Tirudel Zenebe - Gue
01 - Tirundel Zeneb- Gue [Gurage side]
02 - Tesfay Taye - Selame [Konso side]
Showing posts with label contemporary ethiopian music. Show all posts
Showing posts with label contemporary ethiopian music. Show all posts
Monday, March 17, 2014
Friday, March 7, 2014
Tilaye Gebre - Endless Dream [Fitsame Yatta Hilm] [1995]
R E U P L O A D
Tilaye Gebre took music lesson in a music school affiliated to the Ethiopian National Theatre. He was later employed by the National Theatre where he served as a singer, Song writer, music arranger and Saxophone player in the Dewitt Band, the band for modern music in the National Theatre. He also worked in The Venus Band, The Equator Band and The Dahlak Band as a music arranger and saxophone player. He went to America with The Walias Band and he settled there. He was among the musicians who accompanied such great names like Ephrem Tamiru, Aster Aweke, Tilahun Gessesse and others. Tilaye is also known to have played instrumental music using tenor sax and alto sax as well as flute.
Tilaye Gebre also stakes his claim to the jazz idiom. His Endless Dream (Shakisso Music Productions 001, 1995) wouldn't be out of place on one of those "Smooth Jazz" radio stations, with it seamless blend of synthesizer and saxophone, but I love it nonetheless - Gebre's just too talented a musician.
Here is his only album, so far :
Tilaye Gebre - Endless Dream [1995]Here is his only album, so far :
1. Tilaye Gebre - Yehem Ale Leka/Gizze Biansegnim (6:56)
2. Tilaye Gebre - Yenigat Kokeb/Yelelit Berehane (9:30)
3. Tilaye Gebre - Muzika Hiwote (6:04)
4. Tilaye Gebre - Fitsame Yatta Hilm (7:08)
5. Tilaye Gebre - Estti Enechewawot (6:38)
6. Tilaye Gebre - Ethiopia Hagere (5:53)
7. Tilaye Gebre - Enkilfen Wosedkew (6:00)
8. Tilaye Gebre - Ayne Hulgizze (5:49)
9. Tilaye Gebre - Gubeleya (6:39)
Tuesday, March 4, 2014
Eténèsh Wassié & Mathieu Sourisseau - [2010] - Belo Belo [ethiopia-france]
originally posted on AfroCubanLatin jazz blog >
Ethiopian singer Eténèsh Wassié previously appeared with the French jazz group Le Tigre des Plantanes on the album "Ethiosonic”. Here she is only accompanied by le Tigre’s acoustic bass player Mathieu Sourisseau, with very occasional contributions from guest instrumentalists, and the result is a stark contrast in sound.
The complicity between Etenesh’s untamed voice and Mathieu’s shifting chords create an intimate musical experience with plenty of open spaces for improvisation while the Ethiopian repertoire is subtly coloured by Western musical influences
Francis Falceto, big fan of those azmaribèts and editor of the series "Ethiopiques", discovered Etenesh and felt in love with her unique voice and her charisma. He invited her to several European tours between 2000 and 2005 with musicians, singers and dancers for "Cabaret Ethiopian" tours (Banlieues Bleues, Tribu Festival, Châteauvallon ...).
Then in 2007, he suggested her to join le Tigre des Platanes. Since she is touring internationally several times a year.
“Eyes half shut, Eténèsh lets her voice guide her where it takes her (takes us), thrilling, digging, colossal little sister of such a Piaf and a Billie Holiday. But the register of tears wouldn’t be enough for her, and she might as well, without warning, hasten the tempo after a ballade we would have wished endless.”
Mathieu Sourisseau – acoustic bass
Mathieu is first of all guitarist, sousaphonist autodidact, Mathieu is currently exploring the possibilities of the bass because ... it's like a condensed version of both. Mathieu Sourisseau is a longtime companion of saxophonist Marc Démereau, with who he is associated for several projects : sousaphone in La Friture Moderne, fanfare de luxe. It's with le Tigre des Platanes - cheeky quartet in which he plays the acoustic bass - he felt in love with the voice of Etenesh Wassie. Mathieu also works with Didier Kovarsky in les Oiseaux. He worked also with Benoit-Bonnemaison Fitte for an acoustic guitar solo accompanied by super eight films: la Maison, Souris, created at the request of Jean-Pierre Layrac for the opening of the season 2004/2005 of Un Pavé dans le Jazz.
01. Burtukan
02. Ende Matew Style
03. Ambassel
04. Gonder c’est Bon
05. Belo Belo Belo
06. Ayluga
07. Zelessenia
08. Zeraf
09. Tezeta
10. Kassa Tezeta
Tuesday, February 4, 2014
Tewodros Kassahun - Tikur Sew [2012] [ethiopia]
Despite the release of several singles, mainly on the internet, the last time Teddy Afro released an actual album was nine years ago in 2005. That album was Yasteseryal – an album that clearly hit a nerve with the Ethiopian regime, but also an album that literally took Teddy singing and dancing around the world. In 2006 alone, from Johannesburg to Dubai and Chicago to Jerusalem, Teddy had held concerts in 36 cities around the world singing songs from the album Yasteseryal.
