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Showing posts with label modern traditiona music. Show all posts
Showing posts with label modern traditiona music. Show all posts

Monday, May 23, 2016

Chalachew Ashenafi - Gerager [2009] [ethiopia]



   R   E   U   P   L   O   A   D   

   all tracks fixed   






       Chalachew Ashenafi (1966-2012) was a singer and masinko player, an traditional Ethiopian instrument comparable to violin but with just only one string. 







       Chalachew was born and raise in Debre Tabor, close to the city of Gondar in Ethiopia, where most of the famous Azmaris originate from. He played at weddings and traditional bars before releasing his own album entitled "Gerager" in 2009

       He has hosted shows and performed at events in the United States, Italy and Germany among other countries. Chalachew did some tours with The Ex in recent years. A traditional player, but also forward, funny and stubborn.

         Chalachew Ashenafi died at age of 47.




01. Chalachew Ashenafi (Chale) - Awdamet (4:58)
02. Chalachew Ashenafi (Chale) - Jimma Yadegech (7:03)
03. Chalachew Ashenafi (Chale) - Gameye (6:13)
04. Chalachew Ashenafi (Chale) - Gondar (6:08)
05. Chalachew Ashenafi (Chale) - Himemeyew (7:36)
06. Chalachew Ashenafi (Chale) - Selamney (4:57)
07. Chalachew Ashenafi (Chale) - Munit (6:28)
08. Chalachew Ashenafi (Chale) - Gerager (6:49)
09. Chalachew Ashenafi (Chale) - Megalo (4:38)
10. Chalachew Ashenafi (Chale) - Fano (6:07)


Karibuni @ddis - Back Road to Ethiopia [2013] [ger+eth]









          The album is greatly influenced by music from Ethiopia, Angola and Congo. Infused with an interesting mix of soundscapes born from the world-wide multicultural and travel experiences of the musicians.

         This album does not only offer good music. The band Karibuni @ddis demonstrates the powerful synergy that occurs when music and social awareness merge with thoughtful lyrics and beautiful melodies.





Karibuni @ddis - Saba Sabina




Josephine Kronfli - voc, flute, shaw washint, whistle, field recordings 
Pit Budde - ac guitars, banjo, sitar guitar, autoharp, bass, wavedrum, shaman drum, uruwuri, field recordings, voc 
Rahel Budde – voc 
Carlos Mampuya – voc
Klaus Jochmann - perc, accordion
Ahmet Bektas - ud, sazbüs, darbouka, bendir, davul, voc
Roshan Linsi – voc
Ill James - voc
Dorothea Kares – voc
Michael Voss – el guitar
Franziska Urton – violin
Steffi Stephan – bass
Benno Gromzig - bass 




Karibuni @ddis - Hoya Hoye / Assiyo Bellema (5:08)
Karibuni @ddis - Felega (4:58)
Karibuni @ddis - Mbawala Jila / Ayaya (4:59)
Karibuni @ddis - Wir Sind Eins / Esheruru (4:35)
Karibuni @ddis - Selam, Shalom, Shlomo, Frieden (4:51)
Karibuni @ddis - No Child Soldier (4:00)
Karibuni @ddis - Saba Sabina (3:44)
Karibuni @ddis - Melkam Fasika From Ethiopia (3:24)
Karibuni @ddis - Kunsi Africa (6:55)
Karibuni @ddis - Wefe, The Desperate Bird (5:52)



Sunday, May 22, 2016

Mahmoud Ahmed - Woy Fikir [with Roha Band] [1986] [ethiopia]










Mahmoud Ahmed, born 18 May 1941, Addis Ababa, Ethiopia. 


       Mahmoud Ahmed  sang at weddings and family gatherings from a very early age, but while he was still a child, his family became homeless when his father lost his job. Forced to work as a shoeshine boy, the young Mahmoud’s education inevitably suffered and he was expelled from school for poor attendance. Following his headmaster’s advice that his only possible salvation lay in music, Mahmoud Ahmed soon became known locally for his powerful voice as well as his skills as a dancer of the twist and calypso. He worked as a painter’s assistant and kitchen porter at the Arizona Club, a fashionable Addis Ababa nightspot. One evening, he begged his way into performing a song with a band at the club, receiving rapturous applause and launching his musical career. He became the vocalist with the Imperial Bodyguard Band in the early 60s, subsequently remaining with them for 11 years.

