Imperial Tiger Orchestra - remixed [2013] [swiss-ethiopia]

1. Djemeregne (Imperial Tiger Orchestra) remix (4:14)
2. Yedao (Imperial Tiger Orchestra) remix (4:59)
3. Djemeregne (Canblaster Tribal mix) (4:20)

Imperial Tiger Orchestra - Addis Abeba [swiss-ethiopia] [2010]

       The orchestra's repertoire consists of revamped remakes from the Golden Age of Modern Ethiopian music (1969-1978).
      Visiting each of the foremost artists of period in turn, Imperial  Tiger Orchestra blends Ethiopian rhythms with their own influences. Playing music that is usually sung, this entirely instrumental group emphasizes the dark and hypnotic grooves of the rhythmn as well as the polished, ethereal brass themes. Improvisations, a play on texture and dynamics, distorted sounds and "noise" complete the whole.

1. Imperial Tiger Orchestra - Bati (Traditionnel) (4:48)
2. Imperial Tiger Orchestra - Djemeregne (Muluqen Melesse) (4:05)
3. Imperial Tiger Orchestra - Etu Gela (Mahmoud Ahmed) (4:41)
4. Imperial Tiger Orchestra - Harer Dire Dewa (Abonesh Adinew) (5:17)
5. Imperial Tiger Orchestra - Selam Temagwet (Tekle Tesfa-Ezghi) (5:36)
6. Imperial Tiger Orchestra - Aha Gedawo (Getatchew Mekurya) (9:10)
7. Imperial Tiger Orchestra - Emnete (Live - Mulatu Astatqe) (6:32)
8. Imperial Tiger Orchestra - Bati (Live - Traditionnel) (4:41)

Imperial Tiger Orchestra - [2010] - Live in Amsterdam's Occii, 20/11/2009]

originaly posted at : http://noiseproblems.blogspot.com/

   R   E   U   P   L   O   A   D   

01. Imperial Tiger Orchestra - Etu Gela (5:12)

02. Imperial Tiger Orchestra - Che Belew (5:55)

03. Imperial Tiger Orchestra - Emnete (6:01)

04. Imperial Tiger Orchestra - Djemeregne (6:33)

05. Imperial Tiger Orchestra - Lebesh Kabashen (5:50)

06. Imperial Tiger Orchestra - Yedao (7:20)

07. Imperial Tiger Orchestra - Aha Gedawo [feat. Etenesh Wassie] (6:36)

08. Imperial Tiger Orchestra - Shinet (6:39)

09. Imperial Tiger Orchestra - Lale Lale (5:28)

10. Imperial Tiger Orchestra - Imperial Tiger Orchestra 10 (10:04)

v.a. - New Ethio Jazz [dbl cd] [2013]

Merry Christmas to all my friends and blog readers. 

Consider this double compilation cd as Christmas present!

I made it in an effort to introduce recent ethiopian jazz & grooves to wider public.

Enjoy music and send some comments.

   cd 1   

01. Arat Kilo - Aykedashem Lebe (3:57)
02. Tezeta Band - Tey Geryeleshem (Forget It, Don't Worry) (2:55)
03. The Budos Band - Aynotchesh Yererfu (3:50)
04. Imperial Tiger Orchestra - Le Le Le (6:26)
05. Le Tigre (des Platanes) & Etenesh Wassie - Ney-Ney Weleba (4:27)
06. Samuel Yirga - Tiwista (Tinish Mix) (5:57)
07. JAzmaris - Far From Ambasel (6:11)
08. Yared Tefera - Uuta Ayaskefam ° (6:05)
09. Akale Wube - Ragale (5:09)
10. Arat Kilo - Get a Chew (4:48)
11. Imperial Tiger Orchestra - Selam Temagwet (5:36)
12. Ethioda - En plein dans le Nil (4:56)
13. Wudasse - Aba Gerima [Morning Song] (8:20)