Very few would disagree that Yasteseryal was by far the most successful album by any Ethiopian musician in the history of albums in recent years.
Yasteseryal and its astounding reception by the Ethiopian public raised the standard so high for Teddy himself and other artists that there were always going to be even higher expectations definitely of Teddy and perhaps of others too.
So after nine years since his last album was released, and more than four years since his own release from jail, Teddy has a new album.
He named his new album – Tikur Sew – after a song in the album dedicated to one of Ethiopia’s most famous 19th century emperors.
The emperor is Minilik and the song takes us on a journey to a historic event that took place in Ethiopia 118 years ago.
In 1896, Emperor Minilik mobilised the people of Ethiopia to fight an invading Italian army that crossed Ethiopian borders aiming to colonise the country.
The Emperor called upon all Ethiopians to rally behind him and defeat the Italians.
Ethiopians responded to the Emperor’s call turning up in their droves in the northern Ethiopian town of Adwa.
In what is now known as the Battle of Adwa, the people of Ethiopia, led by Emperor Minilik, defeated the Italians and it was the first time a European power was defeated in Africa.
In a continent that saw European colonisation continue up until 1975 in a country like Angola by the Portuguese, Ethiopia is the only country in Africa to have never been colonised – and no attempt was even made to colonise Ethiopia after the victory of Adwa.
The Victory of Adwa is well recorded in history. It is a source of pride for Africa and Ethiopia. Books have been written, films and plays have been made and songs have been written and sang to commemorate those who sacrificed their lives to secure the rare victory.
The last person to sing about Adwa was Gigi – a female singer of great talent – and she sang it beautifully. Her song doesn’t mention Emperor Minilik by name, but it is a true commemoration of the sacrifice of the men, women and children of Ethiopia at the time.
And now Teddy Afro feels it is his turn to base one of his songs on this historic Ethiopian victory.
In a typical Teddy Afro style, the song Tikur Sew is nothing short of a spectacle.
It is musically astute and gives its listeners a distinctive vibe that gets them in tune with Ethiopian folk dance and singing.
In a historical re-enactment, the song captures what would have been the mood of the battlefield when patriotic Ethiopians flocked to Adwa from every corner of the country eagerly to defend Ethiopia.
The collective voice of the people chanting “Ho! Ho!” is the theme of the song and works as a symbolic reminder of what Ethiopians achieved once when they spoke with one voice.
Tikur Sew has ample reference to a spectacular Ethiopian historic moment and rightly glorifies an Ethiopian emperor who kept the country’s sovereignty intact in the face of adversity.
The highpoint of the song is perhaps when it is stated in the lyrics that if it wasn’t for Emperor Mililik’s timely call upon all Ethiopians and the swift turnout and sacrifice that followed, Ethiopia would be a different place to the sovereign place that it is now.
But there is another dimension to the song. While various ethnic groups of the country made sacrifices to guarantee the victory gained at Adwa, some factions of the various Oromo ethnic groups are known to have been unhappy with what they regard as inadequate acknowledgement of their contributions. Some within these factions are also known to be less than impressed with Emperor Minilik himself on the grounds of perceived mistreatment of the ethnic group under his leadership.
Mindful of the controversies surrounding these claims and perceptions, Tikur Sew pays a special tribute to the sacrifices paid by the people of the Oromo ethnic groups during the Battle of Adwa by making their distinctive folk rhythm a major theme of the song.
It particularly draws attention to the infectious enthusiasm that would have been displayed by the people of the Oromo ethnic group in their response to Emperor Minilik's invitation to all Ethiopians to meet him at Adwa and defend their country from foreign aggression.
Even parts of the song's lyrics are in the Oromo language specially written by a renowned Oromo language songwriter which literally gives the song its grace.
In doing so, the song seeks to deliberately undermine the perceived rift between Emperor Minilik and the people of the Oromo ethnic group. But more importantly, the song seeks to promote better understanding, unity and reconciliation.
And this perhaps holds the key to Teddy Afro’s astounding success as an artist whose appeal crosses all boundaries.
Many will find the song pleasing to the ear and stimulating to the senses coupled with its ability to prompt the listener to pause to listen to the lyrics while in the middle of dancing to its tunes.
Very simply put, the video clip is a masterpiece that will go down in history as a music video clip about a proud Ethiopian history without precedence. The victory of Adwa is without precedence and so is the video clip as a music video clip in Ethiopia.
With its re-enactment featuring hundreds of artist participants, the clip recreates the scene of the Battle of Adwa and gets the message across perfectly. It gets it accurately. There is no doubt that it is a very expensive production – it perhaps is the single most expensive music video production ever recorded in Ethiopia, but it simply is worth it.
