The Warrior-Shepherds From The Omo Valley - Ethiopia [2008] [ethiopia]

      Between 2003 and 2006, Bastien Lagatta, musician and ethnomusicologist, undertook musical researches among the agro-pastoral societies of the Omo valley, thanks to the support of the CNRS, the Ministry of Foreign Affairs and the UNESCO. For months, he has shared the everyday life of the semi-nomads tribes Nyangatom, Mursi and Bodi, and has taken up the study of their musical repertories. The trek, of several hundred kilometres along the Omo river, in such an amazing natural environment, led him to the heart of Humanity with its peculiar mores, customs and habits. 

              Greatly endearing, these men and women live in a world whose balance is precarious. These recordings reveal the importance of this patrimonial, cultural and artistic heritage.

Benjamin Goldenstein & Patrick Frémeaux

The Warrior-Shepherds From The Omo Valley - Ethiopia - 01 - Introduction: Troupeaux De Zébus Aux Paturages (1:01)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 02 - Loniyang: Monodie (2:36)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 03 - Loutouleniyang: Monodie (1:49)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 04 - Lopelouk, Suivi De Lobokhiniyang (6:11)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 05 - Lokengkori (1:48)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 06 - Chants Des Vieux Bergers De La Génération Des Élephants (3:35)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 07 - Loumougoulmoye: Chant Collectif Mixte (3:07)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 08 - Chant De Travail: Duo Féminin (2:53)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 09 - Niameley Ye Loporiang (4:40)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 10 - Rienga Rienga Loporiang (6:08)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 11 - Aleke Lokholoya (4:50)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 12 - Flûte Mursi Morou (1:50)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 13 - Oletchay (1:04)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 14 - Naboula Nadongulu (1:44)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 15 - Nangwayna Kara (1:25)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 16 - Badio Laute (1:45)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 17 - Kalalalibosso (1:13)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 18 - Flûtes Morou (2:26)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 19 - Kaenaniye (1:01)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 20 - Komdaye (1:01)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 21 - Ayolo Deguelaye (1:08)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 22 - Noukouregnanineye (1:11)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 23 - ADJenoloynetch (0:35)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 24 - Flûtes Morou (1:02)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 25 - Ambiance De Fête Au Village De Gui Ha (1:14)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 26 - Trompe Trounotey (1:22)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 27 - Danse Et Chant Collectif Mixte Pour Les Troupeaux (1:27)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 28 - Duo Vocal Féminin (5:02)

The Warrior-Shepherds From The Omo Valley - Ethiopia - 29 - Epilogue: À Ce Voyage Musical… (1:05)

v.a. - Ethiopia : The Falasha & The Adjuran Tribe [FW04355,1975]

Introduction 

The tribal cultures of Eastern Africa, and in fact, the world, are fast disappearing. Within twenty years, Kenya will reach the take-off point of economic development, and by the turn of the century, foreign industrialization will transform the pastoral nomadic way of life in Northern Kenya and Soutbern Ethiopia into a 19th-Century midwestern town. The ties of the people with the land will be broken. A major highway will run through Central Ethiopia bringing tourists and money to a country which does not have enough water for its own people, whose lakes are polluted and infested by lethal worms which produce incurable intestinal disorders.

As the world reaches the 21st-Century, the Ethiopians may not have enough water to drink, much less to wash their clothes. Men in Adis now wear socks and shoes, the children wear paisley shirts, yet in the South, in the semi-desert conditions, life is still survival; the people live from one day to the next trading goods, bartering, and praying for rain for the harvest. The legends of the past are only preserved in song, and the wandering bards are rarely seen,as they work in the fields as much as fifteen hours a day. A medicine man 1s rare, because the spirit of the old religions and customs are not permitted to continue in a culture which is fast breaking its way into the Twentieth Century. Mythology 1s song in Ethiopia, and the song is the experience of life o As the animals die, the songs of the water-hole and the market disappear; the deeds of the warriors who fought the Turks and the Egyptians are silenced forever.