   cd 2   


01. Skeletons - Mulatu (2:55)
02. The Shaolin Afronauts - Amhara (5:17)
03. Shawn Lee's Ping Pong Orchestra - Ethio (3:41)
04. Tezeta Band - Hametegnaw (5:18)
05. Ukandanz - Belomi Benna (3:09)
06. Arat Kilo - Lonmewo Lalie feat. Mimi (3:23)
07. Badume's Band & Selamnesh Zemene - Korahu (5:54)
08. Debo Band - Mignoten Man Yawkal (4:06)
09. uKanDanz & Asnake Guebreyes - Aykedeshem Lebe (6:34)
10. Jungle by Night - Ethiopeno (3:28)
11. JAzmaris - Aha Gedawo (6:06)
12. Getatchew Mekuria & The Ex & Friends - Aha Gedawo (5:03)
13. Trio Kazanchis - Ende eyerusalem (5:10)

Theodros Mitiku - Teddy's Mood [1998]

                      R  E  U  P  L  O  A  D    

Rest in peace Theodros! Visit this link and read this gentle obituary text:


   

       Theodros Mitiku was one of the most talented and versatile Ethiopian musicians. Teddy's passion for music emerged at an early age when he was given an alto saxophone by his second grade music teacher, and his talent has continued to flourish. 

       For the past 36 years, "Teddy Mitty," as he is known to his fans, has been enthralling audiences with his unique playing style and mastery of the saxophone. Starting in 1962 Teddy has performed with the "The Soul Echoes", later called "Ibex Band", "The Menelik Band" and other bands in Egypt and the United States, finally returning to Ethiopia after a fifteen year absence.

      Teddy breaks new ground on this amazing album; the first acoustic Ethiopian/jazz blend record ever to be produced.

01. Theodros Mitiku - Fikirih Beretabigne (4:57)
02. Theodros Mitiku - Ye-Aynë Tesfa (6:17)
03. Theodros Mitiku - Shemonmwanayëwa (6:34)
04. Theodros Mitiku - Teddy's Mood (6:29)
05. Theodros Mitiku - Woy Fikir (5:40)
06. Theodros Mitiku - Mamayë (7:06)
07. Theodros Mitiku - Kifu Ayinkash (7:31)
08. Theodros Mitiku - Inde Eyerusalem (7:26)
09. Theodros Mitiku - Awash (6:43)
10. Theodros Mitiku - Ye-Aynë Abeba Nesh (8:03)
11. Theodros Mitiku - Astawisalehu (7:37)

Theodros Mitiku - Hsabe [1998]

                        R  E  U  P  L  O  A  D   


http://www.tadias.com/12/23/2013/remembering-legendary-saxophonist-theodros-teddy-mitiku/

Excellent , and very rare album of Theodros Mitiku. Enjoy !!

1. Theodros Mitiku - Begil Enena Anchi (8:27)
2. Theodros Mitiku - Mendeniu Tezeta (6:31)
3. Theodros Mitiku - Turen Firi (7:02)
4. Theodros Mitiku - Ambasel (8:20)
5. Theodros Mitiku - Yewebet Emebet (6:25)
6. Theodros Mitiku - Tsehy Zekalyu (7:28)
7. Theodros Mitiku - Almaz Keharer (5:31)
8. Theodros Mitiku - Birtukane (7:22)
9. Theodros Mitiku - Music (11:56)

Ras Deshen - From Ethiopian Music to Contemporary Jazz [2006]

                        R  E  U  P  L  O  A  D  

       Given the considerable number of African Jews living in Ethiopia, it makes perfect cultural sense for Israeli pianist Yitzhak Yedid to team up with Ethiopian sax man and vocalist Abatte Barihun to explore the music of Ethiopia on Ras Deshen, a work which mines the common musical ground shared by their countries. Yedid and Abatte performed selections from the disc recently at a reception at Alice Tully Hall and didn’t let the crowd’s lack of attentiveness diminish the passion of their playing.

                  'Ras Dashen Duo' Abate Berihun & Yitzhak Yedid in concert

       The opening “Anchi Hoye,” written by Abatte, is named for one of the four modes of Ethiopian music. Abatte plays the tenor with a measured tension and clear tenderness that manages to reference both Pres and Trane. Yedid’s brooding timbre, interior dialogue and chord progressions are so reminiscent of Keith Jarrett that his solo could be dropped seamlessly into the grooves of The Köln Concert.