     





Mahmoud Ahmed With Roha Band (1986)



Mahmoud Ahmed’s first album was released in 1972 and he has since made numerous recordings for the local market as well as performing with many of Ethiopia’s top bands and musicians. In 1986, the Belgian record label Crammed Discs released Erè Mèla Mèla, a compilation of Ahmed’s recordings from the 70s and one of the first albums of modern Ethiopian music available in the west. Critical response was highly favourable and a European tour followed a year later. Soul Of Addis was originally released in Ethiopia in 1985 and, while not as intense as the 70s recordings, nevertheless offered a fine showcase for Ahmed’s spellbinding voice. The Paris, France-based label Buda Musique has also released several Ahmed albums in their Éthiopiques series.

       Something of a local institution, Mahmoud Ahmed still performs regularly in Addis Ababa, as well as owning and running a record label and a nightclub. He sings in a variety of local and international styles but consistently returns to the tizita (a slow and intense local form of the blues). His multi-octave voice is similar to that of Pakistani singer Nusrat Fateh Ali Khan (who died in 1997), a veritable force of nature that combines the ecstatic devotional pleading of qawwali with the precise tone and phrasing of Western jazz singers.



Mahmoud Ahmed - 01 - Endet Nesh Belulign (6:22)
Mahmoud Ahmed - 02 - Yeshega Lij Mewded (7:55)
Mahmoud Ahmed - 03 - Konjit (5:04)
Mahmoud Ahmed - 04 - Atazlignim Woy (5:46)
Mahmoud Ahmed - 05 - Yababilal (5:23)
Mahmoud Ahmed - 06 - Neyima (7:15)
Mahmoud Ahmed - 07 - Woy Fikir (10:24)
Mahmoud Ahmed - 08 - Engidaye Nesh (7:28)
Mahmoud Ahmed - 09 - Ebolale Gere (5:30)





Roha Band members were :

Ashenafi Awel - drums
Giovanni Rico Bonsignori - bass
Yonas Degefie - saxophone
Selam Syoum - guitar
Yared Tefera - saxophone
Dawit Yifru - keyboards


Monday, May 9, 2016

Zerfu Demissie - Akotet: Songs of the Begena [2008] [ethiopia]




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      In March 2001, Andy (also guitarist in The Ex) and I (Terrie Ex) were in Addis Abeba, checking out possibilities for The Ex to play some concerts in Ethiopia. But also to check out other music. There is so much amazing stuff there. One day, in the middle of the Mercato, we were struck by something that we had never heard before. Out of the street speaker of a little cassette shop, flowed a sound that was dark, heavy and serious, but also light, fragile and spiritual. We couldn't quite pin it down. We knew the great Ethiopiques 11 of Alemu Aga, but this was different. Slightly embarrassed at the fact that the shopkeeper had had to take the cassette out of the machine and that the street was suddenly silent, we bought the tape. It turned out to be Zerfu Demissie







        In March 2004, we organized a series of concerts in Holland called "An Ethiopian music night". The programme consisted of The Ex + Han Bennink, nine of the greatest Azmaris from Addis and Alemu Aga on the begena. Quite a contrasting line-up! In Ethiopia, the Azmaris and Alemu are from completely opposite sides of the musical spectrum. 

     The Azmaris' music is about drinking, politics, sex, dancing, jokes. Playing the begena, on the other hand, is rooted in meditation, concentration and prayer. Deeply devoted to the Orthodox Christian tradition, Alemu was in his fasting period during the tour, which for him meant an even stronger spiritual commitment and no meat and alcohol. He played his songs and right after, The Ex performed. A very different music from a very different background. But when we were finished, Alemu was there standing at the side of the stage, offering us some cold beers. This is not a rigid religion and culture. This is about people.


     We became more and more intrigued by Ethiopian music and culture. We were also intrigued by the begena, an instrument that dates back thousands of years; with its mesmerizing buzzing sound and its special role in the musical, sociological palette. There are the fascinating lyrics, sometimes hundreds of years old and occasionally very contemporary. At times biblical, at other times tapped from different sources. But all including this typical Ethiopian phenomenon known as "Wax 'n' Gold", the subtle poetry with double meaning, which is deciphered as an abstract art form.