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THE FALASHIM PEOPLE

One of the last traditionally Hebraic tribes of Ethiopia, the Falashim live in Ambover, in a village about ten miles ~om Gondar. In order to reach the village, one must either walk seven miles from where the bus stops, or take a Landrover over cow pastures and farming lands, through small valleys and over small hills. Quiet people, the Falashim still worship in the same traditions as their ancestors did 2,000 years ago.

Speaking Geez, the ancient language from which Amhara, the national language of Ethiopia developed, the Falasha worship in a small hut without an altar.

The Kohnian, or prayers, are conducted by the leader, while the other m@mbers chant and singo Geez is also the language used by the Coptic Church for prayer, but at times Hebrew words are interspersed. The

Falasha people used to conduct the service entirely in Hebrew, but since the time of the Sudanese War in 1892, when the Hebrew books were

burned, they have been praying in Geez.

The Falasbim believe that in 586 the first exiles from Babylon came through Egypt to Ethiopiao There are still other conclaves or groups of isolated Falasha who live around Gondar, in the GoJjam Province, but their numbers are steadily decreasing because of intermarriages.

The Falashim or Falasha people migrated from a very substantial community in Jerusalem, during the l7th, l8th and 19th Centuries.

The combination of the Turkish seizure of the Ethiopian seaboard, the plague which ravaged Jerusalem in 1838, and the unacceptance of the Armenians who persecuted the new Turkish subjects, forced the Falashim to flee to their present location.

In Ambover, one of the centers of the Falasha, the people live around the school, which was built in 1970, yet it is not uncommon for a

villager to live on an ajoining hilltop. The Falashim children learn three languages in school: English, Amharic, and Hebrew. Atter they reach the age of fifteen, they must either be accepted by the university in Addis, or go to work in the fields. Extremely poor people, the Falasha depend on the land to survive, yet farming La difficult without machines. The chanting of the Falasha is the celebration of life, and was recorded 8/11/72. The ceremony has rarely been heard.

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The Adjuran are a semi-nomadic group of wandering cattle herders who

live north of Isiolo, Kenya, and south of Dilla, Ethiopia, approximately a distance of 500 miles. The small, pastoral agricultural villages are along a road of tar, clay and dirt, which is sometimes non-existant in the mountains of the Maji Province o Part of the Garris Tribe, 'N'hich is Berber, these people make temporary shelters, trade, barter, and raise cattle. Their music is traditional; singers, dancers, religious nomads, Moslems, who raise their hands in trance-like dances, undulate their bodies, inhale/exhale short audible modulations of poly- rhythmic chanting. With their raised arms, the Adjuran hop together, lifting one foot, jumping three or four feet into the air, imitating their camels which graze a short distance awiay, licking a white powder from their hands.

Like the Garris, the Burgia, the Borana, the Adjuran also sing ot the camel, the King, the cow and the baby.The love of man for man is instinctual; it is revealed in the actions of the dance - the ritual play of the animal or man, even before there was speech. The King, Emperor Haile Selassie, is praised as a hero, for letting the people be free (not for letting them live in destitution).  Although the tribes are rounded up by the local police and ushered intothe villages for the ceremonial festivities of the Emperor's eightieth birthday, they do not regret coming because they are permitted to eat all the raw meat they can  the two-day celebration. Tedj, honey-mead beer, is abundant, and this is the event when camel herders arrive in Moyak to talk, love, reminisce, and barter their goods o The Borana come across the border from Kenya, and the Rindilla sine on the water barrels.

