Abbos Kosimov (Pictured Left) of Uzbekistan is considered one the most entertaining and explosive doyra players in the history of frame drumming. Both a traditional master and a contemporary innovator, Kosimov has broadened the scope and repertoire of his country’s principle percussion instrument, a frame drum, to the point where all younger players imitate his techniques. Renowned for both his depth of knowledge of the widely varied national repertoire, and for his contribution to the musical and technical advancement of the doyra, Abbos received the title of “Honored Artist of Uzbekistan” from president Islam Karimov on the 10th annivesary of Uzbekistan’s independence. In 1998, Abbos founded the extremely popular ensemble Abbos Group, featuring Uzbek national instruments. Today, Kosimov lives in Sacramento, CA, and performs with various master ensembles including Voices of Afghanistan, featuring legendary vocalist Ustad Farida Mahwash, and The Sakhi Ensemble, led by Afghan music master Homayoun Sakhi, who also directs Voices of Afghanistan. These are among the leading Central Asian music ensembles of our time. Abbos has also performed on acclaimed Masters of Percussion tours led by luminary tabla master Zakir Hussain. Uzbekistan, Afghanistan and India share a great deal of history and culture, and these innovative groups give Abbos an opportunity to showcase his virtuosity and unique, signature style.
Abbos’s colleague in Voices of Afghanistan and The Sakhi Ensemble, Homayoun Sakhi, calls him “the magician of the doyra,” adding that, “he’s probably the busiest and most in-demand percussionist in the US right now.” Abbos grew up in a family of musicians in Uzbekistan. His father played santoor (hammer dulcimer) and his brother ney (flute). He began studying doyra at age ten, beginning with his brother Umar Kasimov and father Rakhmat Kosimov. His brother soon introduced him to To’ychi Inogomov, the principle teacher of doyra tradition, and so began a fateful apprenticeship. Up to the age of 20, Abbos concentrated on classic rhythms and solos. He mastered the basics quickly, and soon began to branch out on his own, leading him in unexpected directions. “Back home in Uzbekistan,” Abbos recalled, “I practiced a lot, six or seven hours a day. I listened to jazz music, drum set players, conga players, djembe players, tabla, and I mixed it all together and put it on doyra.”
This was unprecedented. The doyra is a roughly 2000-year-old instrument, originally played by women and used as an accompaniment to singing, typically holding down a 6/8 groove rhythm. The instrument’s frame is a single piece of wood, cut from a walnut or Russian acacia tree. Its face is made from cow skin, curved all the way around and glued to the inside of the frame. A set of 64 rings are attached to the frame, evenly spaced around the perimeter. The rings are heard, like those on a tambourine, adding a hi-hat like effect to the instrument’s deep drum tones. Around 1950, men began to play doyra. The instrument became smaller, and the style and repertoire began to develop in new ways.
But no prior player has come close to Abbos’s innovations. Inspired by North Indian tabla players, Abbos worked on his finger tapping technique, perfecting soft and hard strokes, and developing personalized rolls and slaps. He mastered rhythms in different time signatures, 7/8, 11/8 and others. In 2008, Abbos was a guest performer on one of Ustad Zakir Hussain’s Masters of Percussion tours in the US. He has since become a permanent member of the project. This is where Homayoun Sakhi first heard Abbos, and was amazed to hear such proficiency in so many styles of music from the humble doyra.
Homayoun was then in the process of putting together an ensemble to play Afghan music, and Abbos seemed an ideal addition. Uzbek and Afghan music are very close. In fact, Uzbek-Afghans account for over 20% of the country’s population. Abbos’s facility with North Indian classical music—another important ingredient in Afghan music—was also a great asset. As soon as the two masters began working together, they found themselves digging into 500-year-old works, reciting bols compositions—spoken rhythmic pieces—and embellishing Afghan and Uzbek folk rhythms in new and exciting ways. Homayoun recognized Abbos as “the most extraordinary frame drum player in the world,” and the two have been working together ever since.
Since moving to the United States in 2005, Abbos has performed with a variety of top-flight musicians, including on Stevie Wonder 2006 CD Time to Love, with Zakir Hussain and Giovanni Hidalgo in Masters of Percussion, Adam Rudolph, Zakir Hussain, and now with Voices of Afghanistan. He has performed and toured some of the most prestigious festivals in the World, including Carnegie Hall, Symphony Space, Walt Disney Music Center, major festivals in the USA, Canada, Japan, Germany, France, Belgium, Luxemburg, Egypt, UAE, Lebanon, UK, Greece, Taiwan, Thailand, and Malaysia.