       On “Batti,” Abatte enhances his soprano saxophone with soaring vocals in Amharic. When he performed this song at the reception, his voice cut through the conversation and, at least momentarily, demanded everyone’s attention. Abatte’s tenor on “Yehar Shererit” has a palpable R&B/gospel tinge, with an occasional gutbucket growl added for good measure, working in tandem with Yedid’s playful boogie-woogie chaos. “Fikir” is a beautifully ruminative discourse that sounds quite Middle Eastern in its execution, with Abatte’s serpentine tenor weaving around Yedid’s lush, symphonic piano riffs.

       Yedid lays out on “Birtukane,” giving the floor to Fentahon Malessa on krar, an Ethiopian lyre that sounds close to a guitar and gives the music another rich dimension. On “Ambassel,” another modal tune, Abatte solos powerfully over Malessa’s repeated figure. Yedid lays out again and one can only wonder how all three instruments would have sounded together.

       Perhaps the disc’s most arresting tune, however, is “Behatito Kadus Kadus.” With Yedid vamping in a Fats Waller vein, Abatte lifts his voice again and could be singing about a hellhound on his trail, instead of invoking a prayer. Abatte’s tenor grooves between Ethiopia and the Mississippi Delta, ending this excellent disc on a high note.

Personnel: 

Yitzhak Yedid: piano; 
Abatte Barihun: saxophone and voice; 
Fentahon Malessa: krar.

RAS JAZZ

Barry Davis Aug. 1, 2002

Ethiopian jazz band Ras Deshen hopes to take their music to new heights in the Holy Land. Barry Davis gets a lift

The terms "Ethiopia" and "jazz" may not, initially, appear to be the most comfortable of bedfellows. Most people naturally associate music from anywhere in Africa with driving tribal rhythms. Then again, jazz is essentially a form of black music introduced to the Western world by artists who originated from Africa.

Addis Ababa-born saxophonist Abate Berimun, the first and, to date, only Ethiopian jazz musician in Israel, will demonstrate the accuracy of that juxtaposition when he leads a performance by the Ras Deshen band this Tuesday at the Jerusalem Cultures Center as part of the Israel Jazz Showcase series dedicated to promoting Israeli jazz. Abate will be supported by pianist Yitzhak Yedid and Maleseh Fantahon, who will play the krar - a sort of small African harp.

In fact, Abate has several strings to his musical bow. "He can play numerous types of music from Ethiopia," explains Moshe Bar-Yudai, former chairman of the National Arts Council (Omanut La'am) and the driving force behind an ongoing project to establish an Ethiopian Jewry Heritage Center in Rehovot.

"Each region of Ethiopia has its own musical traditions. There is also the Christian liturgical style, which is similar to the Jewish liturgical form. Abate plays both and many more."

Apparently, the catchphrase-oriented world of the latter part of the 20th century was able to accommodate improvised music from Abate's homeland too, and the term "Ethiojazz" came into being in the late Sixties when musicians like Addis Ababa resident Mulatu Astatqe and Cameroon jazz superstar Manu Dibango were putting out a captivating mix of indigenous African music seasoned with soul, salsa and other black rhythms.

When Abate arrived in Israel in late 1999 he was already an established star in the Ethiopian jazz firmament. He had toured Europe many times over a period of 10 years and was a regular feature of the jazz shows put on by the Hilton and Sheraton hotels in Addis Ababa.

He first picked up a saxophone at the age of 17. He says he does not come from a particularly musical family, although he has fond memories of his father's closet vocal prowess. He was initially inspired to take up an active interest in music by his neighbors.

"There was a military brass band that used to practice just down the road from my house," Abate recalls. "I could hear them from my room. I loved the sound of the wind instruments and the saxophones." Suitably bitten by the musical bug, Abate got his hands on a saxophone and found his way to the music school in Addis Ababa. It was there that he began to take his new love seriously. "I did it all myself," he says.

