Shambel Belayneh - Arheebu [1999] [ethiopia]

       Shambel Belayneh  is a singer and master of the Masinko, the traditional one-string Ethiopian violin. He has performed with the greats of Ethiopian music, including Aster Aweke, Mahmoud Ahmed and the Roha Band, among many others. He currently lives in the United States.

      Arheebu, Shambel's seventh recording, is an attempt to blend traditional musical instruments (Masinko and Kirar) with western instrumentation.

Shambel Belayneh - Gonder

01 - Shambel Belayneh - Iyemetash Tegni (6:01)
02 - Shambel Belayneh - Arheebu (6:19)
03 - Shambel Belayneh - Ayiresam (5:03)
04 - Shambel Belayneh - Fetroshal (5:31)
05 - Shambel Belayneh - Nureelign Hagerë (7:06)
06 - Shambel Belayneh - Libesh Kabawin (6:57)
07 - Shambel Belayneh - Ye-Bët Emebët Nesh (6:09)
08 - Shambel Belayneh - Endashash Adirgign (4:52)
09 - Shambel Belayneh - Abekelesh Gonder (6:19)
10 - Shambel Belayneh - Weba Sew Cherese (5:40)

Samson Kidane & Band - Gelassenheit [2012] [germany+eritrea]

Samson Kidane - The krar has saved my life

       His instrument has saved his life. Samson Kidane agrees his krar, the national instrument of his native Eritrea.

       His language is Tigrinya. His thoughts are cosmopolitan. His music is universal. And his instrument has saved his life. Samson Kidane (47) sits on his sofa and playing on the krar. "I've been so long in Germany, that I sometimes call myself Kölscher Negroes."

SAMSON KIDANE BAND - Mesiluni (I thought)

       Kidane is one of about 25 000 people from Eritrea, who had to leave their country in the 1980s. He was eleven when he became a soldier and went against the Ethiopian government in the war. "I was a freedom fighter, not a child soldier. Like all boys of my age. The war was all over the country. No one could before fleeing." Child soldiers since Kidane is quite convinced there has never been in Eritrea. "None of us has been forced to kill." An eleven year old who draws freely in the fight? Let the simply are. The discussion can not carry on. 

     Five bullets hit Kidane, the child, in a raid on the camp of his unit to which he has come only because there was no one there who could play the krar. "I was previously in another group. They were all killed in another battle. "

  
Kidane survived the raid. You can do it because he is considered dead. Civilians find him, bring him to his people. Samson, the child is treated and transported to Sudan. Doctors from the Swedish Red Cross operate on him. "I had to be operated on a second time. I could come to Cologne because my aunt lived here. Then am here still. "He had been just happy to finally be able to sleep in peace again," that no one in the street shooting at me and I can finally live like a human again. Everything else, my stranger here was completely unimportant."

       Enough of the past, says Samson Kidane, the musicians. Because his lyrics and poems have less to do with what he had as a child as with the wars that are now out in the name of religion between Christians and Muslims experience during the war. "At home," said Samson, "were never made differences between Christians and Muslims. Until I came to Germany, I did not know enmity between Christians and Muslims."  

     Kidanes music combines his African roots with modern musical styles, reggae, hip-hop and rock. In the songs is about justice, repression, solidarity. "The man is crazy, a skilled Doof," it says in the title song of the CD "Serenity".

       

       A trained Goofy. That sounds resigned. But Kidane is the opposite of that, he once had its own cleaning company, organizes festivals and symposia, mixed in the cultural scene of the city. He calls the network, including a Cologne'd say cliques, and he tried his sons Aminadab (14) and Meron (10) to give a taste of home. "You do not know Eritrea yes. I have to ensure that they can speak in their mother tongue. It's their native language. "

      Kidane says this because it's happened to him in similar reason. He was 14 when he came to Germany - and has the theme of integration is a very personal opinion. "I have problems with foreigners who want to be more German than the Germans." For people from Africa it was much more difficult to gain a foothold in Germany. "I think you still do not take us seriously because we regulate much easy with each other." That had a lot to do with the cohesion. The Africans in Cologne were a secret society and it was "very sad that there are no African center in Cologne." What surprised him the discussions that will be conducted, for example, about the many people of Turkish origin. "I think it's almost insulting. Who have grown up here, speak sometimes even Kölsch. The integrated, maybe they live just different. "

       How Kidane, whose music is well known in the opposition his home. He is a cosmopolitan who is looking for the linking between cultures. 

