Sami Dan - Keras Gar Negeger [2016] [ethiopia]

        Samuel Berhanu popularly known as Sami Dan is a reggae artist. He attended Addis Ababa University where he graduated with a degree in Construction Technology and Management. His music career began while in high school. At the time he played with the Eldan band for five years. He took a break to focus on his education and after he graduated he joined Hasset Acoustic Band and played for three years. With Hasset, he had the opportunity to be part of Sydney Solomon and Imperial Majestic Band and played there for a year.

         In 2014 Sami Dan started his own band, Zewd Acoustic. That year Sami also released a four-song promotional CD. His singles ‘Anchi Yene’ and ‘Shegitu’ got overwhelmingly positive feedback on radio and online. 

         He released his debut album Keras Gar Negeger in 2016.

Sami Dan - Kalesh Anchi [Lyrics] (ካለሽ አንቺ)

     

        Now with an intention to approach the entertainment world with a unique sound and style, Sami Dan has written all 13 tracks on the new album, songs that address critical social issues in Ethiopia like legislation and work ethics. Keras Gar Negeger (Speaking with oneself) is released by Blue Media PLC, the company better known for organising the Taste of Addis Food Festival and the Addis Beer Fest.

       An energetic live performer, Sami says his new album contains his own deep ideas and life experiences. He believes that artists are leaders in society and therefore need to address issues that affect the society, while also pointing out problems in the society with a view of encouraging positive change. “The ideas and the experiences I have acquired over the years in my career are interpreted in the album. I hope they will help someone learn from my challenges and successes,” he says.

*read interwiev with Sami Dan here >

Sami Dan - Man Yamnishal [Lyrics] (ማን ያምንሻል)

        Reggae is the dominant genre on the album but Sami says that as a versatile artist he has also included other genres. He reckons that reggae in Ethiopia is growing, but based on the history of the genre it has not yet attained the status it deserves. He is hopeful that a new crop of artists will take Ethiopian reggae to greater heights, and that his new album will contribute to the growth of reggae in the country.

Sami Dan - 01 - Wede Lay (4:03)

Sami Dan - 02 - Kalsh Anchi (5:00)

Sami Dan - 03 - Dimts Alba Sew (4:58)

Sami Dan - 04 - Yefetari Dirset (5:37)

Sami Dan - 05 - Tefa Yemileyen (5:02)

Sami Dan - 06 - Ewnet (4:53)

Sami Dan - 07 - Zare (4:36)

Sami Dan - 08 - Hoya Hoye (6:35)

Sami Dan - 09 - Fikir Selam (4:47)

Sami Dan - 10 - Man Yamnishal (4:51)

Sami Dan - 11 - Esatu Zemen (4:15)

Sami Dan - 12 - Yene Hayl (4:39)

Sami Dan - 13 - Yagere Lij (4:28)

Eyob Mekonnen - Erotalehu [2009EC] [2017] [ethiopia]

Eyob Mekonnen - Erotalehu

Eyob Mekonnen - 01 - Semahuachew (6:09)

Eyob Mekonnen - 02 - Tekekel Nesh Anchi (5:01)

Eyob Mekonnen - 03 - Tetereche (4:58)

Eyob Mekonnen - 04 - Yegabezkuachew (4:45)

Eyob Mekonnen - 05 - Wehajira Welale (3:42)

Eyob Mekonnen - 06 - Wede Enate Bet (5:28)

Eyob Mekonnen - 07 - Man Yawekal (5:54)

Eyob Mekonnen - 08 - Tew Yalshignen (5:29)

Eyob Mekonnen - 09 - Andebete Tenager (5:22)

Eyob Mekonnen - 10 - Say (3:44)

Eyob Mekonnen - 11 - Yelef (6:03)

Eyob Mekonnen - 12 - Zim Elalehu (3:50)

Eyob Mekonnen - 13 - Endet Beye (6:15)

Eyob Mekonnen - 14 - Erotalehu (5:36)

Imandeya - I Chant [2016] [ethiopia]

Imandeya - 01 - My Saviour (3:33)

Imandeya - 02 - I Am (5:10)

Imandeya - 03 - Judgement Time (5:27)

Imandeya - 04 - My Religion (5:47)

Imandeya - 05 - Jerusalem's Calling (5:22)

Imandeya - 06 - I Remember (3:34)

Imandeya - 07 - My Lord (5:32)

Imandeya - 08 - No Pride (5:13)

Imandeya - 09 - I Am (5:04)

Imandeya - 10 - Tana Jazz (3:50)

Paulos Tadesse - Ethiomystic [2016] [ethiopia]

       Ethiomystic is a fusion of traditional and contemporary jazz, reggae and rock that makes you want to listen to it again and again. I tried to offer simplicity using just a few instruments. Yet, there’s a layered approach, with rhythm, melody, and harmonies that unlocks a unique, refined sound. - Paulos Tadesse

     Instrumental music situated at the crossroads of many of influences- traditional song, afro-beat, reggae, jazz and funk.