"I told my mother I was going to the music school but my father used to spend a long time away from home and he didn't know about it at the beginning."

Abate's father first discovered his son was a budding musician when Abate invited him to one of his first gigs. "I remember that so well," says Abate. "As soon as my father heard me play he began jumping up and down with glee. He was so happy and proud of me."

The music school not only provided Abate with formal training in jazz, it also allowed him to listen to records of some of the legendary masters, like Charlie Parker. "We had some records at home when I was growing up, but they weren't jazz. My father worked with the Italians before World War II and he got hold of albums by Frank Sinatra and some Italian singers. That was all. But I could get hold of jazz records when I was at the school."

BEFORE LONG Abate had become proficient and confident enough to be able to strut his stuff in public, and he soon secured regular work at the Hilton and Sheraton hotels in the Ethiopian capital. "I played there every day for eight years," Abate says.

Those gigs also provided him with an opportunity to meet tourists from abroad who sometimes brought jazz records with them. There were also occasional visits by foreign jazz artists, such as Manu Dibango, and Abate was able to hone his skills in the company of far more experienced fellow professionals.

When he was 21, Abate began touring Europe with his own band and, until he moved here eight years later, he went on the road for several weeks three times a year visiting Sweden, Holland, Germany, England and France. He says it was quite an experience, for all concerned.

"It was wonderful to see places outside Africa, and the Europeans were excited to hear the music we played. But we worked hard. We generally played five days a week every week for three months." Abate's last European tour ended just three weeks before he came on aliya.

However, since arriving in the Promised Land, his professional fortunes have changed dramatically - for the worse. Initially lacking local language skills - he now speaks Hebrew reasonably well - and unable to find regular work as a jazz musician, he resorted to almost all manner of menial work to keep body and soul together. For a long time he worked a daily shift as a restaurant dishwasher in the morning followed by an all-night shift as a security guard.

"The dishwashing was ruining his hands," says Bar-Yudai, "so we decided to do something." That help came in the form of a small stipend, organized through the Ethiopian Jewry Heritage organization, to enable Abate to get by just on his nocturnal work. "When I was doing both jobs I couldn't practice or perform. I didn't have the time or the strength," says Abate.

Not that things are exactly rosy now. "It's still hard for me to practice." And Abate's compositional efforts are not helped by not having ready access to a piano.

However, one leading member of the local music community, veteran rocker Ariel Zilber, has given Abate some much needed stage time and occasional public exposure. "Ariel has helped me a lot," says Abate. "I've played with him all over the country." The Zilber-Abate synergy also produced a number called "Ethiopian Song," which has been performed on television, in Hebrew and Amharic.

Despite his daily hardships, and drastic drop in professional standing, compared with his life in Ethiopia, Abate remains hopeful that things will work out in the end and that he will be able to make a living here as a full-time musician. His current project with pianist Yedid promises to bear fruit. Besides the forthcoming show, the two are working on a CD based on a mix of Yedid's classically based avant-garde material and Abate's blend of jazz and African strains. The latter include various Ethiopian modes or scales, with names such as Ambasel, Amchihoya, Batti and Tezita, all of which are used for ballads.

Yedid, who spends some of his working hours running Jerusalem's Swedish Chef venue for original jazz music and Third Stream music, is delighted to have the chance to work with the Ethiopian. Yedid and Abate were originally brought together by radio presenter and ethnic-music expert Shlomo Yisraeli.

"Shlomo suggested I do something with Abate," Yedid says. "We got together and we hit it off musically right from the start. I felt he was an amazing musician. He is a jazz artist but he adds African scales. He plays in an Ethiopian style on an instrument which isn't at all Ethiopian."

The Yedid-Abate chemistry worked so well that they were in a recording studio after just two rehearsals. Thus far, they have recorded five tracks as part of the album they hope to complete in the not too distant future. Yedid does have some experience of working with Ethiopian musicians, but he says playing with Abate is a different kettle of fish.

"I played with a couple of singers a few years ago, but this is a much more serious proposition. Abate is an improviser. He has a very special sense of musical structure - a very long structure. He can play for a long time, it's almost like Indian music."