    Kidane himself sees the sober. He once strangers left on a tour through the immigrant milieu in Cologne in his apartment, which have gone on a world tour in your own town.

01 - Samson Kidane & Band - Mehaza (4:34)

02 - Samson Kidane & Band - Gelassenheit (3:49)

03 - Samson Kidane & Band - Ihre anwesenheit (3:14)

04 - Samson Kidane & Band - Sein (4:07)

05 - Samson Kidane & Band - Gefangnis (5:29)

06 - Samson Kidane & Band - Gefahrliche Liebe (3:23)

07 - Samson Kidane & Band - Ich Dachte (2:42)

08 - Samson Kidane & Band - Gerechtigkeit (6:37)

09 - Samson Kidane & Band - Der Mensch ist Wertvoll (5:52)

10 - Samson Kidane & Band - Musika (3:28)

Rahel Yohannes & Shambel Belayneh - Bati [198?] [ethiopia]

originaly posted at Likembe blogspot > here

       Here's another long-lost cassette from the "Derg years" in Ethiopia. Bati (Ambassel Music Shop, ca. the early '80s), by Rahel Yohannes & Shambel Belayneh, was apparently quite popular in its day, and perfectly illustrates the confluence of the ancient and modern that is so typical of contemporary Ethiopian music.

     Rahel Yohannes (right) began her career not as a singer but as an entrepreneur. In Addis Ababa she managed a restaurant and often entertained the customers with impromptu a capella vocal performances. This led to her introduction to the late Ketema Mekonnen, a singer and player of traditional musical instruments. A professional career, and ten albums, soon followed. To this day she is both a performer and a restaurateur, entertaining audiences at her Fasika Restaurant & Nightclub in Addis.

     Shambel Belayneh (left) is a master of the masinko, the traditional one-string Ethiopian violin. He has performed with the greats of Ethiopian music, including Aster Aweke, Mahmoud Ahmed and the Roha Band, among many others. He currently lives in the United States.

Rahel Yohannes and Shambel Belayneh both have CDs available from AIT Records.

Shambel Belayneh & Rahel Yohannes - Bati

       As I discussed in my last post on Ethiopian music, music distribution in Ethiopia during the '80s was a "do-it-yourself" affair, cassettes being duplicated one-by-one by various music shops. Bati is no exception, and it shows in the recording quality. The musical quality is another matter. I'm sure you'll agree with me that this is an outstanding work of art.

Our opening tune, "Bati," is one of the standards of the Ethiopian repertoire, and has been recorded by innumerable artists. An exceptional version opened 2001's Éthiopiques 15: Jump to Addis (Buda Musique 82264-2). From the liner notes of that disc I got these lyrics:

Like the road to Bati, deep in the gorge,

I wonder if your love will last,

He ate a fruit in Dèssié and went crazy,

He saw a beauty in Kombolcha and went crazy,

I want to leave him before he gets what he deserves.

Unfortunately I have no idea what the other songs on Bati are about. If anyone out there knows Amharic, I'm sure we'd all like to know.

01 - Rahel Yohannes & Shambel Belayneh - Bati (Bähäbrät) (7:49)

02 - Rahel Yohannes & Shambel Belayneh - Änta Aynama (3:59)

03 - Rahel Yohannes & Shambel Belayneh - Endenäu (Bähäbrät) (6:45)

04 - Rahel Yohannes & Shambel Belayneh - Leqerbwe Leraqwe (4:28)

05 - Rahel Yohannes & Shambel Belayneh - Änaznegahe Hody (7:31)

06 - Rahel Yohannes & Shambel Belayneh - Bale Dere (Bähäbrät) (4:28)

07 - Rahel Yohannes & Shambel Belayneh - Zenay (Bamebele) (5:51)

08 - Rahel Yohannes & Shambel Belayneh - Klelelaye (9:01)

09 - Rahel Yohannes & Shambel Belayneh - Yedaoo (7:26)

       The tracklist on the cassette lists ten tunes in all. The ninth, "Anejetyne Balakewe," is missing. The song titles were transliterated by myself from a photocopy of the cassette inlay card (below) using the Geez syllabary, so I can't vouch for their accuracy. Anyone with a knowledge of Amharic is invited to correct any errors.