When you look closely at the clip, you will find scenes that are similar to scenes that you would have seen in Michael Jackson’s Earth Song. The scene in Michael’s clip, half-way through the song, shows of him and others grabbing soil from the ground and slowly letting it go.
And the opening scene of Teddy’s Tikir Sew shows Teddy doing exactly the same.
This shows that Teddy as an artist has made a deliberate decision to get inspiration and learn from the best.
But why Teddy is drawn to the use of the subliminal messaging and connotative imagery of soil is very much worth examining.
The connotation of soil or earth is very similar to the human body because it deals with our roots, stability and foundations. For example, dream experts say that when we dream of dark, rich soil it is a message of fertility and birth, and suggests now is an optimal time to plant the seeds of our creativity with the promise of prime growth.
If we are viewing barren lands in our dreams, according to dream experts, it is time for renewal and one is advised to refresh their inner landscape.
Part of the clip’s opening scene shows Teddy grabbing two handful of soil from the ground of what looks like a graveyard on top of a hill in Adwa.
A graveyard is implied by the sight of a human remain on the ground.
This perfectly fits the narrative that Ethiopians are used to hearing about how their forbearers are watching them from the graveyards and how the current generation should maintain the legacy that they have inherited from those who stood up for Ethiopia and paid the ultimate sacrifice.
And so Teddy starts the clip by waking up the dead from their graveyards in Adwa.
As he stirs the graveyard to turn the clock back to 1896, Adwa looks covered in a cloud of dust and as the dust clears, the past is revealed.
The rest of the clip is a successful attempt to show the viewer how those who took part in the battle of Adwa defended Ethiopia turning up at the battlefield with a replica of the Arc of the Covenant, on foot and on horseback and waving the national flag with infectious patriotism.
And these evidently are the messages that Teddy wants his listeners/viewers to get out of his song and its clip.
But this is only the first of eleven songs in Teddy’s new album and there are issues that the current generation of Ethiopians is grappling with that are also discussed widely in the album.
It is no secret to anyone that the current generation of Ethiopians, either in the homeland or abroad, is enduring a painful and frustrating period of disunity.
In places outside of Ethiopia, Ethiopian community centers once known for their various vibrant cultural events designed to make everyone feel at home have now been reduced to places of bickering.
Even some have closed their doors altogether leaving countless Ethiopians without a place to practice their culture and without a place to seek the assistance they often need to survive and succeed in a foreign country.
Even places of worship that have stayed off-limits to conflicts over the generations, often playing the role of promoting unity and harmony, have become places of bitter hostilities and division. These disagreements have caused some dissatisfied groups to found their own places of worship, which comes at a cost to unity, progress and cohesion among Ethiopians.
In a country that a dictatorial government comfortably maintains its grip on power for decades driving its serious critics to near extinction, making ends meet is a struggle for many Ethiopians living in Ethiopia.
More than twenty years since the current government took control vowing to make Ethiopia self-sufficient in food production, not only has it remained reliant on outside support, but the country is now a leading recipient of emergency food aid.
Progress has stalled at the social and political level and love is literally scarce.
Hence Teddy’s songs Sele Fikir (Track 2) and Kelal Yihonal (Track 7).
Both of these songs discuss the scarcity of love among Ethiopians, which Teddy says is the main cause of Ethiopia’s current woes.
SeleFikir reminds us of Ethiopia’s proud history and how the country’s future needs to be guided by its glorious past.
It embarrassingly poses the question of how Ethiopians could go hungry when its land is so fertile, lush and green.
And it warns Ethiopians of more adverse consequences of the continuing disregard Ethiopians have for each other.
But Kelal Yihonal, on the other hand, is presented with a much more positive spin on the state of Ethiopians’ attitude towards the common problems that they face as a society.
The song assures Ethiopians that they need to carry on being strong and positive regardless of their current situation and vaguely indicates that they may be approaching the light at the end of the tunnel.
Kelal Yihonal says not only is tomorrow another day but it also says that tomorrow is a better day. It even suggests that it is foolish to think otherwise.
Yet, the song reaches its climax when the subtle but powerful voice of Ethiopian Laureate Tsegaye Gebre Medhin delivers a painful but honest remark on the fact that Ethiopians have come to fear love and unity. It is an excerpt from one of Tsegaye Gebrememdhin’s verses which was recorded not long before his death in 2006.
One of Africa's leading poets, playwrights and intellectuals who wrote an extensive list of original literature and translated some of Shakespeare's works to Amharic, Laureate Tsegaye Gebre Medhin died in February 2006 at the age of 69.
Tsegaye was known for many things in Ethiopia and around the world. And his love for Ethiopia and his life-long devotion to using his literature to educate Ethiopians about their history and his well-regarded reflections on the country’s direction have earned him a lot of respect among Ethiopians.
One could clearly feel Tsegaye’s sense of frustration in the verse that Teddy has picked to mesh in his song Kelal Yihonal.
