakar , echoing medieval traditions :

" The name Malkaush is derived from the combination of Mal and Kaushik, which means he who wears serpents like garlands – the god Shiva. However, the Malav-Kaushik mentioned in classical texts does not appear to be the same as the Malkauns performed today. The raga is believed to have been created by goddess Parvati to calm lord Shiva, when he was outraged and refused to calm down after Tandav in rage of Sati's sacrifice. " "

https://www.youtube.com/watch?v=urZY_I2YpKs - Bandish ( madh-dr teent ) and Tarana ( dr ekt ) - Anjali and Nandini Gaikwad