Wednesday, May 28, 2014

Saba - Jidka [The Line] [2007] [somalia]

Saba - Jidka 

       Saba Anglana, singer and songwriter, was born in Mogadishu, capital of Somalia, to an Ethiopian mother (born in Somalia) and Italian father. After doing much of her growing up in Italy, Saba studied to become a mosaicist, completing a degree in Art History at the University of Rome La Sapienza. She worked in the communication and publishing industry and, as actress, for TV and theatre.

       Due to the family's mixed-marriage status (Saba's father was Italian, and her mother a Somalia-born Ethiopian), the Anglana were forced to flee to the father's homeland when Saba was five years old. Anglana was thereafter raised in Italy, eventually rising to national prominence as a television actress, but her Somali roots remained an important focus. She studied the native language with her mother, particularly the regional dialect of Xamar Weyne, and connected to her native country through music.

       The word 'Jidka', which is the title track, means line – the line that runs on her belly and divides it into two parts – a darker side and a lighter one. This for her represents the union of diversities and the harmony that her parents found when they fell in love. Her story focuses on her identity as multilayered and with many different influences. She sings in her mother tongue – a type of Somali that is spoken in Reer Xamar, a quarter of Mogadishu, and has real expression and rhythm in itself. The result is an album which is a real mix of contemporary and traditional.

       On 'Jidka' (The Line), her musical debut, she explores the divide between Somalia and Italy with a rare sensitivity and gentle humour; mixing acoustic guitars and koras with traditional African beats and contemporary percussion. The result reflects both one woman's search for her identity and what it means to be

01. Saba - I Sogni (3:00)
02. Saba - Hoio (3:49)
03. Saba - Hanfarkaan (3:06)
04. Saba - Jidka (3:15)
05. Saba - La Temps Passe (3:58)
06. Saba - Manta (4:30)
07. Saba - Yenne Yenne (3:32)
08. Saba - Furah (4:34)
09. Saba - Je Suis Petite (3:10)
10. Saba - Boqoroda Meskin (3:15)
11. Saba - Melissa (4:07)
12. Saba - Huwaiahuwa (1:41)

Manalemosh Dibo - Assa Belew [2004] [ethiopia]

Manalemosh Dibo - Awdamet

       Manalemosh Dibo was a young singer who’s popularity grew with each song she released. She wass particularly well-known for her traditional songs such as Asabelew, Awdamet, and Minjar.

         Manalemosh passed away from natural causes, in 2009.

01. Manalemosh Dibo - Gondre (6:37)
02. Manalemosh Dibo - Demem Sew (7:10)
03. Manalemosh Dibo - Awdamet (6:08)
04. Manalemosh Dibo - Wolo (6:24)
05. Manalemosh Dibo - Atinkubegn (5:12)
06. Manalemosh Dibo - Minjare (6:08)
07. Manalemosh Dibo - Tew Belut (6:24)
08. Manalemosh Dibo - Merre (7:43)
09. Manalemosh Dibo - Ej Wedelay (5:07)
10. Manalemosh Dibo - Eshruru (5:33)

Monday, May 26, 2014

Aster Aweke - Ebo [1993] [ethiopia]

   R   E   U   P   L   O   A   D   

1. Aster Aweke - Minu Tenekana (6:04)
2. Aster Aweke - Ebo (8:02)
3. Aster Aweke - Yale Sime (7:04)
4. Aster Aweke - Yene Konjo (6:53)
5. Aster Aweke - Bale Garie (6:34)
6. Aster Aweke - Esti Lnurbet (6:43)
7. Aster Aweke - Yewah Libane (8:13)
8. Aster Aweke - Ashe Weyina (6:07)

Friday, May 23, 2014

Petites Planètes - Now Ethiopia • TILAHUN • lalibela songs from Addis Ababa [2012] [ethiopia] [FLAC]

originaly posted HERE :

          Lalibela, a small town in northern Ethiopia, home to 11 spectacular churches that were carved both inside and out from a single rock some 900 years ago. 

