Mesele Asmamaw is one of the best ethiopian krar players. He has been playing in the Mohammed Jimmy Mohammed Trio touring Europe since 2004. He is also member of Qwanqwa band.
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.
In recent months I got some interesting albums from my Ethiopian friends. This Mahmoud Ahmed release is one of almost forgotten treasures. As usual, this came to me without any info, besides the names of the tracks.
Mahmoud's voice accompanied by the krar, a really unique album of the great Ethiopian singer. Enjoy it!
Mahmoud Ahmed - 01 - Konjitiye (5:11)
Mahmoud Ahmed - 02 - Wogeney (3:52)
Mahmoud Ahmed - 03 - Tizita (8:13)
Mahmoud Ahmed - 04 - Ere Mela Mela (3:40)
Mahmoud Ahmed - 05 - Birtukaney (4:38)
Mahmoud Ahmed - 06 - Ambassel (6:00)
Mahmoud Ahmed - 07 - Gubiliye or Iyew Dimamu (5:24)
An incredibly skilled player of the Kirar, or the 6-string bowled lyre, Ketema Makonnen's style is comparable to that of Kassa Tessema (who was recently documented on Buda's Ethiopiques). Deeply sorrowful and forlorn, these strings kick up a dusty trail of longing, intuitively navigated by his warm, rustic voice. I find his style much more penetrating than that of Kassa's, where Tessema has a gentler pluck of his krar and a softer vocal leverage, Ketema has a higher degree of ferocity.
Ketema Makonnen - Tizita 1974-5
Although digging up information on Mekonnen has proven to be difficult, partially due to the varied spellings of his last name (Amharic to English translations are, indeed, fickle), he does have at least one other album recorded for Phillips documented from 1974.
On this album, many recognizable Tizita classics are heard, including Tizita itself, as well as a personal favorite, Mela Mela (any Ethiopian artist who sings this heart-wrenching ballad tends to leave an impression on me). Mekonnen's rendition is gorgeous, and some of the more obscure titles on the B side match the quality of it. Whirling with delirious melodic shifts, Mekonnen's style is unique and compelling. While basic details of his life are difficult to extract from the labyrinthine depths of the internet, his mark is made on the traditional side of 1970s Ethiopia with this deeply emotional recording.
Qwanqwa, from the Amharic word for language, plays beloved and rare Ethiopian tunes with a unique twist. The band, based in Addis Ababa Ethiopia, is named for this concept. The members vary in age and background, but have come together for a unique and powerful sound with an equally meaningful message. At it’s core, this band is instrumental, since they believe that to reach the widest audience, a single singer can limit the effect.
However, the list of guests and collaborations is long, including both beloved and famous singers such as Fikraddis, Habte Michael, Amelmal Abate, as well as beloved Azmari singers Selamnesh Zemene and Etenesh Wassie. Not limited to only singers, Qwanqwa also has invited the virtuoso masinqo player Endris Hassen, the father of washint Johannes Aferwork, Ethiopia’s foremost clarinetist Dawit Frew, and many other treasures of traditional instrumentalists to join them.
The vision of Qwanqwa is to reach as many people as possible with their music. Where many groups play at clubs, Qwanqwa strives to organize concerts in remote places and unique situations. They know that there are many people who would enjoy their music but would not be able to attend a concert at a club because they can’t afford a taxi, that can’t get a babysitter, they are too young, they don’t drink, or other infinite limiting factors. But music is for all, Qwanqwa seeks opportunities to play to as many demographics as possible. Oftentimes, the members have found, the outreach concerts are even more memorable and rewarding than regular club shows.
Qwanqwa are : Mesele Asmamaw - lead krar Elias Wolde Mikael- kebero/percussion Dawit Seyoum - bass krar Kaethe Hostetter - 5 string violin
Qwanqwa- Gubliye at Selam Fetival
Qwanqwa's homage to Asnaketch Werqu
Mesele Asmamaw is Qwanqwa’s lead electric krar player. (Krar is a traditional harp, relative to the lyre). Mesele is known as a composer and arranger, active in Ethiopia for over twenty years. He has released many albums of his compositions as well as traveled extensively throughout Europe and Africa performing the traditional music of Ethiopia. Since the mid-2000s, Mesele has been a favorite guest of the extremely influential punk and “The EX”, has recorded several albums with the experimental Norwegian drummer Paal Nilssen-Love, and has toured and recorded with his experimental rock group Trio Kazanches. He uses several interesting techniques in Qwanqwa, including a wah pedal, a distortion pedal, a coke bottle and a plastic tube!