Paulos Tadesse - Hageray

Paulos Tadesse - 01. Hageray (4:20)

Paulos Tadesse - 02. Ethiomystic (4:13)

Paulos Tadesse - 03. The Lonely Road (3:38)

Paulos Tadesse - 04. Eyaleh Kalhone (5:00)

Paulos Tadesse - 05. Birtukane (6:22)

Paulos Tadesse - 06. Yezare Abebawoch (3:55)

Paulos Tadesse - 07. Ououta Ayaskefam (5:15)

Paulos Tadesse - 08. Freedom (5:16)

Paulos Tadesse - 09. Set Alamnem (4:34)

Paulos Tadesse - 10. Yeayne Tesfa (4:44)

Paulos Tadesse - 11. Astawesalew (5:21)

Paulos Tadesse - 12. Ethiomystic Dub (4:16)

Tommy T - The Prester John Sessions [2009] [usa+eth]

   R   E   U   P   L   O   A   D   

       For the past three years, Tommy T (Thomas T Gobena) has been the bass player for gypsy punk powerhouse Gogol Bordello, the New York City-based band known for their blend of Gypsy, punk, dub reggae, metal and flamenco. 

       Tommy was born and raised in Ethiopia and the knowledge of global rhythms he brings to Gogol’s sound has become part of their unclassifiable approach to music making. With the encouragement of his Gogol Bordello band mates, Tommy has produced his first solo effort, The Prester John Sessions, an aural travelogue that rages freely through the music and culture of Ethiopia.

      "In the 70s, funk, wah-wah pedals, and jazz had a huge impact on Ethiopian music," Tommy explains. "The Prester John Sessions will give people an idea about the musical diversity of Ethiopia, which includes influences and ideas borrowed from the sounds of the 70's with the added bonus of up-to-date production values."

       Tommy discovered the story of Prester John in Graham Hancock’s book The Sign and the Seal. “Hancock was looking for the Biblical Ark of the Covenant,” Tommy says. “His quest led him around the world, from Middle East to Europe and back to Ethiopia. While doing his research, Hancock discovered the legend of Prester John. In the 12th and 13th centuries, Prester John was an unknown Christian king with massive troops that got the attention of European kings. Prester John is the character I use to symbolize the man who will bring Ethiopian culture to the rest of the world.”

       To fulfill his vision, Tommy started digging through Ethiopian folk music, choosing melodies he could improvise on. He also wrote his own compositions based on traditional modes. “A lot of popular Ethiopian music is based on a 6/8 beat called chikchika, but there are also many other rhythms in Ethiopia that have their own unique characteristics. I play with The Abyssinian Roots Collective on the album. They are sometimes known as The ARC, which coincidentally ties into the Ark of the Covenant and the Prester John story. We’re mostly Ethiopian, so getting the music down was easy. I gave them the tunes, and then we improvised the arrangements so the music has an organic feel.”

       Tommy composed and produced the music, with his brother Henock contributing to the tunes “Brothers” and “East-West Express.” The tracks were written at Tommy’s home studio and cut live in a couple of studios around Washington, DC and overdubs were laid down in real time with a final mix by Victor Van Vugt (Nick Cave, Gogol Bordello) that gave it the feel of Herbie Hancock’s Headhunters jamming with Ethiopian godfathers The Imperial Bodyguard Orchestra. The music blends Ethiopian modes with dub reggae, funk, and jazz, for a sound that’s at once familiar and mysterious.