           Their building is attributed to King Lalibela who set out to construct in the 12th century a 'New Jerusalem', after Muslim conquests halted Christian pilgrimages, even today it is believed that Lalibela pilgrims share the same blessings as pilgrims to Jerusalem. 

      The Jerusalem theme is important. The rock churches, although connected to one another by maze-like tunnels, are physically separated by a small river which the Ethiopians named the Jordan.

1. blessings     15:12

2. offerings     04:23

 film _

recorded by Jacob Kirkegaard 
in Taitu Hotel 
Addis Ababa, Ethiopia 

june 2012 

produced by Vincent Moon & Jacob Kirkegaard

Thursday, May 22, 2014

Aster Aweke - Kabu [1991] [ethiopia]

Aster Aweke - Tchewata

       This Ethiopian beauty's Aster and Kabu albums show why she’s sometimes been dubbed the “African Aretha Franklin.”

        There’s no mistaking Aster Aweke’s primary influences. Listen, for example, to her early ’90s albums Aster and Kabu, with their Memphis-style horn section, soulful keyboards and crackling drums, and it’s immediately apparent why she’s sometimes been dubbed the “African Aretha Franklin.” Lady Soul, along with the Godfather, James Brown, and vocally versatile jazz singers such as Ella Fitzgerald and Sarah Vaughan, loom largely in her roots, her deep R&B/funk groove a reminder that bridges are meant to be crossed. Aweke doesn’t leave the traditional behind by any means; she respects it, she draws from it, but she’s never beholden to it.

       And then there’s that voice, as supple and mystifying an instrument as has ever been. Simultaneously tamed and wild, its flights of fancy are wondrous things. You can’t help but be awed.

      Aweke was born in Gondar, Ethiopia, some time between the late ’50s and 1961, depending on which account you believe. She grew up in the capital city of Addis Ababa and began singing as a teen, working with several groups, most notably the Roha Band. As Ethiopia entered a period of unrest following the death of iconic leader Haile Selassie, Aweke left for the United States. She became increasingly popular within the Ethiopian community in the States, performing in restaurants and clubs, particularly in her adopted home of Washington, D.C., one of the largest Ethiopian expat communities in the country.

    Aweke signed to the small Triple Earth label in 1989, and the two aforementioned albums were then picked up by Columbia Records, which had high hopes for her commercial potential in the West. The sales didn’t pan out but Aweke has continued to record and tour—her 1995 Live In London CD is an excellent primer that displays her charismatic appeal to the fullest.

Wednesday, May 21, 2014

Wushinfir Argaw - [1998] - Shegiye [ethiopia]

      Wushinfir Argaw has a wonderful, flexible and soulful voice. I enjoy listening to this CD - especially to songs 2,4,7. 

       Wushinfir is one of the best singers in contemporary Ethiopian music. His voice reminds me of the great Muluken Melesse, but is more traditional.

    This CD is recommended to anyone who wants to hear a great vocalist singing his country's traditional songs

01. Wushinfir Argaw - Shegiye (6:47)
02. Wushinfir Argaw - Mela New (5:43)
03. Wushinfir Argaw - Dimam Gella (6:05)
04. Wushinfir Argaw - Kebrarit Gondere (6:58)
05. Wushinfir Argaw - Kezeba (4:37)
06. Wushinfir Argaw - Erre Ney (4:01)
07. Wushinfir Argaw - Ye-Batti Lij (7:01)
08. Wushinfir Argaw - Yiwtalign (5:10)
09. Wushinfir Argaw - Mushiraye (6:59)
10. Wushinfir Argaw - Shitta Lommiye (7:03)

Friday, May 16, 2014

Tsehaytu Beraki - Selam [2004] [eritrea]

   R   E   U   P   L   O   A   D   

         Tsehaytu Beraki (Sun Of Eritrea) is an absolutely legendary singer from Eritrea. Born in 1939 in Quatit, a small village, she soon picked up the krar (5-string harp) and after moving to the capital Asmara she became a famous singer in bars, to attract men to the local traditional beer houses.