Yedid feels that Abate has something he has never encountered with any other jazz musician he has worked with. "You can feel his African roots. He is almost meditative in his way of playing." By all accounts, it looks like next week's show should provide Jerusalem music lovers with a remarkable experience. Let's hope there will be plenty more from Abate before too long. 

Alèmayèhu Eshèté & Badume's Band - Le Festival Fiest' a Séte [2010]

                            R   E   U   P   L   O   A   D   


Live at " Fiest'A Sete" (Théätre de la Mer, Sete, France), on the 5th of August 2008.

       Despite a 1948 Imperial edict banning the distribution of Ethiopian pop music, Amha Eshete  launched a record label,Amha Records, and released 103 singles and a dozen albums by Ethiopian artists between 1969 and 1975. In addition to making Ethiopian music known throughout the world, Eshete helped to spark a modern period of creativity in his homeland. During an interview in the early-1990s, Eshete said, "I had a gut feeling that it was the right thing to do. I took the risk.". The governmental resistance against Eshete's efforts proved ultimately insurmountable. By the mid-1990s, Eshete had emigrated to the United States.

Ethioda - Ethiopian Jazz groove [2011] PROMO

      Ethioda (Montpellier) is a group that revisits the Ethiopian jazz through original compositions, improvisations and electro atmospheres. The Ethio-jazz whose golden age is in the 70s (remember Mahmoud Ahmed and his "Ere Mela Mela") leaves reappear East, funk and reggae sounds.

1. Ethioda - En plein dans le Nil (4:56)
2. Ethioda - Metche New (4:24)
3. Ethioda - Musicawi Silt (5:13)
4. Ethioda - Farenj (4:34)

Ethioda are :

Daniel Moreau - compositions, arrangements, fender rhodes, keyboards
Baptiste Clerc - guitar
Armel Courrée - alt and baritone saxophones
Pascal Bouvier - trombone
Romain Delorme - bass
Julien Grégoire - drums

Debo Band - Flamingoh [EP] [2010]

   R   E   U   P   L   O   A   D   

FLAMINGOH (Pink Bird Dawn)

       This live recording documents the brief period around our second trip to East Africa in Winter 2010, a journey that took our Ethio-groove collective across the world to share our interpretations of 1970s-era brass band-style Ethiopian funk. During this time we played a five-part hometown residency, a cosmopolitan Addis Ababa nightclub, and one of the largest music festivals in Africa. Along the way, we once again collaborated with dear friends and outstanding traditional artists: Melaku Belay and his group Fendika.

The flamingo is a majestic bird that thrives in the volcanic lake regions of East Africa's Great Rift Valley. Like many African animals, mystery and myths surround the origins of this long-necked pink bird. Our "flamingoh" is no exception: Flaming feathers (re)birthed from a breaking dawn. A dawn that rips open the sky.

The four tracks offered here are just the beginning: we have a documentary, featuring our escapades with Fendika, and a full-length live album on the way. This is our dawn: goh qeddede.

released 04 September 2010 

Bruck Tesfaye - vocals 
Stacey Cordeiro - accordion 
Kaethe Hostetter - five-string violin 
Jonah Rapino - electric violin 
Danny Mekonnen - tenor and baritone saxophones 
Abye Osman - alto saxophone 
David Harris - trombone 
Brendon Wood - guitar 
Arik Grier - sousaphone 
PJ Goodwin - electric bass 
Keith Waters - drums 

guests 

Selamnesh Zemene - vocals 
Asrat Ayalew - kebero (traditional drums) 

1. Debo Band - Musicawi Silt [Girma Beyene] (6:02)

2. Debo Band - Belomi Benna [Abrar Abde/Mahmoud Ahmed] (4:40)

3. Debo Band - Mignoten Man Yawkal [Seyfu H. Mariam/Tezera H. Miuchael] (4:06)

4. Debo Band - Lantchi Biye [For You] [Menelik Wossenachew] (5:27)

Imperial Tiger Orchestra - Mercato [2011]