   Jewish Community in Gondar, Ethiopia   

01 - Members of the Falasha Tribe recorded in Ambover & Ethiopia - Falasha: The Complete Ceremony of Shabbat Shalom (24:15)

02 - Jella Madi, Hussien Hassen, Hurene Kyah, Abdi Ebrahim, Abdula Kenteno, Addulahe Aden, Gado Abdi & Ade - Camel Song (7:13)

03 - Jella Madi, Hussien Hassen, Hurene Kyah, Abdi Ebrahim, Abdula Kenteno, Addulahe Aden, Gado Abdi & Ade - Song of the King (5:46)

04 - Jella Madi, Hussien Hassen, Hurene Kyah, Abdi Ebrahim, Abdula Kenteno, Addulahe Aden, Gado Abdi & Ade - Cow Song (4:53)

05 - Jella Madi, Hussien Hassen, Hurene Kyah, Abdi Ebrahim, Abdula Kenteno, Addulahe Aden, Gado Abdi & Ade - Baby Song (5:46)

06 - Various Artists - Judiac Falasha (2:38)

v.a. - Golagul - Chants d'amour et de resistance [eritrea] [1999]

      

   R   E   U   P   L   O   A   D   

                       Eritrea, ancient province Ethiopia became independent at the beginning of the 90's and has lived a painful history. But nothing has ever prevented the people of Eritrea from singing, and not even the numerous famines. 

               The People of the plain of Zula (Afar, Tigré and Saho) give rhythm to their everyday life in simple, repetitive singings. The leader, man or woman, throws a comment on rhythms (handclaps and kebero percussion), the others start again, insisting on the same rhythmic, as an obsessive loop. History the concern of protecting the culture and politics, stimulates more than a singer. " On one hand, he killed you, whereas on the other one he fed you " tells a Saho about Haile Sélassié.

            A kebero is a double-headed, conical hand drum used in the traditional music of Eritrea and Ethiopia. A piece of animal hide is stretched over each end, thus forming a membranophone. A large version of the instrument is also used in Orthodox Christian liturgical music, while smaller versions are used in secular celebrations.

01. Ana meto agébé [Tigré Tribe] 2:57

02. Ayrègèdè [Afar Tribe] 2:05

03. O'h yéharshema [Saho Tribe] 2:34

04. Haleto lale lalô [Saho Tribe] 2:19

05. Sêda [Afar Tribe] 3:05

06. Toriyota [Afar Tribe] 1:38

07. Erab Ghedam [Tigré Tribe] 3:48

08. Adate [Tigré Tribe] 2:59

09. Aran heutoukta [Saho Tribe] 6:41

10. Innyo soklié [Saho Tribe] 3:39

11. Kéké [Afar Tribe] 2:31

12. Sänädirlê [Saho Tribe] 2:24

13. Farum Ghedan [Saho Tribe] 6:46

14. Selâm [Tigré Tribe] 3:49

15. Yewêlâlè [Tigré Tribe] 2:17

16. Erytrea nèdègé [Saho Tribe] 4:24

17. Worada [Saho Tribe] 4:13

18. Lâleh [Afar Tribe] 2:47

v.a. - [2009] - Southern Ethiopia - music of the Maale [praises and blessings] [ethiopia]

Maale are one the 40 ethnic groups of southern Ethiopia. 

The Maale music is very rich. It encompasses a cappella polyphonic singing, vocal polyphonies accompanied on the lyre, whistled polyphonies, solo flute playing, flute orchestras, horns, drums, and it displays a great originality in the vocal and instrumental techniques. 

For the Maale, music is the mean of a constant exchange between generations. The youngest ('children') praises the eldest ('fathers') and the eldest bless the youngest. Thus the music appears as a strong factor of social cohesion.

