Over the last ten years, thanks largely to the Herculean efforts of French researcher Francis Falceto (he's the man behind the Ethiopiques CD series released by Buda Musique: each of the twenty-seven volumes so far released are essential listening), curious music lovers have discovered the glories of 1970s 'Ethiopian Groove', a potent brew of traditional rhythms, brilliant arrangements, swinging horns and soulful vocals. These stirring recordings from the 1970s were the fruit of a decade of musical innovation. Influenced by the musical wisdom and instruction of Nerses Nalbandian (a composer, arranger, chorus leader, and music teacher of Armenian origin, who worked with hundreds of Ethiopian musicians), and the R&B, Soul, Rock and Pop hits broadcast by the American military radio at Kagnew Station (an American military base outside Asmara, the capital of Eritrea), and played in the nightclubs and discotheques of Addis Ababa, a young generation of Ethiopian musicians, throughout the 1960s, created, to again quote Francis Falceto, a 'societal revolution' through music. These 'adadis zefanotch', or 'new songs', were distinctly modern- in their instrumentation, arrangements, and groove-and uniquely Ethiopian, in their melodies and 'feeling'.
This new style of music was nurtured by two of the country's great musical
incubators, the Police Orchestra and Emperor Haile Selassie's Imperial
Bodyguard Band: these ensembles, like all music ensembles in Ethiopia at the
time, were controlled by the government. The greatest singers, and musicians,
of the 1970s-Tlahoun Gessesse, Mahmoud Ahmed, Bzunesh Beqele, to name just
three-honed their skills through thousands of performances with these
ensembles. Unfortunately, aside from a few 45s released in the mid-1960s,
no commercial recordings of these ensembles were made until 1969, when Amha
Eshete created Amha records, Ethiopia's first independent record company
(according to Falceto there were just under 500 Ethiopian 45s and around 30 lps
released between 1969 and 1978, when record production stopped completely).
There were, however, reel-to- reel recordings of both groups made by Armenian
merchant Garbis Hayzagian, and by Radio Ethiopia.
Police Band (1965)
In the late 1960s (probably 1967 or 1968), Leo made his first trip to Addis Ababa, where he
quickly met many of the city's musical luminaries. One of Leo's more gracious
hosts was the composer and conductor Tsegaye Debalqe, who at the time was also
the Music Director of Radio Ethiopia.
Before Leo left Addis, Tsegaye Debalqe gave Leo this reel with fifteen songs
featuring the Police Orchestra, the Imperial Bodyguard Band, and some of the
era's greatest singers. These recordings were made in 1961 (the 1953 date on
the label above refers to the Ethiopian Orthodox calendar, which is eight years
behind the Gregorian calendar), and are a wonderful snapshot of the opening
salvos of Ethiopia's musical revolution.
The first song on the reel is a duet between Lieutenant Mesfin Haile and Hirut
Beqele accompanied by the Police Orchestra, featuring a terrific violin player.
They sing, "Life is Tough. This world is an unforgiving and bitter place,
and now you are leaving me.
Next up is a recording of "Altchalkoum", one of Tlahoun Gessesse's
most famous, and most controversial songs; ostensibly a dispute between two
lovers, this song was actually a protest against the imperial regime. The title
of the song can be translated as 'I can't stand it anymore', and after the
failed coup d'etat of December 1960, this song led to Tlahoun's arrest and
emprisonment. This version of the song, however, does not feature Tlahoun. It
is a duo between Bzunesh Beqele and a male singer I have not yet been able to
identify, again accompanied by the Police Orchestra.
Imperial Bodyguard Band
03 - Bzunesh Beqele & Imperial Bodyguard Band
Bzunesh Beqele was the greatest female singer of her generation, one of the
first artists to embrace the 'new songs' of the 1960s. She was born in Harar in
1935, came to Addis at a young age to attend school, and by her mid-20s had
joined the Imperial Bodyguard Band, where she spent most of her career. She
released a series of singles in the early 1970s, and at least two cassettes in
the 1980s-both of which are fantastic. She passed away, in 1990, at her home in
Addis Ababa;
she was only 54 years old. Several years ago, the Ethio Sound record label
released a great compilation of her early 1970s Phillips singles. This next
track is the earliest Bzunesh recording I've heard.