      “The Eighth Wonder” has a light, jazzy feel based on the chikchika rhythm, played in the style common to the Wollo province, home to the rock-hewn churches of Lalibela. “Much like the pyramids of Giza, much has been made over the 11 stone churches of Lalibela, often referred to as the “Eighth Wonder,” Tommy explains. “This track uses the chikchika beat, but expands it into other directions.” Tommy’s melodic bass weaves through the tune’s horn and Massinqo (an Ethiopian single-stringed instrument played like a violin) lines, while the drummer keeps the beat with a series of tom rolls complimenting the kick drum. Dub effects keep the instruments dancing in and out of the mix. “Beyond Fasiladas” references the Castle of the emperor Fasiladas in Gondar, Ethiopia’s capital in the 17th Century. It uses a fast, driving beat from Gondar and interpolates several traditional melodies. Massinqo, guitar and an energetic bass line give the tune a funky, relentless pulse. Setegne Setenaw plays the melody on Massinqo. “The Response” features vocals from Gigi and Tommy. It’s a love song with an almost unbearable sense of longing. Tommy plays acoustic guitar and bouzouki with a West African feel influenced by the music of Mali, although the melody is purely Ethiopian. “Eden” pays homage to the lush and raw landscapes of Ethiopia. Gigi’s wordless vocal is full of joy. The slow dubby rhythm and a muted blue flugelhorn give the track a timeless feel. “Oromo Dub (Cushitic dub)” is driven by Tommy’s phat bass riddim and revolves around traditional tunes that existed ages ago. Abdi Nuressa sings in Oromo, one of the many languages in Ethiopia, and his voice drifts through intergalactic dub space taking this ancient song into the future. The album’s ten tracks epitomize the Ethiopian ideal of Semena Worq - Wax and Gold. The wax is the surface of the music, bright and modern, with its jazzy, funky accents. The gold signifies the depth of tradition that gave birth to these sounds, nuggets culled from one of the oldest cultures on earth, presented by Tommy and his compatriots in all their shining beauty.

       Tommy T was born and raised in Ethiopia’s capital city, Addis Ababa. “There was always music in our house,” Tommy recalls. “When I was five, my older brother Zelalem got an acoustic guitar from my father. By the time I was six I could pick up a guitar and play what my brothers were playing.

       Tommy had no intention of becoming a musician, but when his brother Henock moved to Washington DC, Tommy followed. “I looked up to him as a brother and a bass player. After he sent a copy of his first album to us in Ethiopia, I started playing acoustic guitar like a bass. When I came to the States, I got a real bass. There are over 200,000 Ethiopians in the DC metro area, so I was able to make a living playing in Ethiopian bands.”

       Tommy completed a degree while playing in bands three or four nights a week. “I played in Ethiopian bands, and then started a reggae band called ADOLA which also backed many well known Ethiopian artists such as Aster Aweke and Gigi to name a few. I was also interested in other styles of music including R&B, hip-hop, and neo-soul. I worked with Wayna [Wondwossen, recently nominated for a best urban performance Grammy for her song “Lovin’ U (Music)”] and produced a couple of tracks on her Moments of Clarity album with my friend Abegasu Shiota.” While collaborating on a project with guitarist Eran Tabib, he heard Gogol Bordello was looking for a bass player familiar with international grooves.

    His years with Gogol inspired Tommy to develop The Prester John Sessions, another band with a global outlook. The reggae band he and his friend Zedicus (Zakki Jawad) started in DC had evolved into The Abyssinian Roots Collective; they helped Tommy bring The Prester John Sessions to life. “I believe in music without boundaries,” Tommy says. “Music should be inclusive, not exclusive. We should use sounds from everywhere to create a universal vibe. The music business isn’t friendly to that kind of thing, but the people who hear it respond to it well. Gogol is a rock band, but the sound is global. People who love music know the best music is created without boundaries and limitations. The Prester John Sessions take that idea to the next level.”

01. Tommy T - Brothers (5:03)

02. Tommy T - The Call (4:04)

03. Tommy T - The Response (Featuring Gigi) (4:43)

04. Tommy T - The Eighth Wonder (6:51)

05. Tommy T - Oromo Dub (Cushitic Dub) (4:34)

06. Tommy T - East-West Express (4:21)

07. Tommy T - Tribute To A King (4:11)

08. Tommy T - Beyond Fasiladas (3:16)

09. Tommy T - September Blues (3:29)

10. Tommy T - Eden (Featuring Gigi) (5:53)

11. Tommy T - Lifers (Michael G Easy Star Remix feat. 

                          Eugene Hutz And Pedro Erazo) (2:06)

Dub Colossus - Addis Through The Looking Glass [2011] [ethiopia]

   R   E   U   P   L   O   A   D   

       Dub Colossus is a collective of Ethiopian musicians working with Western musicians fascinated by the richness of the Ethiopian sound. 