01 - Southern Ethiopia - Music of the Maale - Maale Zoro (2:44)

02 - Southern Ethiopia - Music of the Maale - Andalko (5:05)

03 - Southern Ethiopia - Music of the Maale - Abi (4:01)

04 - Southern Ethiopia - Music of the Maale - Dami (4:03)

05 - Southern Ethiopia - Music of the Maale - Irbe wala (2:37)

06 - Southern Ethiopia - Music of the Maale - Haya Haya Bolado (2:46)

07 - Southern Ethiopia - Music of the Maale - Nay malkiti (0:52)

08 - Southern Ethiopia - Music of the Maale - Gaade (4:08)

09 - Southern Ethiopia - Music of the Maale - Meni merti (3:30)

10 - Southern Ethiopia - Music of the Maale - Alo be (2:07)

11 - Southern Ethiopia - Music of the Maale - Shulungo (0:59)

12 - Southern Ethiopia - Music of the Maale - Aleko (3:34)

13 - Southern Ethiopia - Music of the Maale - Ank'ado (1:29)

14 - Southern Ethiopia - Music of the Maale - Are Indo (Pele) (3:42)

15 - Southern Ethiopia - Music of the Maale - Are Indo (Golo) (4:57)

16 - Southern Ethiopia - Music of the Maale - Salo (3:03)

17 - Southern Ethiopia - Music of the Maale - Durungo (1:34)

18 - Southern Ethiopia - Music of the Maale - Irbo Nay Koysi (3:49)

19 - Southern Ethiopia - Music of the Maale - Be Ta Belio & Olize (4:40)

20 - Southern Ethiopia - Music of the Maale - Kaye (1:16)

21 - Southern Ethiopia - Music of the Maale - Sorayti (1:17)

22 - Southern Ethiopia - Music of the Maale - Makanka dorba (2:40)

23 - Southern Ethiopia - Music of the Maale - Osta (2:59)

v.a. - Traditional music ensemble of the Ras-Theatre, Addis Ababa, Ethiopia [1982] [Melodiya, C80-17751-2]

Ras Theatre - Dedero

traditional music ensemble of the ras theatre - yaniti (4:35)
traditional music ensemble of the ras theatre - ethiopia adei (3:30)
traditional music ensemble of the ras theatre - our country (3:57)
traditional music ensemble of the ras theatre - dedero (3:29)
traditional music ensemble of the ras theatre - yabishan bira (5:55)
traditional music ensemble of the ras theatre - peace to the proletariat (2:48)
traditional music ensemble of the ras theatre - belew belew (3:59)
traditional music ensemble of the ras theatre - the militant communist (3:52)
traditional music ensemble of the ras theatre - rebahel zemeslar (3:22)
traditional music ensemble of the ras theatre - tizita (3:41)

v.a. - Ethiopie - Musiques Vocales Et Instrumentales [Disc 2] [1971]

   R   E   U   P   L   O   A   D   

    with full booklet   

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 

Petites Planètes - Now Ethiopia • Alemu Aga - Live in Addis Ababa [2012]

Alemu Aga - Live in Addis Ababa [2012]

recorded by Vincent Moon & Jacob Kirkegaard in Addis Ababa, Ethiopia, june 2012 

mixed by Jacob Kirkegaard 



1. - The Harp of King David  08:19

2. - The Harp of King Jacob  04:41

Betsat Seyoum & Abbebe Fekade - Urban Azmaris of Ethiopia [1996]

       Born in 1965 in Addis-Abeba, Betsat Seyoum Abrha began in 1985 in a couple of the many bars in the capital before opening her own cabaret in 1990, which has now become one of the most popular in Addis. She aspires to the glory of the modern pioneers of Ethiopian music who play with synthesizers, saxophones, and rhythm boxes, while remaining faithful to the essence of the azmari art. 

       In opposition to Betsat who has not inherited her gift from any family member, Abbebe Fekade comes from a long line of azmaris from the Gondar region, one that has always been the source of a large portion of the country's musicians. He acknowledges his longing for "modernity", but he also knows how to express all the admiration that he holds for the venerable and venerated azmaris like Yirga Dubale and Bahru Qenie.

       In Ethiopian musical tradition, an azmari is a wandering entertainer, a minstrel, or a travelling troubadour who crisscrosses through the Christian regions of the country with his voice and instrument. He is the priviledged vector of popular music and is as fundamental in Ethiopian society as are the griot in Mandingo countries or the lautar in Moldo-Valachia.