     This music is unique to this worid. We had to find out more. August 2006, and we were back in Ethiopia. Jeroen took his mobile studio and Emma her camera. We were hoping to find Zerfu to make a recording with him. And we did find him. He agreed to the project, and a few days later, we recorded him in his empty bedroom at home. Beautiful! Enjoy the sounds within!


Terrie Ex - Wormer, November 2007



01. Zerfu Demissie - Alayenem Belu, Alsemanem Belu (5:42)
02. Zerfu Demissie - Degwawen Kitetut (5:41)
03. Zerfu Demissie - Arb Yetaredewn (8:05)
04. Zerfu Demissie - Ahadu Belo K'idus (8:32)
05. Zerfu Demissie - Arb, Rob, Inegedef (5:10)
06. Zerfu Demissie - Ne'i, Ne'i Kidane Mehret (6:29)
07. Zerfu Demissie - Efoy Ta'ageseke (4:48)
08. Zerfu Demissie - Sek'let (3:27)
09. Zerfu Demissie - Dingelim (4:01)
10. Zerfu Demissie - Esme Ante (2:46)
11. Zerfu Demissie - Godana (7:06)



Thursday, May 5, 2016

v.a. - Nahom Favorite, Vol. 18 - Eskista [2008] [ethiopia]










       Eskista is a traditional Ethiopian dance performed by both men and women that is known for its unique emphasis on intense shoulder movement. The dance is characterized by rolling the shoulder blades, bouncing the shoulders, and jilting the chest. 


      Eskista is typically performed to traditional Ethiopian music, but can often be incorporated into modern forms of music such as is played in modern Ethiopian music videos. The complex nature of eskista makes it one of the most highly technical forms of traditional dance.





Traditional Ethiopian Dance - Eskista 





Chalachew Ashenafie - 01 - Yeabay Dar Amora (6:40)
Amanuel Mengiste - 02 - Gojam (5:00)
Meharie Degefaw - 03 - Yenie Kifu Aywetashe (5:13)
Neshanet Ayele - 04 - Hobel (5:15)
Alemayehu Herepo - 05 - Nishit (7:06)
Abebe Fekadu - 06 - Suger Daddy (6:13)
Amanuel Mengiste - 07 - Aba Tatek (4:10)
Neshanet Ayele - 08 - Ytawej Beyfa (5:27)
Fasiel Demoz - 09 - Ahoho Belulet (6:35)
Neshanet Ayele - 10 - Labejaj Bietin (6:17)
Habitemichel Demissie - 11 - Washintu (6:33)
Damtew Ayele - 12 - Anetatreh Mita (7:06)



Saturday, April 16, 2016

Ethiocolor - Ethiocolor [2014] [ethiopia]










         Ethiocolor is a cultural traditional band consisting of Kirar (a kind of lyre), Bass Kirar, Washint (flute), Kebero (traditional drums) and Massinqo. This band, led by traditional dancer Melaku Belay, is the cream of the crop of cultural musicians and dancers of the country. All of them share the common priority to represent the traditional styles in an accurate, lively and new way, as well as to spread their music all over the world.

      Since its inception in 2009, word has spread fast for this young group. They have already won a wide audience in Addis Abeba and through the country. Moreover, each member of Ethiocolor possesses extensive national and international experience. Musicians and dancers have collaborated with traditional music projects, but also with jazz, rock, fusion and hip-hop artists. All these experiences separate Ethiocolor from other traditional groups by giving their music a special “color”.








     “Our goal is not just to assemble the best traditional musicians and create another folk ensemble. Our unique vision is to demonstrate that the immense musical heritage of Ethiopia can be performed with a great degree of creativity while still maintaining its identity”, says Melaku Belay, leader and founder of the cultural group.






Ethiocolor Band at Festival EtnoSur (Spain)



Members of the band are: 

Yohannes Aferworq (flute), 
Anteneh Teklemariam (bass kirar), 
Nardos Tasfaw (chant/vocals), 
Dagim (dance), 
Endres Hassen (mesenqo), 
Fasika Hailu (kirar), 
Frehiwot (dance), 
Hawa (chant/vocals), 
Selamnesh Zemene (chant/vocals),
Tesfaye Taye (chant/vocals), 
Melaku Belay (dance), 
Misale Legesse (kebero), 
Zinash Tsegaye (dance).