        Her courage and inspiration still mean a lot to all Eritreans. When the situation became too bad, she too had to flee into Sudan and in 1988 she ended up in Rotterdam, Holland.


       "I found Tsehaytu by coincidence in Rotterdam, Holland, discouraged and not playing much anymore. I build her a new krar and after some practice sessions, we decided to record the CD together. There isn't really much Eritrean music recorded, from those days.

    The songs are as authentic as possible, Tsehaytu playing all the instruments; the krarkobero and bass-krar. To western ears it is largely unknown music.

       These strange, beautiful rhythms and these moving, almost blues-like ballads. The 17 songs are from different periods of Tshehaytu¹s life. From the very first successes till brand new material, commenting on the latest. With many people involved, we worked for four years on the project, out of respect and love for Tsehaytu's music and person. She deserves to be well documented and remain remembered as a great musician.

     The double CD, with more than two and a half hours of music, also includes a book with an incredible interview about her life, culture and history. It also contains many old photos and the lyrics.

      I wanted to make this wonderful music available to the western music lovers, but of course I realize it is the heritage of Eritrean culture and I know how important Tsehaytu was for the Eritrean people, both young and old."

Terrie Ex

01.  Tsèhaytu Bèraki  - Atzmtom Keskisom (9:58)
02. Tsèhaytu Bèraki - Iley Li Habelmalet (9:29)
03. Tsèhaytu Bèraki - Abashawel (7:06)
04. Tsèhaytu Bèraki - Hallu (8:34)
05. Tsèhaytu Bèraki - Harestai (10:02)
06. Tsèhaytu Bèraki - Sport Malet (6:00)
07. Tsèhaytu Bèraki - Asmara (12:25)
08. Tsèhaytu Bèraki - Freweini (7:14)
09. Tsèhaytu Bèraki - Askarbay Gomma (5:18)
10. Tsèhaytu Bèraki - Bisenselet Fegri (13:17)
11. Tsèhaytu Bèraki - Mejemeria Fegri (4:53)
12. Tsèhaytu Bèraki - Simsim (11:02)
13. Tsèhaytu Bèraki - Ilkanere Beantebo (11:44)
14. Tsèhaytu Bèraki - Lale Bola (5:26)
15. Tsèhaytu Bèraki - Kabacha Meflayey (7:53)
16. Tsèhaytu Bèraki - Ade (10:42)
17. Tsèhaytu Bèraki - Selam (13:31)

Thursday, May 15, 2014

Petites Planètes - Now Ethiopia • GAMO GAMO • Tribal songs from the south [2012] [ethiopia] [FLAC}

originaly posted HERE :

GAMO GAMO • tribal voices from the south

1. Aba Chefo   07:14
2. Gamo   07:41
3. Oho Amba   05:45
4. Funeral Polyphony   02:44
5. Dita   08:30

recorded by Vincent Moon & Jacob Kirkegaard 
in Addis Ababa, Ethiopia

may 2012 

mixed by Jacob Kirkegaard 

Mahmoud Ahmed - Tizita vol 1 [1996] [ethiopia]

   R   E   U   P   L   O   A   D   

01. Mahmoud Ahmed - ANCHI BALE GAME (6:43)
02. Mahmoud Ahmed - YENURO METENSHIN (6:14)
03. Mahmoud Ahmed - TEYIKESH TEREJI (6:35)
04. Mahmoud Ahmed - ASHKARO (4:40)
05. Mahmoud Ahmed - TIZITA (11:10)
06. Mahmoud Ahmed - TEW LIMED GELAYE (7:55)
07. Mahmoud Ahmed - TERESASH WOY (5:08)
08. Mahmoud Ahmed - ENGEDAYE NESH (2:55)
09. Mahmoud Ahmed - YESHI HAREGITU (3:31)
10. Mahmoud Ahmed - ENDEGENA (4:49)

Debo Band - Debo Band [2012] [usa-ethiopia]

Debo Band - Debo Band [Full Album Stream]