There is also a blunt and deliberate song about Eritrea – a former state of Ethiopia made sovereign mainly by the help of the current Ethiopian regime. Fiorina (Track 10) is a song about the Eritrean capital Asmara (disguised as Fiorina the female lover) and how difficult it is to forget about her and move on.
The album could once again put Teddy on a collision course with the Ethiopian regime for a number of reasons.
The first and most obvious reason is that the song glorifies Emperor Minilik and some of the Emperor’s right-hand men. It gives complete credit to the Emperor and his decisive leadership for the victory of Adwa.
Giving credit to Emperor Minilik for the victory of Adwa is a fact that the current Ethiopian regime has publicly disputed particularly during the occasion of the 100 anniversary of the victory of Adwa 16 years ago.
At the time, the regime claimed the victory was particularly important for the people of Adwa and that official celebrations marking the victory would only be held in Adwa, and not in Addis Ababa as the nation’s the capital.
Given the regime’s policy of ethnic federalism and Adwa being the birthplace of the regime’s former head Meles Zenawi, the claim prompted outrage among Ethiopians.
Little to no mention was given to Emperor Minilik during the occasion, official ceremonies were held in Adwa (not in Addis) and the victory was repeatedly referred to as the victory of the people of Adwa.
Over the years, there have been many voices attempting to set the record straight and Teddy’s song Tikur Sew is just the latest of the many voices telling history like it is.
And for these reasons, Tikur Sew will not be music to the ears of the government. A song that hopes for a better day so that Ethiopians and Eritreans can live together again is also a song that the government will despise along with a song that features Laureate Tsegaye Gebre Medhin who was a fierce critic of the government.
The album also features a reggae-inspired hit song about Africa that tells the story of an African identity that remains intact regardless of one’s whereabouts.
The wide-ranging album also hosts Teddy’s latest love songs that are lyrically appealing and musically sensational.
Not only are his love songs as sensational as ever, but their release was also followed by a sensational official announcement by Teddy that he had a girlfriend and was planning to start a married life in the foreseeable future.
He appeared on a local FM radio in Addis Ababa to talk about his newfound love.
The journalist asked if there was a song in the new album that he sang particularly for his girlfriend and he replied: “not on this occasion, but absolutely will do in the future.”
For an artist of this much talent and passion, writing and singing a song for his partner would be naturally easy. He has to date sang about love, Ethiopia, his father, Emperor Haile Selassie, Emperor Minilik, Athelet Haile Gebreselassie, Athelet Kenenissa Bekele, Bob Marley, Africa, Asmara and more.
This is a passionate artist that is fast becoming a brand in his own right – not an organisation, but an organised individual.
Debo Band - Live on WFMU's Transpacific Sound Paradise with Bob Weisberg [2009]
R E U P L O A D
Since 2006, Debo Band has thrilled Boston-area audiences with their unique interpretations of classic Ethiopian popular music. Their performances bring together the best of the last forty years of Ethiopian music, with a reverence for the vintage sounds of the 1970s and a commitment to discovering contemporary gems, as well as developing new compositions – they scored the Ethiopian-produced short film, “Lezare,” in 2009. The band paid their dues playing neighborhood bars, church basements, and loft parties, and has emerged as an internationally recognized touring band, with performances at two international festivals in the last year alone.
Up until now, Debo Band has primarily existed as a live band, playing at venues across the Boston/New England region. Last year, however, Debo began taking steps towards actively documenting and releasing recordings and is also working with a documentary filmmaker on a project about the band’s mission to bring Ethiopian music and musicians to the forefront of world music. Additionally, Debo Band is currently producing a CD/DVD set and LP version of live performances recorded in Boston, New York, and East Africa.
In May 2009, Debo traveled to Addis Ababa to perform at the 8th Ethiopian Music Festival and several other locations throughout the Horn and East Africa. 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, drummer Asrat Ayalew, and dancers Zinash Tsegaye and Melaku Belay. All accomplished musicians in their own right, these musicians work together at Fendika, a leading azmari bet, or traditional music house, operated by Melaku in Addis Ababa. When working with these four musicians
Debo Band grows into a forceful, energetic, and authoritative fourteen-piece ensemble capable of delightful, one-of-a-kind performances. The full ensemble (Debo Band plus Fendika, or “FenDeboKa”) recently performed several concerts in Addis Ababa and at the 7th Sauti za Busara Festival in Zanzibar (February 2010).
Debo Band grows into a forceful, energetic, and authoritative fourteen-piece ensemble capable of delightful, one-of-a-kind performances. The full ensemble (Debo Band plus Fendika, or “FenDeboKa”) recently performed several concerts in Addis Ababa and at the 7th Sauti za Busara Festival in Zanzibar (February 2010).