Ethiocolor - 01 - Ante Gongarie [Selemnesh Zemene] (5:23)
Ethiocolor - 02 - Otai Ma na [Tokato Mena] (6:20)
Ethiocolor - 03 - Helle Loyo Helle loha [Hawa Talen] (4:32)
Ethiocolor - 04 - Mindjarie [Tesfaye Taye] (6:08)
Ethiocolor - 05 - Sekota [Wudie Tesfaw] (3:52)
Ethiocolor - 06 - Keremiela [Tesfaye Taye] (6:13)
Ethiocolor - 07 - Shimunmun [Selemnesh Zemene] (7:30)
Ethiocolor - 08 - Selel Abliyom [Mizan Tesfaye] (7:00)
Ethiocolor - 09 - Ayana Woga [Dereje Zemedu] (6:11)
Ethiocolor - 10 - Mali Malonayie [Tesfaye Taye & Kidane Haile] (5:26)



Wednesday, April 13, 2016

Semahegn Belew - Inja [2015] [ethiopia]











Semahegn Belew - Tiga Belew



Semahegn Belew - 01 - Inja (4:55)
Semahegn Belew - 02 - Megen welo (6:41)
Semahegn Belew - 03 - Dmobla (5:20)
Semahegn Belew - 04 - Chferaw mnjar (6:43)
Semahegn Belew - 05 - Hode telalaw (6:13)
Semahegn Belew - 06 - Muyategn (4:49)
Semahegn Belew - 07 - Abebaye (6:08)
Semahegn Belew - 08 - Sanjaw sew bela (5:30)
Semahegn Belew - 09 - Keabay dur (5:36)
Semahegn Belew - 10 - Ite indet (6:18)
Semahegn Belew - 11 - Ljnet (5:55)




Saturday, January 2, 2016

Qwanqwa - Qwanqwa Demo [2013] [ethiopia]







   Qwanqwa - ቋንቋ   


          Qwanqwa, from the Amharic word for language, plays beloved and rare Ethiopian tunes with a unique twist. The band, based in Addis Ababa Ethiopia, is named for this concept. The members vary in age and background, but have come together for a unique and powerful sound with an equally meaningful message. At it’s core, this band is instrumental, since they believe that to reach the widest audience, a single singer can limit the effect. 

           However, the list of guests and collaborations is long, including both beloved and famous singers such as Fikraddis, Habte Michael, Amelmal Abate, as well as beloved Azmari singers Selamnesh Zemene and Etenesh Wassie. Not limited to only singers, Qwanqwa also has invited the virtuoso masinqo player Endris Hassen, the father of washint Johannes AferworkEthiopia’s foremost clarinetist Dawit Frew, and many other treasures of traditional instrumentalists to join them.

         The vision of Qwanqwa is to reach as many people as possible with their music. Where many groups play at clubs, Qwanqwa strives to organize concerts in remote places and unique situations. They know that there are many people who would enjoy their music but would not be able to attend a concert at a club because they can’t afford a taxi, that can’t get a babysitter, they are too young, they don’t drink, or other infinite limiting factors. But music is for all, Qwanqwa seeks opportunities to play to as many demographics as possible. Oftentimes, the members have found, the outreach concerts are even more memorable and rewarding than regular club shows.




Qwanqwa are : 

Mesele Asmamaw - lead krar 
Elias Wolde Mikael - kebero/percussion 
Dawit Seyoum - bass krar 
Kaethe Hostetter - 5 string violin 





Qwanqwa -  Gubliye at Selam Fetival
Qwanqwa's homage to Asnaketch Werqu




Mesele Asmamaw is Qwanqwa’s lead electric krar player. (Krar is a traditional harp, relative to the lyre). Mesele is known as a composer and arranger, active in Ethiopia for over twenty years. He has released many albums of his compositions as well as traveled extensively throughout Europe and Africa performing the traditional music of Ethiopia. Since the mid-2000s, Mesele has been a favorite guest of the extremely influential punk and “The EX”, has recorded several albums with the experimental Norwegian drummer Paal Nilssen-Love, and has toured and recorded with his experimental rock group Trio Kazanches. He uses several interesting techniques in Qwanqwa, including a wah pedal, a distortion pedal, a coke bottle and a plastic tube!