Imperial Bodyguard Band
04 - Tefera Kassa & the Imperial Bodyguard Band
Tefara Kassa was another of the Imperial Bodyguard's great singers. Although he
doesn't seem to have made many commercial recordings, he was very popular in
the 1960s. He still lives in Addis. (I have heard that parallel to his musical
career, he also worked, for many years, at the Ministry of Information). These
next two songs are upbeat dance numbers. In this first track he sings, 'I
wished for her and I got her, I wanted her and she is mine. Because of her I am
happy.'
05 - Tefera Kassa & Imperial Bodyguard Band 'Merengue Cha-Cha'
This next track is one of my favorites on the reel. It is a charming
distillation of the different spirits that would eventually create the potent
'Ethiopian groove' of the 1970s. He sings, 'When we dance to the Dorze rhythm,
we are really happy. Merengue cha-cha.' The song brings together Latin rhythms,
the traditional dance style of the Dorze people (from Southern
Ethiopia), with a Dorze melody and singing style, resulting in a
song that is simultaneously traditional and modern!
These next two songs are modern arrangements of more distinctly traditional
material. This first track, by the Police Orchestra, is a popular melody sung
in Oromo. Unfortunately, I have not been able to identify the singer. If you
have any ideas, please get in touch!
Here is the Imperial Bodyguard Orchestra interpreting a Dorze melody from Southern Ethiopia. I love the vocal polyphony.
08 - Imperial Bodyguard Band 'accordion instrumental'
Last but not least, an accordion-driven instrumental by the Imperial Bodyguard
Band. For many years this song was played by Radio Ethiopia to kick off the day's
programs.
Zelwecker and Imperial Bodyguard Orchestra
Thank you very much to Mulatu Astatqe, Tizita
Belachew, Negussie Mengesha, and Solomon Kifle for their help with research and
translations. Matthew LaVoie|
All hits compilation of late 1960s to early 1970s Ethiopian soul and R 'n' B. Very intensely groove oriented material by some of Ethiopia's top musicians. Includes songs by Mulatu Astatke, Seyfou Yohannes, Ayelew Mesfin, Getatchew Kassa, and the mighty Abbebe Tessemma. Nonstop party. Old school 'tip on' sleeve.
Class side of Ethio R&B hits dating to late ’60s and early ’70s. It comes out of the blocks hard with Astatke’s Assiyo Bellema and Tessemma’s Ashasha Beyew both boasting irresistible polyrhythmic grooves, the former bouncing along with queasy steel drum details, while the latter is driven by organ chords and lovely bright brass.
While other highlights come courtesy of Yohannes’ lounge jazz-inflected Yekermo Sew with smooth sax, bubbling guitar work and a fascinating cyclic piano line, Mesfin’s bouncy funk-soaked Lene Antchi Bitcha Nesh and the irresistible polyrhythmic call-and-response simplicity of Damtew Ayele’s ‘Wefe Yelala’, the whole LP is a delight, although with these warm exotic shuffle grooves it feels like more of a soiree than a party.
01. Mulatu Astatque - Assiyo Bellema (2:54)
02. Abbebe Tessemma - Ashasha Beyew (3:36)
03. Getatchew Kassa & Soul Ekos Band - Bey Lesnabetesh (4:03)
Quantic is an umbrella name for UK-born, Will Holland : acclaimed producer, musician, and DJ for over 15 years, who’s projects incorporate various influences, from funk & jazz to electronic & folk music, to Latin, reggae, dub and cumbia.
He recently put together this mix of rare 45s he found in Ethiopia, calling it ”a mix of folkloric and outer-regional music of Ethiopia, all 45s and some records that I think need to be heard. Less of breaks & wah wah and this time more of krar, claps, howling sounds and organ melodies. For fans of previous mixes Axum to Addis and Addis Sheckla Explosion.”
Listen to and download the whole mix by clicking on the link below, and let’s he hope he continues the crate digging!
Basically an audio travel scrapbook, Sleeping in the Market takes listeners on a tour of the Ethiopian region of Amhara.
Our guides are Mehari Smon and his son Yayehe. The former is making a pilgrimage back to his roots; the latter is pointing a microphone at local musicians, whether they are professionals performing in an Adiss-Abbaba teahouse or children singing and dancing in the streets of poor neighborhoods.
The Smons are quiet guides, letting the people and places speak for themselves. Their document presents music caught in the social act, music embedded in everyday life.