      
      A Town Called Addis ...was their striking debut in 2008 but this is better, probably thanks to their live concerts. 

       There's a strong reggae influence, but it's songs like the punchy Guragigna that stand out, with great vocals by "the Ethiopian Edith Piaf", Sintayehu Zenebe, underpinned by a piano ostinato and a muscular horn section with great sax solos.

Baaro - Rhythm City [1997] [ethiopia]

          After fleeing their homeland of Ethiopia in the late '70s to avoid conflict with the Marxist government, a trio of reggae musicians made their way to the United States. Landing in Chicago, the three musicians began playing their African and Jamaican-flavored jams in reggae clubs around the city.

        Fronted by singer/guitarist Mulu Gessesse, the band consisted of Mulu's brother Zeleke Gessesse and close friend Meluka Retts.

      In 1980, the band assumed the name Dallol, and put together a demo tape. Dallol gained a sizable following in Chicago quickly with its distinct Ethiopian-flavored sound.

      The demo soon found its way all over the country, outside of the United States, across the Caribbean and into the hands of a certain famous family in Jamaica.

       "It was 1981, right after Bob (Marley) died," Mulu recalled. "Our tape made its way to Rita (Marley), and she asked us to go on down to Jamaica. That was our first contact with the Marleys."

            Contacts with the first family of reggae proved to be a good thing for Dallol. Rita Marley produced the band's first full-length album and helped the band out in a number of ways. Lodging and other commodities were provided to Dallol by the Marleys as the band made its tour of the islands.

         It wasn't long before the Marleys became more than contacts, with friendships forming between Dallol and Bob's son, Ziggy Marley.

"Ziggy was only 10 years old when we met him," Mulu explained. "As a matter of fact, he played his first show with us."

            Good ties with the Marleys continued, and soon Dallol was asked to tour with Ziggy's newly formed band "Ziggy and the Melody Makers." Dallol's Ethiopian and reggae roots served as a perfect backdrop to Ziggy's continuation of his father's style and heartfelt messages.

           In the late '80s, Dallol toured and recorded with Ziggy. The result of the combined effort was heard worldwide. One platinum and one gold album elevated Dallol to superstar status in the reggae industry.

         "That experience was great because it enabled us to go all over the world," Mulu said.

          After about five years with Marley, Dallol returned to its second home in Chicago. Included in the move were a couple line change ups and a change of name for the group. Upon the addition of three more members, including two female vocalists, Dallol changed its name to Baaro.

            Since moving back to Chicago, Baaro has made many national, as well as international, media appearances.

     Included in Baaro's impressive list of accomplishments are appearances on David Letterman, Soul Train, the NAACP Image Awards, BBC and the Arsenio Hall Show. Baaro's most recent television appearance was a slot on the Oprah Winfrey Show three weeks ago.

          The band has continued doing what it does best. Recording three CDs (one in 1986, 1991 and this year's "Rhythm City"), Baaro has greatly expanded its fan base, particularly in the Midwest.

         "Everywhere we go, we are getting very positive reactions, and they love our arrangements, melodies and harmonies," Mulu said. "Every new place we go to, they keep wanting us to come back. Our base has been expanding all the time. Colleges, especially, have responded very well. The last time we came to Ames, we had a wonderful party. The action and response was incredible. The same thing is happening everywhere we go."

         "Rhythm City" captures Baaro's long and eventful career by staying true to the sounds of Dallol but also adding depth with the addition of the newest members.

         Capturing the bands message of togetherness, love of all people and unity, the album also stays true to reggae roots.

      "I think the newest album reflects our experience," Mulu said. "You'll obviously hear reggae, and you'll also hear some of our Ethiopian background. It's a blend of Africa, Jamaica and urban-American music."

         The album draws on a number of musical influences, including Bob Marley, Stevie Wonder, singers from Africa and South Africa, as well as pop melody influences from the Beatles.

        Being able to play music for a career has proven to be a fulfilling thing for Baaro.

       "Music gives me a medium for me to express my inner feelings," Mulu said. "Any time I get inspired about a certain idea or a certain feeling, I just go sit down and play my guitar. I'm able to transform that abstract thought into music. Seeing the finished product with the band and then recording and listening to it gives me an incredible feeling."