2. Debo Band - Yene Neger [Gossaye Tesfaye] (5:39)
3. Debo Band - Adderech Arada [Menelik Wossenachew] (5:18)
4. Debo Band - Ambassel [trad.] (7:19)
5. Debo Band - Addis Ababa Bete [Alemayehu Eshete] (6:22)
6. Debo Band - Lantchi Biye [Tilahoun Gessesse] (4:03)
7. Debo Band - Musicawi Silt [Walias Band] (5:09)
8. Debo Band - Embwa Belew [Muluken Melesse] (4:43)
Friday, January 24, 2014
Getatchew Mekurya & His Saxophone - Ethiopian Urban Modern Music Vol.5 [2011]
R E U P L O A D
Utterly enchanting Ethiopiques edition, starring the totally unique saxophonesound of Gétatchew Mekurya. The labelsays "Gétatchew Mkurya is probably themost revered veteran of Ethiopiansaxophone. A real giant,both physicallyand musically. Not only is he at thevery top level of Ethiopian saxophonists, but he is the "inventor"of an extremely distinctive musical"style".
The album features ten of Gétatchew Mekurya'sarrangements, blowing a snaking, smoky and hypnotic stream of notes over very minimalbacking of shuffled percussion, keys and organ. I should admit, i'm adverse to the saxophone even at the best of times, but this one has genuinely caught us out and transported us to some exclusive club in Addis Ababa circa 1972, suited and booted, sipping cocktails andmoking the finest hash. A really recommended experience.
01. Gétatchèw Mèkurya and His Saxophone - Ambassel (5:42)
02. Gétatchèw Mèkurya and His Saxophone - Almaz Yeharerwa (3:47)
03. Gétatchèw Mèkurya and His Saxophone - Yene Hassab Gwadegna (5:34)
04. Gétatchèw Mèkurya and His Saxophone - Shemonmwanaye (3:25)
05. Gétatchèw Mèkurya and His Saxophone - Yegenet Muziqa (4:32)
06. Gétatchèw Mèkurya and His Saxophone - Gofere Antchi Hoye (7:09)
07. Gétatchèw Mèkurya and His Saxophone - Akale Wube (4:11)
08. Gétatchèw Mèkurya and His Saxophone - Aynotche Terabu (4:36)
09. Gétatchèw Mèkurya and His Saxophone - Muziqa Heywete (3:09)
10. Gétatchèw Mèkurya and His Saxophone - Tezeta (4:41)
Wednesday, December 11, 2013
JAzmaris & Daniel Atlaw Seifu [australia / ethiopia]
Ethiopia has long been a land of exceptional musicianship and innovative hybrid styles, infusing influences from all four corners of the globe. Nine-piece Ethio-Jazz ensemble, The JAzmaris pay tribute to this music, unique in its sound, skill and scale structure, through combining a mix of original compositions with those of the great Ethiopian composers who have come before them.
The group was established by pianist Daniel Atlaw Seifu, a professionally trained Ethiopian jazz, traditional and contemporary musician who graduated from the Yared School of Music in Ethiopia’s capital, Addis Ababa. Before arriving in Australia in 2007, Daniel was a resident musician, composer, arranger and teacher at the Ethiopian National Theatre.
JAzmaris are fronted by energetic dancer & singer Seble Girma, representing the varying regional costumes & dances of Ethiopia. She is backed by a horn & rhythm section made up a mix of Australian and Ethiopian musicians based in Melbourne.
02 - JAzmaris - Birtukane (6:10)
03 - JAzmaris - Aha Gedawo (6:06)
04 - JAzmaris - Lantchi Biye (1:57)
05 - Seble Girma & JAzmaris - Tawsha Enure [Live Art centre Melbourne] (5:09)
06 - Seble Girma & JAzmaris - Far from Ambasel [Live Art centre Melbourne] (8:21)
07 - JAzmaris - Yemaleda Wof (6:26)
08 - JAzmaris feat. Ting - Jasmine (6:13)
Daniel Atlaw Seifu
1. Daniel Danny Seifu - 01 [My Beauty] (6:41)
2. Daniel Danny Seifu - 02 (7:16)
3. Daniel Danny Seifu - 03 (4:43)
4. Daniel Danny Seifu - 04 (4:58)
5. Daniel Danny Seifu - 05 (7:04)
Tuesday, September 24, 2013
Addis Acoustic Project - Tewesta [Remembrance] [2011]
R E U P L O A D
Perhaps because of its own internal diversity, Ethiopia seems particularly open to external musical influences. Christianity was adopted as the official state religion in the 4th century, although on third of the population is Muslim.
Four ethnic groups are dominant, but eighty (!!) different ethnic groups presently exist within Ethiopia. So this collection of reworked Ethiopian hits of the 1950s and 1960s is quite the eye-opener, with its seamless mix of East African, Latin and American jazz styles.
As the liner notes explain, the overthrown of Emperor Haile Selassie in 1974 gave rise to a much more aggressive electric sound in Ethiopian music subsequently, with Ethio-jazz, R&B and pop artists such as Mahmoud Ahmed and later, Aster Aweke and Gigi attracting the attention of world music enthusiasts.