01.  - Enegenagnalen (3:37)

02.  - Ambassel (5:28)

03.  - Bati (9:57)

04.  - Abeba Abeba (5:12)

05.  - Anteye (3:12)

06.  - Tizita (7:39)

07.  - Aysh Ayshenna (5:15)

08.  - Bati: [Live] (13:07)

09.  - Anteye / EndeneshGedawo / Yelewen  Abay [Live] (8:39)

10.  - Enegenagnalen [Live] (3:40)   

v.a. - Vintage Crates - Tezeta [Ethiopian Jazz & Bands]

originally posted here at astral projects records >

Vintage Crates Episode #211: Tezeta: Ethiopian Jazz & Bands

1. Hailu Mergia & The Walias - Ibakish Tarekigne

2. Mulatu Astatqé - Ené Alantchi Alnorem

3. Tèsfa-Maryam Kidané - Tezeta

4. Mulatu Astatqé - Munaye

5. Ibex Band - Yezemed Yebada

6. Mahmoud Ahmed - Yekifir Wuha Temu

7. Mulatu Astatqé - Asmarina

8. Gétatchèw Mèkurya - Akale Wube

9. Tsegue Maryam Guebrou - The Homeless Wanderer

10.Gétatchèw Kassa - Tezeta Slow

Waaberi - [1997] - New Dawn [somalia]

01. Waaberi - Rog Rogosho (5:34)
02. Waaberi - Cidlaan Dareemaya (4:00)
03. Waaberi - Heei Yaa Alahobalin Hoobalowa (4:31)
04. Waaberi - Hafun (5:05)
05. Waaberi - Shubahada (4:50)
06. Waaberi - Ada Bere Chaelka (4:25)
07. Waaberi - Indo Ashak (3:59)
08. Waaberi - Nin Hun Heloha Modina (4:52)
09. Waaberi - Ulimada (6:20)
10. Waaberi - Kafiyo Kaladeri (7:10)

  FULL BOOKLET INCLUDED  

v.a. - Ari - Ethiopie Polyphonies [2002]

   

   R   E   U   P   L   O   A   D   

  The Ari are highland farmers from the northwest corner of Ethiopia, and their community songs are simply remarkable. Making use of the full range of possibilities in the human voice by varying registers, timbres, and vowel resonance, they weave two or more countermelodies into grand polyphonies that are startling in their intricate, endlessly unfolding patterns. Occasionally accompanied by handclaps, tambourines, zithers, or flutes, it is difficult to not think of tape loops or synthesizers while listening to these 20 tracks, but it is human voices making this joyous, eerie music. The use of flutes here is also interesting, since generally there are two flutes moving in staggered melodies against and across each other, at times managing to sound somewhat like a wheezing calliope. Scholars and ethnomusicologists will undoubtedly get the greatest use from this disc, but it is stirring and strange enough to intrigue the casual listener as well. ~ Steve Leggett

full booklet included

Tadesse Alemu - Wedding Songs [2003] [ethiopia]

   R   E   U   P   L   O   A   D   

01. Tadesse Alemu - Yitbarek (6:08)

02. Tadesse Alemu - Kelebet (5:49)

03. Tadesse Alemu - Tilosh (4:16)

04. Tadesse Alemu - Wardaw (5:16)

05. Tadesse Alemu - Melkam Gabicha (5:36)

06. Tadesse Alemu - Ya Hababo (4:24)

07. Tadesse Alemu - Melse (6:09)

08. Tadesse Alemu - Isele (8:06)

09. Tadesse Alemu - Yemisrach (4:51)

10. Tadesse Alemu - Sobi Soba (6:19)

11. Tadesse Alemu - Kilikel (5:24)

Abiyou Solomon - In Search of My Roots [2008]

               R  E  U  P  L  O  A  D   

       Born in Addis Ababa, Ethiopia, Abiyou Solomon began his love affair with the guitar when he watched his older brother tinker with the instrument around the house. At age 14, his brother bought him his first acoustic guitar and, soon after, he started playing at St. Francesco Theology College. While in high school he joined the Medhane Alem school band and, in his senior year, he played with the Alazarist Mission school band.