Dawit Seyoum, master of the bass krar, plays extensively in traditional groups around Addis, including Ethiocolor and Hager Fikr. He also is a member of the Nile Project, a much-acclaimed American based project which tours internationally with traditional musicians from all Nile countries.
Elias Wolde Mikael is Qwanqwa’s percussionist. He uses the traditional kebero, goat skin drums played with sticks, as well as a variety of other homemade percussion instruments. He can be seen regularly in several groups around Addis Ababa as well as on popular TV music programs in Ethiopia, including Ethiopian Idol and Balageru.
Kaethe Hostetter, 5-string electric violin, has been playing Ethiopian music for many years now. A founding member of the critically acclaimed Debo Band (signed to Sub Pop), the first Ethiopian band in the US to top many charts including iTunes and CMJ, and who has played many stages from Lincoln Center to Kennedy Center, from Chicago World Music Festival and GlobalFest to Bumbershoot and Bonarroo. She also has had an active performing life in the experimental scene, including tours with Fred Frith, Butch Morris and Jim Hobbs.
Mary Armeday's love-folk songs and her unique krar playing style have become a classic in the history of ethiopian music and she will forever be remembered for her talent and her love for entertaining.
Seleshe Damessae (also known as Sileshi Demissie and Gashe Abera Molla) is an extraordinary singer and musician from Ethiopia. He uses a complex vocal styling, sung in Amharic, his native language. He accompanies himself on the krar, a 6-string lyre which dates back to the ancient civilizations of the Nile.
Sileshi Demissie (aka Gash Abera Molla) - The Master of Kirar
Born in Addis Ababa, Ethiopia, Seleshe Damessae began studying the krar at an early age with his father, and later attended the Yared School of Music. He spent nearly four years studying traditional Ethiopian culture in northern rural areas, and today is highly respected for his knowledge of the vocal and instrumental music of his native land.
Seleshe is also a skilled instrument maker who builds and plays a variety of folk instruments such as krars, fiddles, harps and drums. He has performed throughout the United States, Europe and Africa.
Seleshe Damessae founded the Gash Abera Molla Association, upon returning to Addis Ababa after 20 years as a successful singer in the United States and decided to address the social and environmental problems that plagued his home city. He set up the new organization and named it after a character in his songs - Gashe Abera, the old man who takes care of his local community.
Sileshi Demisse is a master of his craft. He is a legend. What actually sets Sileshi apart from other artists is what is mainly lacking in the industry these days... An authenticity!
He is nothing like any artist you know. You can't compare his works to no one or say I've heard that somewhere. He is totally in a league of his own. Often accompanied by his kirar (a traditional string instrument), Sileshi plays melodious songs with lyrics that leave you astonished. In his live sets, he incorporates folk tales and stories that inspired the specific song. And as he start strumming his self made custom kirar, the audience is already all on board to take the journey with him and get lost in his music. This special way of interaction he has with his audience often leads to a sing along. You can't help it but to chant, clap or snap along even if you don't know the words.
Gash Abera is also one of the very rare artists who made an album for kids. 'Dankira', one of his children's song.
Sileshi is not only known for his outstandingly unmatchable creativity but also for the positive impact he made in everyday lives of Ethiopians around the country. He does a phenomenal job in motivating the youth to keep their environment clean and helping tackle related health issues. In Ethiopia, the name 'Gash Abera Molla' is a synonym for 'Clean your neighborhood'. He has done almost the unthinkable in helping change the image of cities around Ethiopia. He inspired the youth around the country not only by teaching them the importance of a clean environment but also by participating in action.
Sileshi and his army of young Ethiopians were out picking up trash, cleaning up streets and setting up public parks where children and adults enjoy themselves. Places where people use as dumpster were turned into a green zone. Eventually, the mission grew from being 'Gash Abera and the youth' to inspiring the entire community get involved. He had accomplished what the city municipals around the country couldn't even attempt. His mission of creating a cleaner and healthier environment is still an ongoing effort that every Ethiopian should support.
Although it has been a minute since he has released a new album, Sileshi has recorded several albums and collaborated with the big names in African music scene. Currently, he resides in Addis Abeba where he performs and does features occasionally.
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.
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. "
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)
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.
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.
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