But the electric style was preceded by the acoustic, which featured guitars, accordion, double bass, mandolin, clarinet, oud, drums and miscellaneous percussion.
The music on this CD has a mellow vibe, occasionally bordering on “smooth jazz,” and the seemingly
effortless playing the by the six native Ethiopian musicians in the band transports the listener to hip, smoky cafes that would have flourished during the period.
Most of the fifteen songs on the program use the classic pentatonic (five-note) scale, although adherence to the scale is more or less strict, depending upon the arrangement.
The prominent use of clarinet and accordion as dual lead voices is reminiscent of Jewish klezmer music at times. The music is most distinctive and “Ethiopian” when it combines modal scales and loping but highly complex time signatures (5/4, 6/8), as on the gorgeous “Ambassel” and “Yigermal.”
Elsewhere though, influences are more tangled and subtle. The rhythm foundation on a number of pieces is predominantly Latin (the ostinato riff and rhythm of “Yetintu Tiz Alegn” comes very close to Santana’s version of “Black Magic Woman”), while melody lines and orchestration can suggest everything from Argentine tango to Celtic music.
Leader, arranger and guitarist Girum Mezmur has clearly listened to a good deal of jazz guitar (Jim Hall, Wes Montgomery, Kenny Burrell, etc.) and he integrates tasty but highly nuanced jazz lines into a number of tunes.
Indeed, an ethnomusicologist would find this music to be a veritable treasure trove, although one doesn’t have to analyze it in order to enjoy it. For Ethiopians, a great deal of nostalgia is undoubtedly wrapped up in these pieces, but for everyone else, the pure musicality of the CD will be quite sufficient.
In fact, after a few spins, the music will likely insinuate itself into the listener’s consciousness to the extent that it will take up permanent residence. Highly recommended.
01. Addis Acoustic Project - Selam Yihoun Lehoulachin (4:43)
02. Addis Acoustic Project - Ambassel (6:15)
03. Addis Acoustic Project - Almaz YeHarrarwa (6:01)
04. Addis Acoustic Project - Ante Timeta Ene (6:01)
05. Addis Acoustic Project - Fikir Ayarejim (3:58)
06. Addis Acoustic Project - Etitu Beredegn (5:19)
07. Addis Acoustic Project - Anchim Ende Lela (5:57)
08. Addis Acoustic Project - Mashena (5:00)
09. Addis Acoustic Project - Yene Hassab (4:56)
10. Addis Acoustic Project - Yetintu Tiz Alegn (5:06)
11. Addis Acoustic Project - Ema Rumba (4:38)
12. Addis Acoustic Project - Enigenagnalen (5:22)
13. Addis Acoustic Project - Kewedet Tegegnech (4:34)
14. Addis Acoustic Project - Alemoush Mambo (4:12)
15. Addis Acoustic Project - Yigermal (4:36)
Henock Temesgen, double bass, vocals
Nathaniel Tesemma, drums, percussion
Ayele Mamo, mandolin, vocals, lead vocals
Mesale Legesse, kebero, darbuka, bongos, hand percussion
Dawit Ferew, clarinel, vocals
Ahmed Elmak, oud
Endris Hassen, massinko
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R E V I E W S :
‘…onto something very special…’
by Tom Orr
Addis Acoustic Project Revives Classic Ethiopian Grooves on Tewesta (Remembrance) Ethiopia isn't usually the first locale that comes to mind when one thinks of music made with acoustic guitars, accordion, mandolin and clarinet. Yet those instruments are at the core of Tewesta (Remembrance) (Harmonia Mundi/World Village), the new release by Addis Acoustic Project, a sextet that transports instrumental Ethiopian pop hits from the 1950s and '60s into the modern world.
Informed not only by classic African music but by jazz, Latin and other styles, AAP creates an intoxicating, charming blend of sounds that Mondomix.com called "a gentle groove with carefully rounded edges."
Addis Acoustic Project is the brainchild of Girum Mezmur, who directs and arranges the music as well as contributing acoustic and semi-acoustic guitars, accordion and vocals. Each of the other musicians--Ayele Mamo (mandolin, vocals), Dawit Ferew (clarinet, vocals), Henock Temesgen (double bass, vocals), Nathaniel Tesemma (drums, percussion) and Mesale Legesse (kebero, darbuka, bongos, hand percussion), plus Ahmed Elmak (oud on one track) and Endris Hassen (massinko on one track)--is a virtuoso who brings a full spectrum of musical colorings to this gentle but lively music, rich in history and now speaking to a new generation.
Addis Acoustic Project, on Tewesta (Remembrance)--the title is in the Ethiopian Amharic language--seamlessly fuses the traditional with the contemporary. For those who grew up with access to Ethiopian music during the mid-20th century, this is music that will be instantly familiar. But even for those who did not--and that would include the vast majority of Westerners-these are songs that feel comfortable and homey, melodies and rhythms that grab hold upon the first listen.