Fessehaye Negusse - Wedding songs [2000] - [eritrea]

01 - Fessehaye Negusse - Asheney Bele (7:34)
02 - Fessehaye Negusse - Anbesa Mesiekaley (6:03)
03 - Fessehaye Negusse - Awlo (9:02)
04 - Fessehaye Negusse - Embilta (4:23)
05 - Fessehaye Negusse - Hsab Lebey Semirately (6:15)
06 - Fessehaye Negusse - Eselle Eselle (7:41)
07 - Fessehaye Negusse - Enkua Te'alele (7:46)
08 - Fessehaye Negusse - Endahemenye (6:04)
09 - Fessehaye Negusse - Zeabeye Ab Maywesen (4:48)

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 krar, kobero 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)

Shambel Belayneh - Hager [1996] [ethiopia]

   R   E   U   P   L   O   A   D   

       When it comes to traditional Ethiopian Music, Shambel Belayneh is well known for his singing and his great skill with the Masinko, a traditional Ethiopian musical instruments. For over 20 years, he has entertained audiences across the globe. Currently residing in the United States, Shambel's heart remains in his homeland and he is deeply committed to performing the music of Ethiopia throughout the world.

       When it comes to traditional Ethiopian music, Shambel Belayneh is well known not only for his singing talent, but also for his great skill with the masinko. He is deeply committed to performing the music of Ethiopia throughout the world. Hager, Shambel's sixth recording, is an attempt to blend traditional musical instruments (masinko and krar) with western instrumentation.

       For those Ethiopians far far away from home, Shambel's music brings back great and unforgatable memories. Especially songs number 1,2 and 3. What better way to remenice about your country and roots than with music like 'Hager'? Song number 2, 'Jemeregn' hits home with it's lyrics. The fact that Shambel is one of the best vocalists of our country also contributes to the essence of this cd. Shambel, cheers to you!

        A CD full of happy moments and wonderful music. If you like Ethiopian dancing (with the shoulders and all) this is definately the CD for you. The combination of modern instruments with Shambel's masinko creates an exciting blend that is bound to get you off of your seat and into the dance floor. To me the songs are all great, but I would like to point out song number 6 for its amazing rhythm. If you are Ethiopian you already have it, and if you are not - go get it !

1. Shambel Belayneh - Amoraw Siyaish Wale (6:24)

2. Shambel Belayneh - Indenesh Indenesh (5:39)

3. Shambel Belayneh - Jemeregn (5:54)

4. Shambel Belayneh - Anchin Iyalkugn (5:50)

5. Shambel Belayneh - Ye Geter Shega (5:59)

6. Shambel Belayneh - Limita Bahirdar (6:54)

7. Shambel Belayneh - Neyna Kashign (7:31)

8. Shambel Belayneh - Ya Le Hager Ayamirim (7:49)

9. Shambel Belayneh - Kalem Alaminew (7:52)

Temesgen - Traditional Favorites [2007]

      R   E   U   P   L   O   A   D   

       Temesgen was born and raised in Addis Ababa, Ethiopia. He has studied with Alemayehu Fanta and Teshome Shenkute at the Yared School of Music in Addis Ababa. It is Temesgen's dream to keep alive the ancient musical traditions of Ethiopia. He is in the process of setting up a school to teach the Begena and the Krar.

       "Listen to the stark, haunting sounds of traditional Ethiopian music and you will be elevated to a place free from worries and strife. The wisdom and knowledge of centuries of culture are communicated by the nimble fingers and resonant voice of Temesgen. Temesgen sings songs of life, of love and of devotion. Deeply spiritual, with the simple truth of folk music, sanded and distilled by generations of musicians, these songs have evolved over the ages to shine with the pristine beauty of the very roots " - liner notes from Begena Bedtimes (2006).

        A versatile singer-songwriter, Temesgen has begun to explore the frontiers of ethio-fusion. His non-traditional work is a soulful stew of reggae, ethiopian, and jazz. He is currently working on Begena Fusion, an album that features the begena in a modern milieu. And, Krarization a collection of popular contemporary songs re-interpreted with the help of the krar. Temesgen has also created instructional DVDs on how to play the krar and the begena.

Trio Kazanchis - Amaratch Musica [2012]

        The Trio Kazanchis manages to produce a hi-energy mix which finds it's roots in ethiopian groove, having traditional melodies and songs as a starting point. However they can as easily follow a melodic line and traditional rhythm as drop it and letting the dynamics of the moment decide. 