Baaro - 01 - Nanye (3:59)

Baaro - 02 - No More (4:25)

Baaro - 03 - Music (4:48)

Baaro - 04 - Ashema (3:11)

Baaro - 05 - My Only One Girl (4:08)

Baaro - 06 - I Ain't Got Nothing (4:39)

Baaro - 07 - Drift Away (4:28)

Baaro - 08 - Rhythm City (3:52)

Baaro - 09 - Ebolala (3:37)

Baaro - 10 - One Night Feeling (4:06)

Seble Solomon - Kalehubet [2001] [ethiopia]

Seble Solomon

Seble Solomon - 01 - Yelijenete (5:36)

Seble Solomon - 02 - Kalehubet (6:03)

Seble Solomon - 03 - Mok Yelegnal (6:06)

Seble Solomon - 04 - Bet Yiquterew (8:11)

Seble Solomon - 05 - Yebekagnal (5:29)

Seble Solomon - 06 - Negabita / Dewako (8:17)

Seble Solomon - 07 - Akorah wey (5:26)

Seble Solomon - 08 - Min Derese Antega (5:26)

Seble Solomon - 09 - Selam (4:17)

Seble Solomon - 10 - Iskemeche (5:14)

Seble Solomon - 11 - Tematsigne (4:43)

Seble Solomon - 12 - Ke Shegawoch Ager (6:23)

Dallol - Land Of The Genesis [1985] [usa+eth]

Dallol - Reggae In The Moonlight

              After fleeing their homeland of Ethiopia in the late ’70s to avoid conflict with the Marxist government, a trio of reggae musicians made their way to the United States.

         Landing in Chicago, the three musicians began playing their African and Jamaican-flavored jams in reggae clubs around the city.

Fronted by singer/guitarist Mulu Gessesse, the band consisted of Mulu’s brother Zeleke Gessesse and close friend Meluka Retts.

           In 1980, the band assumed the name Dallol, and put together a demo tape. Dallol gained a sizable following in Chicago quickly with its distinct Ethiopian-flavored sound. The demo soon found its way all over the country, outside of the United States, across the Caribbean and into the hands of a certain famous family in Jamaica.

           “It was 1981, right after Bob (Marley) died,” Mulu recalled. “Our tape made its way to Rita (Marley), and she asked us to go on down to Jamaica. That was our first contact with the Marleys.”

    

           Contacts with the first family of reggae proved to be a good thing for Dallol. Rita Marley produced the band’s first full-length album and helped the band out in a number of ways. Lodging and other commodities were provided to Dallol by the Marleys as the band made its tour of the islands.

         It wasn’t long before the Marleys became more than contacts, with friendships forming between Dallol and Bob’s son, Ziggy Marley. “Ziggy was only 10 years old when we met him,” Mulu explained. “As a matter of fact, he played his first show with us.”

          Good ties with the Marleys continued, and soon Dallol was asked to tour with Ziggy’s newly formed band “Ziggy and the Melody Makers.” Dallol’s Ethiopian and reggae roots served as a perfect backdrop to Ziggy’s continuation of his father’s style and heartfelt messages.

         In the late ’80s, Dallol toured and recorded with Ziggy. The result of the combined effort was heard worldwide. One platinum and one gold album elevated Dallol to superstar status in the reggae industry.

“That experience was great because it enabled us to go all over the world,” Mulu said.

       After about five years with Marley, Dallol returned to its second home in Chicago. Included in the move were a couple line change ups and a change of name for the group. Upon the addition of three more members, including two female vocalists, Dallol changed its name to Baaro.

Zeleke Gessesse - Bass, Vocals

Ruphael Wolde Mariam - Drums, Vocals, Cover

Dereje Mekonnen - Keyboards

Mulaku Retta - Keyboards, Vocals

Abdul Hakim - Lead Guitar

Asrat Aemro Sellasie - Percussion

Mulugetta Gessesse - Rhythm Guitar

Executive-Producer – Rita Marley

A1 - Dallol - Selam (4:48)

A2 - Dallol - Genesis (4:16)

A3 - Dallol - Love Is Coming (4:16)

A4 - Dallol - Reggae In The Moonlight (4:40)

B1 - Dallol - Hoye Hoya (3:20)

B2 - Dallol - Sail Along (5:07)

B3 - Dallol - Nice Feelings (3:50)

B4 - Dallol - Ashkaroo (traditional song) (3:40)

B5 - Dallol - Mr. DJ (4:50)