Dawit Seyoum, master of the bass krar, plays extensively in traditional groups around Addis, including Ethiocolor and Hager Fikr. He also is a member of the Nile Project, a much-acclaimed American based project which tours internationally with traditional musicians from all Nile countries.


Elias Wolde Mikael is Qwanqwa’s percussionist. He uses the traditional kebero, goat skin drums played with sticks, as well as a variety of other homemade percussion instruments. He can be seen regularly in several groups around Addis Ababa as well as on popular TV music programs in Ethiopia, including Ethiopian Idol and Balageru.


Kaethe Hostetter, 5-string electric violin, has been playing Ethiopian music for many years now. A founding member of the critically acclaimed Debo Band (signed to Sub Pop), the first Ethiopian band in the US to top many charts including iTunes and CMJ, and who has played many stages from Lincoln Center to Kennedy Center, from Chicago World Music Festival and GlobalFest to Bumbershoot and Bonarroo. She also has had an active performing life in the experimental scene, including tours with Fred Frith, Butch Morris and Jim Hobbs.




Qwanqwa - 01 - Rhumba / Ethiopia Hagere (8:01)
Qwanqwa - 02 - Gubliye (10:55)
Qwanqwa - 03 - Yayne Abeba (12:24)
Qwanqwa - 04 - Hamalele (8:00)
Qwanqwa - 05 - Mejemmeria Fikray (6:35)
Qwanqwa - 06 - Nanu Nanu Nay (8:11)






follow link to  Qwanqwa - Volume One [2014]






follow link to  Qwanqwa - Volume Two [2015]




Thursday, December 24, 2015

Tadesse Alemu - Mishamisho [2001] [ethiopia]








       Tadesse Alemu was an Ethiopian singer from Wollega who sang traditional Ethiopian songs, sometimes Christian-based, in an upbeat pop-music style with the modern-day electronic instrumentation that is characteristic of today’s Ethiopian popular music. 

         Active since 1997, nothing was known about his origins. However, an interview with Alemu’s wife on Voice of Ethiopia radio during fall 2007 confirmed that he had become sick and died that July in Addis Ababa of a short disease, which resulted from an infection that was caused by a stabbing wound from several years previously that had not healed properly, just before he was set to leave the country on a concert tour.





Tadesse Alemu - Mishamisho




Tadesse Alemu - 01 - Sherbela (9:04)
Tadesse Alemu - 02 - Mishamisho (6:08)
Tadesse Alemu - 03 - Gojea Melegnaw (7:12)
Tadesse Alemu - 04 - Ye-Ethiopia Lijoch (7:26)
Tadesse Alemu - 05 - Minjar, Mignar (6:15)
Tadesse Alemu - 06 - Guragea (5:23)
Tadesse Alemu - 07 - Merea (5:20)
Tadesse Alemu - 08 - Selamlegki (6:38)
Tadesse Alemu - 09 - Oromigna (6:10)
Tadesse Alemu - 10 - Guajla [bonus track] (5:07)
Tadesse Alemu - 11 - Track 11 [bonus track] (5:20)




Vocal – Tadesse Alemu 
Keyboards – Mitiku Tefera
Kirar – Mesele Asmamaw
Masinko – Dejene Manchilot
Backing Vocals – Aschalew Ayele, Elasbeth Meshesla, Sileshi Tsegaye, Teshome Mekonen, Tilahun Auimut, Wase Dires, Yodit Zeleka




Friday, November 6, 2015

v.a. - Eskesta [2003] [ethiopia]



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        The Ethiopian term “Eskesta” means “Dancing shoulders.”  It is often practiced in the Northern parts of Ethiopia (Amhara group) where the indigenous tribes of Amhara, Wollo, Gondar etc. are still performing the dance of Eskesta. The motives and characteristics of the dance are often interchanged during the dance by the performers of the variety of war songs, hunting songs, Shepherd songs, love songs and work songs. The best dancer is appointed to the leader of the group and respectively the best singer.