         Debo Band is a 11-piece Ethio-groove collective that has quickly earned an ever-growing and enthusiastic following in the loft spaces, neighborhood bars, and church basements of Boston, MA (USA) performing for American, and Ethiopian and Eritrean communities. Since 2006, Debo Band has been immersed in the unlikely confluence of traditional East African polyrhythms and pentatonic scales, classic American soul and funk music, and the instrumentation of Eastern European brass bands, which produced a unique form of dance music that Ethiopian audiences instantly recognize as the soundtrack of their youth, carried from party to kitchen on the ubiquitous cassette tapes of the time.  And increasingly, erudite American and European audiences are also getting hip to the Ethiopian groove, largely through CD reissues of Ethiopian classics on the Ethiopiques series.

       With a unique instrumentation – including horns, strings, and accordion – that is a nod to the big bands of Haile Selassie’s time, Debo Band is carrying the torch of classic Ethiopian music by giving new life to these old sounds. Their lead vocalist, Bruck Tesfaye, has the kind of pipes that reverberate with the sound of beloved Ethiopian vocalists like Mahmoud Ahmed and Alemayehu Eshete.  But Debo Band is not content simply “covering” the older styles – they also perform original compositions and new arrangements of songs from modern and contemporary artists such as Teddy Afro and Roha Band.  Their expansive repertoire and spirited performances have earned them respect and recognition, leading to concert opportunities such as opening for legendary Ethiopian greats Tilahun Gessesse and Getatchew Mekuria

       Danny Mekonnen, an Ethiopian-American jazz saxophonist and a PhD candidate in ethnomusicology at Harvard University, created Debo as a way of exploring the unique sounds that filled the dance clubs of “Swinging Addis” and as an outlet for experimenting with new arrangements, configurations, and compositional techniques. In addition to their dedication to Ethiopian music, the other members of Debo Band are involved in a huge array of musical projects, ranging from free jazz and experimental rock music to chamber and orchestral music. Band members have composed full orchestral works, scored silent films and documentaries, recorded albums with homemade electronic instruments, and for fun, study folk music traditions from around the world, including Balkan folk music, Balinese Gamelan, and Brazilian percussion 

For the last several months, Debo Band has committed itself to spreading its music to audiences far and wide. In early 2009 Debo toured the U.S. East Coast taking their Ethiopian grooves to diverse venues in New York, Philadelphia, and Washington, D.C. In each of these cities, Debo Band inspired all kinds of people to get up and dance, whether they had never seen iskista, the Ethiopian shoulder dance, or had been dancing it since childhood. 

       In May 2009, Debo traveled to Addis Ababa, Ethiopia to perform at the 8th Ethiopian Music Festival, an engagement supported by Mid Atlantic Arts Foundation through USArtists International with support from the National Endowment for the Arts and the Andrew W. Mellon Foundation. These performances affected Debo Band’s creative and professional development in significant ways, particularly in the collaboration they began with several traditional musicians – vocalist Selamnesh Zemene, dancer Zinash Tsegaye, drummer Asrat Ayalew, and washint (flute) player Yohannes Afewerk. All accomplished musicians in their own right, these musicians have collectively over fifty years of experience at prestigious venues ranging from the National Theater of Ethiopia to Fendika, a leading azmari bet, or traditional music house, in Addis Ababa. Working with these four musicians, Debo Band grows into a forceful, energetic, and authoritative thirteen-piece Ethiopian ensemble capable of delightful, one-of-a-kind performances. 