A young girl greets us first on the street, singing to support her family. Her "Laluyeah" is quite moving. She belongs to a small group of children coming back regularly throughout this short album -- their songs offer a counterpoint to their elders' music, of which "Endaw Mela Mela" is the most significant. Captured in a teahouse and 13 minutes in duration, it features a male/female duo of singers. The man also plays the accordion in a style very typical of that part of Africa, while the vocals hint at Muslim cultures, especially the art of qawwali (both in the vocal inflections and the call-and-response system).
The album is slightly short at 39 minutes, but it offers a pleasant listening curve.
1. Laluyeah (Yearning Song) (3:38)
2. Bale-Whashinto (3:20)
3. Berewoo Taha Taha (The Bull, Taha, Taha) (8:03)
4. Demam Era Dema (1:36)
5. Aderch Arada (Sleeping In The Market) (1:47)
6. Bale Ageru (2:29)
7. Ney, Ney, Ney (Come, Come, Come) (5:08)
8. Endiaw Mela Mela (Compassion) (13:03)
The production/compilation approach is somewhat similar to Sublime Frequencies' line of field recordings (Streets of Lhasa, for instance). ~ François Couture
Part 2 of interview with director Olivia Wyatt about the making of her film, Staring Into the Sun.
A contemporary survey of the tribal music of Ethiopia. Recorded in 2009 by Olivia Wyatt, this double LP showcases an array of mind-blowing sounds from the "land of eternal sunshine."
Presented in this visually stunning gatefold are audio examples ranging from remote tribes -- of the Ethiopian highlands, the lower Omo and the Great Rift Valley -- to their electric analogues in the sweaty beerhalls of Addis Ababa.
This collection features songs from the Azmari, poet-musicians who play the krar (ancient lyre) and whose song repertoire includes everything from comic improvisation to lyrical elegiac, the Borana whose work songs are a transcendental polyphonic singing that stops time, and the Dirashe whose syncopated panpipes are as otherworldly as anything ever heard.
Other selections include music from the Mursi, Druze, Gedeo, Konso, and Tsemay tribes as well as some fine examples of amplified roots music from the capital from the Habesha 2000 Band. This is a limited edition one-time pressing double LP housed in a gatefold full color tip-on sleeve with gorgeous Polaroid shots from Olivia Wyatt.
In 2009, filmmaker/photographer Olivia Wyatt traveled to Ethiopia to document a music and dance event called the Festival of 1000 Stars. Things didn't quite go according to plan. On her arrival in the country, Wyatt discovered the Ethiopian government had canceled the event. So Wyatt instead headed out to visit 13 tribes, whose performances Staring Into the Sun documents in a DVD, a CD, notes, and photographs. It's an extraordinarily careful, comprehensive package, featuring stories about close calls with authorities, comments on the distinctive qualities of each tribe, and details about the various instruments used in the recordings.
The hour-long DVD is the best way most of us will have to witness the music of the people Wyatt visited.
With visuals as hypnotic as the performances, she deftly illustrates how music seeps into many different parts of life. The opening scene is one of the most spectacular, showing members of the Borana tribe in southern Ethiopia chanting a cyclical polyphonic song as they pass up buckets of water from a multi-level well; Wyatt's shots skillfully match the repetitive nature of this backbreaking work. Scenes of spiritual possession and ceremonial whipping further demonstrate music's role in ritual practices.
The sheer breadth of styles in the film also extends to more commercial fare-- often featuring keyboards and synthesized drums-- shot directly from TV sets. One clip even features a band decked out in military garb and posing with guns. That stands in stark contrast to the the scenes of the Tsemay tribe, where kids and adults bounce around in a circle to an uplifting song. The big highlight here is the discordant synchronized panpipe playing of the Dirashe tribe in the Great Rift Valley; the music feels like it could career out of control at any moment, but it never does.
The accompanying CD is less essential than the film, though it just about works as a standalone item. Listing no artists or tracks, the disc is simply a collection of recordings Wyatt made. Some of them feature the trilling female vocals that are a staple of the region; others are built around an open-ended structure of loosely handclapped rhythms. The masterfully off-kilter panpipe players of the Dirashe tribe resurface in a nearly eight-minute excerpt of a piece that presumably stretched on far longer. The disc's common thread comes through its ceaselessly looping vocal chants, which are mesmerizingly easy to get lost in-- just as the performers themselves may have done to reach such a trance-inducing state. Staring Into the Sun shows how that kind of loosening is simply one of many purposes music can have for a group of people.