AAP was formed by Girum Mezmur with the intent of finding common ground between the authentic Ethiopian pop sounds of a bygone era-specifically the era just preceding what many consider the "Golden Age" of Ethiopian pop-and jazz, and then bringing it up to date in something wholly fresh-sounding. Mezmur carefully chose the instrumentation for the band, building it around his own accordion playing and other instruments that were commonly used in the Ethiopian pop he wanted to revive, including double bass, drums, clarinet, mandolin and the kebero, a cone-shaped, double-headed hand drum native to Ethiopia. After choosing the instrumentation, Mezmur set about finding the ideal musicians for his dream band, auditioning prospective members until he felt that the connection between them was just right.
Only then did Mezmur begin to assemble a repertoire, scouring record stores and old radio station playlists and speaking to individuals who remembered the era. The group debuted in March 2008, honing its sound at countless gigs and ultimately heading into the studio in Addis Ababa in 2009 and '10 to cut the songs that now comprise Tewesta Remembrance. Girum Mezmur produced the sessions.
The vast majority of the tunes collected on this recording revolve around the emotion most common throughout the history of music: love. The translations give that away quickly: "Fikir Ayarejim," which means Love is Eternal, was a popular song, made famous by Ethiopian vocalist Menelik Wossenachew, that originated in Sudan. AAP's interpretation features the great Sudanese oud master Ahmed Elmak guesting. Other highlights include "Enigenagnalen" (“We Shall Meet Again”), a love song originally by Girma Negash that speaks of hope, and "Yigermal" (“Such a Beauty...What Are You Called?”), a traditional folk song featuring mandolin and clarinet.
Perhaps the song that best sums up the mood and feel of Tewesta (Remembrance), however, is "Yetintu Tiz Alegn," whose title translates to “Remembrance” or, more specifically, “Remembering the Olden Days.” Originally made popular by Ethiopian singer Tilahun Gessesse, it was also recorded by the legendary late South African singer Miriam Makeba on her smash hit Pata Pata album in 1967. With its alternately elegiac and celebratory rhythms, global vibe and clustered harmony vocals, it's a tour de force that perfectly encapsulates the then-and-now motif Mezmur had in mind when he initially conceived the group. The jubilant track mirrors the excitement generated at an AAP gig, where audience interaction is not only common but expected.
For Mezmur, the emergence of Addis Acoustic Project has been the realization of a lifetime goal. After finding an accordion in his Addis Ababa home that belonged to his uncle, Mezmur became, well, mesmerized, obsessively learning the instrument and then moving on to guitar, piano and arranging music. Citing a diverse list of influences ranging from Ethiopian guitarist Selam Seyoum to the late American jazz master Wes Montgomery, Mezmur honed his chops while learning music theory and the art and business of leading a band. Attending the Yared Music School in Addis Ababa and working with different bands gave him experience and insights, all of which he draws upon now as the creative
force behind AAP.
In his liner notes to Tewesta "Remembrance,” Mezmur writes, "The essence of this project is about presenting the music of that era [the '50s and '60s] in an authentic manner, yet with a new twist.
Equally important is also preserving the sound and instrumentation of those days. I hope this recording captures these elements and does justice in these respects."
Undeniably, it does, but what ultimately makes Tewesta (Remembrance) such a winner is that one need not even know that these are old songs remade for today's world in order to fall in love with them. Addis Acoustic Project, on Tewesta (Remembrance), has gone beyond its own stated goal and has created music that is truly timeless.
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‘…a seamless re-imagining of a nation's musical history …’
by Manuel Abreu
Timelessness comes in a variety of guises. For Addis Acoustic Project (AAP) bandleader Girum Mezmur, it comes by following a path many other intelligent and ambitious musicians have followed recently: synthesis of old and new. Mezmur also arranged these visionary rediscoveries. He says in the liner notes to the Tewesta album: "The essence of this project is about presenting the music of that era [the '50s and '60s] in an authentic manner, yet with a new twist." "Tewesta" means "remembrance" in Amharic, and what Mezmur has done on AAP's debut, after two years of sharpening their sound through live performance, is remarkable.
This music is a seamless re-imagining of a nation's musical history, teasing out different vectors of sound possibility through the updated sound, allowing other musical idioms to seep through. While Mezmur was also devoted to "preserving the sound and instrumentation of those days," his vibrant arrangements allow for different aspects of the world of music to meld with traditional Ethiopian music, this exploration allowed by the downplayed importance of vocals and the focus on instrumental music. Consider "Fikir Ayarejim," which translates to "Love is Eternal." Popularized by Sudanese singer Menelik Wossenachew, the original song is led by a sultry synthetic orchestra and casual, shuffling drums, standard fare for Ethiopian oldies pop.
The AAP remake, however, opens with Latin-tinged drums, moving into a muscular accordion and oud led groove (master Ahmed Almek on oud). The rhythm of the song maintains the upbeat quality of the original, but Mezmur allows the melody to expand significantly, though without any egoistic solos--it's a bold move, essentially a statement of the semiotic weight of melody. Anyone intimately familiar with these songs will immediately recognize the melodies, regardless of the missing vocals.
