Yes Hindusthani Kedhar = Carnatic Hamir Kalyani.
Raga Kedaris available in all forms like Dhrupad, Dhamar, Khayal, Thumri and so on. it is not a scalar rAga, amenable to reconstruction with elemental Aroha-avarohi phrases. There is much more to it than merely piecing together and summing up a group of tonal clusters.

The rAga employs all shuddha swaras and the teevra madhyam. Throughout the discussion, M = shuddha and m = teevra madhyam. The heart of Kedar lies in the following turn of phrase (pun intended):

S M, M G P, D->M, S R, S

The meeND from D->M is vital. The powerful shuddha madhyam defines the rAga's tonal 'centre.' The pancham is strong and a location for nyAsa.
Let us briefly examine the lakshaNAs and some of the supporting melodic constructs. The sound clips adduced later will clarify and reinforce these ideas.

S R S M, M, M G P

The gandhAr is used lightly (alpatva) as a vault from madhyam to the pancham. A variation on the uThAva (launch) - S M (G)m, P - illustrates the subtle interplay of the two madhyams, a feature of the rAga. The consecutive madhyams may likewise manifest themselves in avarohAtmaka prayogas: P m M. It must be emphasized that although the madhyams appear cheek by jowl in written form the intonation is not so simple: the slide is always mediated by a meeND or a kaNa-swara (grace note). In some traditional Dhrupad and Dhamar compositions, phrases such as G M R S or M G R S are observed but they have fallen out of favour in recent times. It bears mentioning that the proportion of the teevra madhyam is far less than that of the shuddha madhyam. In some older accounts and compositions, the teevra madhyam barely receives acknowledgement.

M, M G P, P (m)D->P->m->M
Upon arrival at the pancham a couple of options suggest themselves. One may simply repair to the shuddha madhyam via a meeND grazing m en route. Or one could execute a meeND originating on the dhaivat back down along the D->P->m->M locus.

PDPP S", S" (N)R" S"
P N (N)D S"
These are some of the prescribed prayogas for an uttarAnga launch.

S" R" S", (S")D P M

These are typical avarohAtmaka prayogas originating from the tAra shaDaj. Appearances are deceptive since every step of the way is laden with a meeND or a delicate curve. Swara ucchAraNa means everything to this rAga. The delicious swoop from the tAra shaDaj back to the shuddha madhyam makes whistle-stops along the way on the dhaivat and the pancham. Accurate description of such prayogas is beyond the scope of the written word.

The dhaivat is piquant but it is not a location for nyAsa. The role of the shuddha nishAd is ambivalent. It is not used for nyAsa but the proportion and manner are functions of the performer's background. Typically the musician's asthAi-antarAs (i.e. the canonical composition he chooses to amplify on) will betray the rAga-lakshaNAs. We will not point to all the auxillary strands and embellishments that make for the Kedar tapestry. Each stylistic school or region has its own manner of putting flesh to the generally accepted kernel. In this sense, Kedar furnishes an apt metaphor for Indian tradition in the wider context.

The komal nishAd is optional and when introduced, is rendered weak in a vivAdi-like role: m P D n D P. A final remark on tAnbAzi: straight tAns do not sit well with this rAga. Typically, the swara doublets SS MM PP and triplets SSS MMM PPP are executed, not a trivial undertaking.