The latest from Sublime Frequencies is a massive cd/dvd/book set, compiled by photographer / filmmaker Olivia Wyatt on a recent trip to Ethiopia, planned to coincide with a music festival - which the government abruptly cancelled for fear of the musicians being exploited. So instead, Wyatt travelled into the bush, to compile this sonic/visual travelogue of the music and musicians, the people and places of the various tribes of Ethiopia, and it's of course breathtaking. The music, heady and hypnotic, joyous and emotional, the sounds varying dramatically from tribe to tribe, but music being ubiquitous, weddings, ceremonies, rituals, drawing water from the well, on television, in living rooms, very rhythmic, mostly vocal drive, but with lots of hand clapping, wildly bowed stringed instruments, vocals chanted, shouted, call and response, super mesmerizing, many of the tribes utilize whistles and panpipes, and the music they make is incredible, otherworldly and impossibly lush, sounding like some modern 20th century classical composition in many cases, while actual bands to rock out, and get surprisingly soulful and funky. A compilation like this must have been so impossible to compile, how on earth to whittle down what must have ben days of recordings to just an hour, but the tracks chosen are amazing, and make us want to hear so much more.
Both the cd and the dvd (more on the dvd in a second) are housed in a cd sized hard cover book, which includes extensive liner notes on Wyatt's trip to Ethiopia, but also 117 Polaroid photos Wyatt took on her trip, of people, places, musicians, villages, an incredible visual feast for the eyes. And then there's the dvd, which features a 60 minute film, which in its won way is structured like the video version of Wyatt's Polaroids, with many still shots, video portraits, as well as some incredible footage, some highlights include so many different lots of singing and dancing, sometimes in traditional tribal dress, often in western t-shirts and shorts, one of the most amazing sequences if of men and women working drawing water from a well, passing buckets from person to person, their worksongs so hypnotic and beautiful, then there's a super wild psychedelic guitar freakout with one woman doing some of the craziest, most ecstatic hair swirling / headbanging we've ever seen, there's footage of men feeding wild hyenas in the middle of the night, often right out of their own mouths, snippets from Ethiopian television with wild MTV style videos, fantastic tribal folks songs with synchronized dances and lots of whistles, dancing girls making music with just the clank and jangle of her jewelry, in fact lots of dances that involve the jangle of jewelry, men smoking in dark rooms watching television, intimate performances in living rooms and so much more.
So incredible, sonically, visually, culturally, easily one of our favorite Sublime Frequencies releases for sure.
A1Borana Tribe* – Borana Singing Wells3:32
A2Konso Tribe* – Konso Lyre Song4:02
A3Tsemay Tribe* – Tsemay Song0:53
A4Habesha 2000 Band – Habesha Traditional Song 12:20
Gold from Wax, which was originally released in 1972 by Lyrichord Records, features two very different styles of music: the music of Addis Ababa, which synthesizes the music of many different areas into a unique style, and the music of several different tribal areas, each of which retain their regional identity.
The collection is very diverse in the musical genres that it represents as well as the kinds of instruments that the songs are played on, from a variety of drums, to thumb pianos, to the bagana - an instrument sometimes called the "Harp of David." Among the more interesting selections, "Anche-Lej-Amaleh" is a song about sex that was recorded in a tin-roofed bar in Addis Ababa where the musicians were crowded up against one wall and the customers and bar girls packed the rest of the space. "Fanno" is an epic poem set to music by Addis Ababa poet Mary Armeede that has many levels of meaning. Among the tribal selections, one of the most fascinating is "Walla-Lam," an Afar divination chant where the participants chant and ask questions of a jinele, or divination medium, and he answers them. This interesting document of Ethiopian music is wrapped up by the last track, which features an Afar flute player recorded in a building in the middle of the Danakil desert. ~ Stacia Proefrock
01 - Eyo, Dorze Song 02 - Kofu 03 - Anche-Lej-Amaleh 04 - Bagana See All 2 05 - Galla Song See All 2 06 - Konso Song 07 - Msgana 08 - Fanno 09 - Harambeh Africa 10 - FILA Flute Dance 11 - Nuer Wire Strung Harp 12 - Jung Nai 13 - Anauk Toum, Thumb Piano (Sanza) 14 - Walla-Lam 15 - Afar Flute
Here is a small summer present for all readers of this blog. Music for dance, talk and love. Rare and old ethiopian grooves. 210 minutes of pure joy and happiness
The author of this blog is preparing for the vacation. There will be no new posts untill mid of september.
Enjoy ethiopian music, write, comment and suggest.