The best part about this album is that even if you don't know the originals, you don't need to. It's hard not to enjoy this, conceptual ambition aside. It's those melodies--they grab you by the collar, like an excited child in the castle of her dreams, leading you eagerly down the twisting hallways.
While in Chicago in February of this year, Addis Acoustic Project’s founder and guitarist Girum Mezmur appeared solo at the Ethiopian Diamond II Restaurant.
The Latin jazz influence is even more pronounced on "Yetintu Tiz Alegn," which I believe translates to "Remembrance of Olden Days." Old master Tilahun Gessesse also has a version of this track. While the first half of the track only evokes Latin rhythms, led by Ayele Mamo's mandolin, a breakdown leads the listener straight into a minor-key, chromatic-drenched Latin guitar solo by Mezmur. Indeed, the music of AAP is about finding common ground between Ethiopian music and other genres of music, particularly jazz, Latin music, and folk. The lack of emphasis on vocals--though they are present--combined with the innovative arrangements moves AAP's debut from purely Ethiopian music to a more universal idiom. I don't want to call it world music, but I suppose that's the only label available.
While maintaining an unmistakable cultural identity, Mezmur and other musicians like him are interested in creating a dialog with other genres, other nations, other time periods, and this is a trend I strongly support. AAP's resplendent music is about communication, and aside from crossing historical and cultural bridges, they also cross the bridge to the listener's ear. The amount of variety here is outstanding, as well as the musicianship. One eye-opening moment is, in fact, the closer--and by the way, even though the album is over an hour in length, it keeps you enthralled the whole way through--"Yigermal," which warps 3/4 to its own whims through subtle subdivision, featuring claps on the chorus and led by mandolin and clarinet. Mezmur is a master of timbre and combines instruments perfectly for his evocative needs. Indeed, sometimes he attempts to traditionalize more than modernize: compare the eerie "Anchim Ende Lela" with a much jazzier version by Girma Degefu.
Mezmur's take on Girma Negash's hopeful love song "Enigenagnalen" (We Shall Meet Again), opens with a lusty, rueful guitar solo which is offset by Dawit Ferew's mourning clarinet, painting a picture of both the beauty and futility of hope in the face of life's circumstances. Whether the lovers meet again is not the point, only that the hope exists, that it can flower. The mambo-like rhythm drives the song forward. Nathaniel Tesemma and Mesale Legesse, who handle the percussion, are to be commended for their tight, powerful grooves, which never lack subtlety. As well, Dawit Ferew is ablaze throughout, displaying his mastery of the clarinet in the Ethiopian style. Mezmur painstakingly assembled his band -he himself handles guitar and accordion -and it pays off.
While you don't need to know anything about the source music behind this wonderful album, I found that research into the originals gave me a greater appreciation for the brilliance of Mezmur's arrangements and his band's playing, as well as a deeper understanding of the context of the musical conversation AAP is trying to have. As well, I can pretty much guarantee that any musical discoveries this album leads to will be golden--Ethiopian music, old and new, is a veritable rabbit hole and gold mine which I recommend you delve into. For starters, there's the Ethiopiques series. But I'll leave that to you. For now, let me just repeat that this is an excellent album, and whether you're interested in the context of Mezmur's ideas for finding common musical ground, you won't be disappointed.
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‘…onto something very special…’
by Tom Orr
Given the volume of great vintage music from Ethiopia that's been discovered (or, more accurately, rediscovered) and made available in the last decade and a half, and considering how deeply those new/old Ethiopian sounds are loved by listeners well beyond the standard world music crowd, it was only a matter of time before a band like Addis Acoustic Project came along. Founded by guitarist/accordionist/arranger Girum Mezmer, the group re-creates in mostly instrumental style Ethiopian hits of the 1950s and ‘60s, a time when instruments like the mandolin and accordion were prominent and the funkier, horn-heavy sounds celebrated in much of Buda's Ethiopiques series hadn't yet arrived.
If the latter is the Ethiopian music you know and love, rest assured that what you'll hear on Tewesta isn't so very far removed from it. The serpentine melodies, zesty riffs and uniquely Ethiopian swing
are here, although in a more stripped-down form. Alongside Mezmer are players who combine youthful strength and veteran savvy on mandolin, bass, clarinet, drums and percussion, often branching off into jazzy asides, Latin grooves or klezmer-like liveliness before slipping back into melodies that couldn't be from anywhere else but Ethiopia. AAP's intimate approach also shows the extent to which early Ethiopian popular music gleaned from sounds of nearby Sudan and even far afield influences like
European waltzes and the works of Armenian arranger Nerses Nalbandian. At once traditional, experimental (it'd be great if Mulatu Astatke hooked up with these guys), and accessibly catchy, Addis Acoustic Project is onto something very special. Tewesta is a delight of a disc, and let's hope there's more of its kind in the works.
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