Performers, tracks 1-5: Mastâneh Ergashova (voice), Satâr Fazolayov (dâyera), Sharif Hâmedov (nay), Almâs Abdolayov (chang), Teymur Mahmudov (chang), Saidolâ Obeydolâyov (ghichak), Nasredin Aliov (ud), Asrâr Aslanov (tanbur), Saïd Khajé Khodjayov (tanbur), Malik Ziâyova (dotâr)
Performers, tracks 6-8: Jurabeg Nabiev (voice, târ), Yusuf Bâbajanov (dâyera), Rostâm Adelov (nay), Mozafar Shamsiov (chang), Shokat Nabiov (ghichak), Saidolâ Obeydolâyov (ghichak), Bayâd Hamrâqolov (ud), Shokhrat Nabiov (tanbur), Abdolrauf Abdolvâhed (rabâb), Abdolrahim Hamidov (dotâr)
Playing time: 67'50"
Recording date: unknown (Tashkent)
Shash Maqam means literally six modes, and the central six tracks on this disc are grand pieces in each of the six. The first and last tracks form a frame for the set.
Regarding the instruments, the plucked-strings dotâr, rabâb, ud, tanbur & tar are fairly well known, as is the blown reed nay. The dâyera is a frame tambourine, the chang is a psaltery, and the ghichak is a spike fiddle like the Iranian kamancheh.
While not as polished as the Ocora series, even when featuring the same singer, this disc provides a viable and potentially worthwhile introduction to this repertory.
To purchasing information for this disc.
To Central Asian music list.T. M. McComb