        It was Genene Nebebe who recruited Abiyou to join the Genet Hotel Band. He next joined the Zambezi Club band and after a short period with them, he joined the Hotel D’Afrique band, led by Genene. He later joined the second incarnation of the Dahlak Band. In 1982, he joined the Hager Fikir Theatre Band and it was then that he first fell truly in love with the varied cultural music of Ethiopia. Also during this period, Abiyou had the pleasure to play with Abebe Kassa (alto saxophone) and Negusse Assefa (tenor saxophone). He would be reunited with Negusse when they formed the Abyssinia Band.

        During his stint at the Hager Fikir Theatre, famed Ethiopian producer and arranger, Abegasu Shiota, persuaded Abiyou to switch to the bass guitar and he was soon asked to join the Ethio Stars band as a bass player, a post he eventually left to become a studio musician/arranger. In this role, he was involved in the production of 150+ recordings, working with a multitude of famous traditional and contemporary musicians, including Bahru Kegne, Yirga Dubale, Assnaketch Werku, Lemma Gebrehiwot, Abebe Tessema, Theodros Tadesse, Tsegaye Eshetu, Teshome Assegid, Kuku Sebsibe, Wubshet Fisseha, Martha Ashagari, Setegn Atanaw and many more.

        In 1991, Abiyou joined the Abyssinia Band as a bassist. Their first gig was on the 1991 Ethiopian New Year. The following year, the band recorded five tracks for a Swedish compilation CD, Music from Ethiopia. The CD’s success in Sweden led to a tour of country, along with a performance at Etnosoi in Finland. Abiyou Solomon and The Abyssinia Band were also featured in the book, Rough Guide to World Music Volume One: Africa, Europe & the Middle East.

        After the Abyssinia Band disbanded, Abiyou returned to being a session bassist until he moved to the United States in 1995, when he became a sought-after tour bassist. In that capacity, he has backed Mahmoud Ahmed, Aster Aweke, Theodros Tadesse, Hamelmal Abate, Tsehaye Yohannes, Neway Debebe and countless others. Apart from this album, Abiyou has released an Ethiopian Instrumental CD titled Abiy, and he produced and arranged Maritu Legesse’s Yebati Nigest. Currently, Abiyou resides in Addis Ababa, Ethiopia and is reforming the Abyssinia band.

        Abiyou Solomon’s new CD, “In Search of my Roots” showcases Ethiopian/world music and shows how this music has carried into the 21st century while retaining it’s traditional roots.

           Many instruments can be heard on this CD, along with Ethiopian singing and vocal styles. Abiyou Solomon was born in Addis Ababa. He began getting interested in the guitar by watching his older brother play around the house.  His brother later bought him his first acoustic,which he started playing at St. Francesco Theology College. He later joined the Genet Hotel band.

        In 1982, he joined the Hager Fikir Theatre Band. During his stint there,famous Ethiopian producer Abegasu Shiota convinced him to switch to electric bass guitar. He became an in-demand session bassist in America after this decision.

         “Erikum Wello” has a repetitive quality that is hypnotizing.The vocals and the sound effects used are very different. The instruments used on this track are what the listener focuses on. You can hear drums and traditional sounds,along with horns. 

         “Hasa Konso” has an early ‘70s funk sound. The tone of the electric bass really sticks out on this track.There is an auto-wah effect that is being used on the synth that is cool. Basically,there are many great sound effects used throughout this album with great musicianship.

         “Ethiopia 2000” is another funky track. Musicians should listen to CDs such as this to get ideas for creating original music. All the music here is original -- great horns, solid bass tones,and tons of traditional instruments.

        Overall, Abiyou Solomon’s “ In search of my roots” retains the true sounds of traditional Ethiopian and world music with wonderful musicianship.