01. Debo Band - Akale Wube (5:01)
02. Debo Band - Ney Ney Weleba (5:30)
03. Debo Band - Not Just a Song (6:06)
04. Debo Band - Yefeker Wegagene (5:30)
05. Debo Band - Asha Gedawo (5:13)
06. Debo Band - Tenesh Kelbe Lay (5:15)
07. Debo Band - And Lay (4:53)
08. Debo Band - Medinanna Zelesegna (4:11)
09. Debo Band - Habesha (6:51)
10. Debo Band - Ambassel (7:06)
11. Debo Band - DC Flower (3:22)

Wednesday, May 14, 2014

Hana Shenkute - Yiqir Beqa [1999] [ethiopia]

    R   E   U   P   L   O   A   D   

01. Hana Shenkute - Yiqir Beqa (4:24)
02. Hana Shenkute - Ajeb New (5:50)
03. Hana Shenkute - Sew Alegne (6:57)
04. Hana Shenkute - Geba Woy Gedam (6:51)
05. Hana Shenkute - Aletshalegn (5:30)
06. Hana Shenkute - Imye Ethiopia (6:03)
07. Hana Shenkute - Aleqsalehu (6:34)
08. Hana Shenkute - Endew Zim (6:21)
09. Hana Shenkute - Zew Bel (6:02)
10. Hana Shenkute - Iyut Guden (5:58)

Tommy T - The Prester John Sessions [2009]

   R   E   U   P   L   O   A   D   

       For the past three years, Tommy T (Thomas T Gobena) has been the bass player for gypsy punk powerhouse Gogol Bordello, the New York City-based band known for their blend of Gypsy, punk, dub reggae, metal and flamenco. 

       Tommy was born and raised in Ethiopia and the knowledge of global rhythms he brings to Gogol’s sound has become part of their unclassifiable approach to music making. With the encouragement of his Gogol Bordello band mates, Tommy has produced his first solo effort, The Prester John Sessions, an aural travelogue that rages freely through the music and culture of Ethiopia.

      "In the 70s, funk, wah-wah pedals, and jazz had a huge impact on Ethiopian music," Tommy explains. "The Prester John Sessions will give people an idea about the musical diversity of Ethiopia, which includes influences and ideas borrowed from the sounds of the 70's with the added bonus of up-to-date production values."

       Tommy discovered the story of Prester John in Graham Hancock’s book The Sign and the Seal. “Hancock was looking for the Biblical Ark of the Covenant,” Tommy says. “His quest led him around the world, from Middle East to Europe and back to Ethiopia. While doing his research, Hancock discovered the legend of Prester John. In the 12th and 13th centuries, Prester John was an unknown Christian king with massive troops that got the attention of European kings. Prester John is the character I use to symbolize the man who will bring Ethiopian culture to the rest of the world.”

       To fulfill his vision, Tommy started digging through Ethiopian folk music, choosing melodies he could improvise on. He also wrote his own compositions based on traditional modes. “A lot of popular Ethiopian music is based on a 6/8 beat called chikchika, but there are also many other rhythms in Ethiopia that have their own unique characteristics. I play with The Abyssinian Roots Collective on the album. They are sometimes known as The ARC, which coincidentally ties into the Ark of the Covenant and the Prester John story. We’re mostly Ethiopian, so getting the music down was easy. I gave them the tunes, and then we improvised the arrangements so the music has an organic feel.”

       Tommy composed and produced the music, with his brother Henock contributing to the tunes “Brothers” and “East-West Express.” The tracks were written at Tommy’s home studio and cut live in a couple of studios around Washington, DC and overdubs were laid down in real time with a final mix by Victor Van Vugt (Nick Cave, Gogol Bordello) that gave it the feel of Herbie Hancock’s Headhunters jamming with Ethiopian godfathers The Imperial Bodyguard Orchestra. The music blends Ethiopian modes with dub reggae, funk, and jazz, for a sound that’s at once familiar and mysterious.