      The eskesta dance transmits ideas, religious beliefs, historical events, ancient stories, emotions, thoughts, through a ritual of shoulder dancing and body movements performed on a certain musical background. One of the main dance motives and movements that are implemented in the ritual of performing of Eskesta are as follows: the Shepherd and his herd, religious commitment and praying (Coptic dance, Jewish roots) and as a matter of meditation.






Ethiopia Eskesta - Jaivah African Dance




       The extraordinary diversity of dances is a result of different cultures and people, often organized horizontally (grouped in space) in comparison to the European people who are vertically stratified. According to some analysis, the Ethiopian dances are not divided according to their function, but according to their uniqueness and individuality. Therefore, there are over 150 unique dance movements across Ethiopia and its regions.







       The theme of Eskesta can be described as follows – expressing certain emotions and impressions from the life through a typical body movement dating back to an Ethiopian tribe (Amhara region), performing these mainly with their heads and shoulders. These significant movements are having a great impact on the Ethiopian indigenous society as a whole. Some of the ideas and themes in this dance are actually inspired from the relations between the genders, work life and religion.

        It also is said that this dance was invented because of the snakes. Ethiopian people were often observing the “dance”/movements of the snake, shaking in the same way their neck. On the other hand, in the sphere of indigenous Ethiopian music the influence of the rattlesnake while shaking its tail (the sound it produces) has created a certain way of singing as well.

       Furthermore, other symbols and rituals that can be described are these connected with the costumes which each dancer wears. They are often made of woven cotton called “gabbi” or “netella” and painted with different colors depending on the gender of the dancer.

        Eskesta is a dance performed both from men and women with their head, neck, chest and shoulders, shaking in specific ways; the music played during the dance is often produced with the traditional Ethiopian instruments like krar, flute, drums and mesenko. The dancers sometimes sing or in some places of the dance utilize the silence in order to stress out some prevailing moments of the dance. There are however some variations depending on the areas in which this dance is performed – Wollo, Gondar or Gojjam.

           Historical context – Ethiopia is a widely diverse country with over 80 unique rich ethnic, cultural, custom and linguistic groups. One of the most significant areas in Ethiopian culture from which actually the other spheres developed further is the literature, representing Hebrew and Greek religious texts into the ancient Ge’ez, modern Amharic and Tigringa languages. This cultural heritage shaped some of the Ethiopian dance motives. However, the unique step and rhythm creates a certain motive of “mosaic culture”.

           Similar dances can be found in Western Africa, where indigenous dances are performed with head (with sort of tie on it) and arms, especially in the tribe of Conakry, Guinea.

          The dance Eskesta brings the dancer into a certain role of history and story-teller, who actually expresses and draws with his/her body the cultural traditions and life. The dance, as well the music and singing are serving as symbolical messages and influences on the Ethiopian society.

    Interpretation ethics – while enjoying the Eskesta dance accompanied by the music one can truly start travelling back in the time. These music and dances are dating 3000 years back in the African history – so unique and undiscovered from us, the Europeans. In this context, one can think of the religious variety implemented in the dances and music in Ethiopia as a whole – Orthodox Christian and Muslim motives playing the role of shaping the culture and traditions of this nation.

        Eskesta is very interesting to be observed – dancing in the beautiful Ethiopian nature, within the herds of animals making Eskesta an very expressive type of dance. Eskesta itself is providing positive emotions to the public and in the same time creating deeply spiritual atmosphere in which the observer cannot find his/herself easily. Namely this cultural confusion serves as the one that hinders us exploring the dance fully. Ethiopian dance is not something we, the Europeans can understand. Behind the apparent body shaking there are situated deeply cultural and hereditary connotations.




01 - Minale Dagnew - Hodye (5:14)
02 - Admasu Wube - Erikum (6:06)
03 - Tesfaye Workneh - Wubet (10:17)
04 - Taddesse Alemu - Gondar (9:05)
05 - Genet Masresha - Shebel (7:30)
06 - Taddesse Alemu - Minjar (5:20)
07 - Yeshimebet Dubale - Gojjam (8:03)
08 - Hayleyesus Girma - Gedame (7:18)