      Improvisation, a hardly known angle in traditional Ethiopian music, plays a substantial part. The sometimes Hendrix like krar mixes great with the pure farfisa sound, Wyatt resonant, and Fabien's forward drumming style. 

        These three musicians already succesfully explored their common musical interests on stage in January 2009 in Addis. 

1. Trio Kazanchis - Nanu nanu ney (7:47)

2. Trio Kazanchis - Hay loga (3:41)

3. Trio Kazanchis - Bertukane (4:16)

4. Trio Kazanchis - Ayne hulgize yesasaleshal (5:15)

5. Trio Kazanchis - Ende eyerusalem (5:10)

6. Trio Kazanchis - Rumba amhara tche belew (6:39)

7. Trio Kazanchis - Qeddus mekina (6:13)

8. Trio Kazanchis - Etetu beredegn (8:40)

 Personnel: 

Jeroen Visser   (vocals, baritone saxophone, 

farfisa, organ)

Fabien Duscombs    (vocals, drums)

Mèssèlè Asmamaw   (krar, vocals)

see also previous post about Trio Kazanchis > here

Krar Collective - Live - 2012-09-21 [FLAC]

       Led by Temesegen Tareken, a former pupil of veteran Ethiopian vibraphone player Mulatu Astatke, the Krar Collective play a gritty and upbeat take on traditional Ethiopian songs. 

       The core of their sound is the Krar - the Ethiopian 5 or 6 stringed harp, and they played songs from their debut album 'Ethiopia Super Krar'.

Temesgen Zeleke (krar and vocal)

Genet Assefa (vocal)

Robel Taye (percussion)

1. Krar Collective - intro (0:15)

2. Krar Collective - Oromigna (5:36)

3. Krar collective - talk (3:57)

4. Krar Collective - Ambassel (6:36)

5. Krar Collective - talk (0:29)

6. Krar Collective - Tizita (6:48)

7. Krar Collective - talk (3:18)

8. Krar Collective - Abeba Yehoi (New Year) (4:19)

9. Krar Collective - outro (0:56)

Ketema Mekonen - Greatest hits [2000]

   R   E   U   P   L   O   A   D   

Ketema Mekonen

1. Ketema Mekonen - Fano (4:23)

2. Ketema Makonen - Bati (4:25)

3. Ketema Mekonen - Tizita (5:23)

4. Ketema Mekonen - Shemonmuana (6:07)

5. Ketema Mekonen - Gele Beyi (2:47)

6. Ketema Mekonen - Endegena (4:29)

7. Ketema Mekonen - Aynama (4:14)

8. Ketema Mekonen - Mela Mela (6:26)

9. Ketema Mekonen - Zemede (4:17)

10. Ketema Mekonen - Ene Ishalishalehu (3:51)

11. Ketema Mekonen - Anchewoye Lene (2:52)

12. Ketema Mekonen - Benena Anchi (4:19)

13. Ketema Mekonen - Girfe (3:01)

v.a. - The Harp of Apollo [Songs Accompanied by the Krar] [1989]

       A nice collection of both semi-ancient and relatively recent songs from Ethiopia, accompanied by the krar (a harp said to have been played by the Apollo, the Greek God) as well as the masanko, a single-stringed fiddle similar to the rebab. 

       The music is nice -- vocals work around one another, and the constant instrumental looping helps to move the song through itself. Being essentially the only area untouched by colonial powers in the scramble for Africa period, Ethiopia kept its traditions relatively pure and un-Westernized. 

           The influences that do show here though are mostly Egyptian, West Asian, and maybe North African. The only major thing lacking here would be more extensive liner notes - that is, more extensive English liner notes (the Japanese portion seems to be quite extensive). Other than that, it's a nice collection of Ethiopian forms. ~ Adam Greenberg

Recorded Mar. 18, 1989, JVC Aoyama Studio, Tokyo.

Getachew Abdi, kebero ; 

Kute Ojulu, kirar, tomm ; 

Elias Tebabal, vocals, masanko ; 

Konsso song (3:15) 

Gonder gjam (4:41) 

Shewa oromo song (4:07) 

Harrar oromo song (7:14) 

Shankila song (4:28)

Tomm (2:03) 

Tigringna song (3:57) 

Na gamme love song (3:13) 

Gurague song (3:20) 

An'chi jidg (4:03) 

Wollaita song (4:00) 

Keberro (2:35) 

Ethiopian classical melodies (7:31)