      “The Eighth Wonder” has a light, jazzy feel based on the chikchika rhythm, played in the style common to the Wollo province, home to the rock-hewn churches of Lalibela. “Much like the pyramids of Giza, much has been made over the 11 stone churches of Lalibela, often referred to as the “Eighth Wonder,” Tommy explains. “This track uses the chikchika beat, but expands it into other directions.” Tommy’s melodic bass weaves through the tune’s horn and Massinqo (an Ethiopian single-stringed instrument played like a violin) lines, while the drummer keeps the beat with a series of tom rolls complimenting the kick drum. Dub effects keep the instruments dancing in and out of the mix. “Beyond Fasiladas” references the Castle of the emperor Fasiladas in Gondar, Ethiopia’s capital in the 17th Century. It uses a fast, driving beat from Gondar and interpolates several traditional melodies. Massinqo, guitar and an energetic bass line give the tune a funky, relentless pulse. Setegne Setenaw plays the melody on Massinqo. “The Response” features vocals from Gigi and Tommy. It’s a love song with an almost unbearable sense of longing. Tommy plays acoustic guitar and bouzouki with a West African feel influenced by the music of Mali, although the melody is purely Ethiopian. “Eden” pays homage to the lush and raw landscapes of Ethiopia. Gigi’s wordless vocal is full of joy. The slow dubby rhythm and a muted blue flugelhorn give the track a timeless feel. “Oromo Dub (Cushitic dub)” is driven by Tommy’s phat bass riddim and revolves around traditional tunes that existed ages ago. Abdi Nuressa sings in Oromo, one of the many languages in Ethiopia, and his voice drifts through intergalactic dub space taking this ancient song into the future. The album’s ten tracks epitomize the Ethiopian ideal of Semena Worq - Wax and Gold. The wax is the surface of the music, bright and modern, with its jazzy, funky accents. The gold signifies the depth of tradition that gave birth to these sounds, nuggets culled from one of the oldest cultures on earth, presented by Tommy and his compatriots in all their shining beauty.

       Tommy T was born and raised in Ethiopia’s capital city, Addis Ababa. “There was always music in our house,” Tommy recalls. “When I was five, my older brother Zelalem got an acoustic guitar from my father. By the time I was six I could pick up a guitar and play what my brothers were playing.

       Tommy had no intention of becoming a musician, but when his brother Henock moved to Washington DC, Tommy followed. “I looked up to him as a brother and a bass player. After he sent a copy of his first album to us in Ethiopia, I started playing acoustic guitar like a bass. When I came to the States, I got a real bass. There are over 200,000 Ethiopians in the DC metro area, so I was able to make a living playing in Ethiopian bands.”

       Tommy completed a degree while playing in bands three or four nights a week. “I played in Ethiopian bands, and then started a reggae band called ADOLA which also backed many well known Ethiopian artists such as Aster Aweke and Gigi to name a few. I was also interested in other styles of music including R&B, hip-hop, and neo-soul. I worked with Wayna [Wondwossen, recently nominated for a best urban performance Grammy for her song “Lovin’ U (Music)”] and produced a couple of tracks on her Moments of Clarity album with my friend Abegasu Shiota.” While collaborating on a project with guitarist Eran Tabib, he heard Gogol Bordello was looking for a bass player familiar with international grooves.

    His years with Gogol inspired Tommy to develop The Prester John Sessions, another band with a global outlook. The reggae band he and his friend Zedicus (Zakki Jawad) started in DC had evolved into The Abyssinian Roots Collective; they helped Tommy bring The Prester John Sessions to life. “I believe in music without boundaries,” Tommy says. “Music should be inclusive, not exclusive. We should use sounds from everywhere to create a universal vibe. The music business isn’t friendly to that kind of thing, but the people who hear it respond to it well. Gogol is a rock band, but the sound is global. People who love music know the best music is created without boundaries and limitations. The Prester John Sessions take that idea to the next level.”

01. Tommy T - Brothers (5:03)
02. Tommy T - The Call (4:04)
03. Tommy T - The Response (Featuring Gigi) (4:43)
04. Tommy T - The Eighth Wonder (6:51)
05. Tommy T - Oromo Dub (Cushitic Dub) (4:34)
06. Tommy T - East-West Express (4:21)
07. Tommy T - Tribute To A King (4:11)
08. Tommy T - Beyond Fasiladas (3:16)
09. Tommy T - September Blues (3:29)
10. Tommy T - Eden (Featuring Gigi) (5:53)
11. Tommy T - Lifers (Michael G Easy Star Remix feat. 
                          Eugene Hutz And Pedro Erazo) (2:06)