                       R    E   U   P   L   O   A   D   

       The Imperial Tiger Orchestra's repertoire consists of revamped remakes of songs from the golden age of Ethiopian music: a powerful horn section, deadly percussions and relentless keyboards provide a merciless and efficient instrumental reinterpretation and improvisation based on original vocal songs. Preserving the natural beauty of melodies and Ethiopian sound while exploring uncharted territory, playing with textures and dynamics, adding distortions and noise to complete beautiful pieces, the self-proclaimed counterfeiters embrace dark hypnotic rhythms, obsessive basslines and grooves from electronic music. Far from any purist notions, the musicians surprise and delight with traditional Thaï "phin" guitar mixed into traditional ethiopian "kebero" percussions. Just one example among many others. It's groove experimentation, it's improvisational heat. 

      Originator of the classic Ethiopiques series which started it all, Francis Falceto invited The Orchestra to play Addis Abeba's Musiques Ethiopiennes in 2009. Not only they convinced the locals but they also played with the likes of Melaku Belaye, Selamnesh, Zinash or Mesele Asmamaw. As Francis said afterward "the Genevan act was the big sensation of last year's festival". 

         Follow-up to last year’s acclaimed EP Addis-Abeba, Mercato is the debut album by Swiss band Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the Golden Age.

       Raphaël Anker, trumpet player from Geneva, one day decides to gather musicians for a live performance revisiting the golden age of Ethiopian music, the sound of Tlaloun Gessesse, Getatchew Mekurya, Mulatu Astatke, Mahmoud Ahmed and other legends. It’s 2007, and the experience is so memorable that the one shot happening becomes a band: Imperial Tiger Orchestra, a nod to the Imperial Bodyguard Band from Addis-Abeba and to a classic line from Monthy Python’s The Meaning of Life. A tiger – in Africa? …Well it doesn’t sound very likely…

       Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, re-invented psychedelic music, strange pop, bizarre rock) the Orchestra tests the grounds with an EP and a 7″ breaking the boundaries of genres followed by a trip to Addis-Abeba in 2009 where they perform with local luminaries and learn about the large diversity of Ethiopian music. A life-changing experience which brings them back to the studio for their debut album: Mercato.

       Overseen with flair by Ethiopian music expert Jeoren Visse, Mercato is a mesmerizing re-interpretation of Ethiopian music’s golden age mixed with the digitalized themes that appeared in the 80s and filtered through the eclectic influences of the Orchestra. Instruments such as the kebero (the most iconic percussion instrument of the country), the Indian dholak, the Thai cymbal, the traditional Thai phin, or the krar (an Ethiopian lyre) follow hypnotizing drum patterns and layers of MIDI sounds. It’s a fascinating retro-futuristic piece of music, close yet totally different from the songs that inspired the band. It’s progressive Ethiopian rock!

       This new record undoubtedly confirms the band’s wider knowledge of Ethiopia’s musical diversity, while allowing them to express their desire of choosing a route not taken by many. Whether it’s saluting the phenomenal Mahmoud Ahmed on the splendid “Lale Lale”, re-interpretating the classic wedding theme “Shinet”, or taking Martha Ashagani’s “Zoma” to new heights, the Orchestra always does it with a unique vision while at the same time honoring the originals. Popular songs magically become classy instrumentals. Thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas, Mercato explores multiples paths and never loses its warm groove, from “Yedao”, the Rahel Yohannes cover that starts the record, to the collaboration with Bethelem Dagnachew whose high pitched voclas close the full-length in the most enchanting way.

SELECTED QUOTES FOR PREVIOUS EP, ADDIS-ABEBA :

“Fabulous release!!! So fresh to hear this in my inbox instead of mindless minimal & noise for deaf & dumb kids. wonderful wonderful wonderful!!! thanX” Trevor Jackson

“Beautiful music. Perfect for my headphones and sunsets/sunrises. Thanks  ” Soul Clap

“I Adore! Superb fusion modern/traditional” Laurence Pierre (France Inter)

“Wonderful” Nick Warren

“Yes! Thats exactly what I need right now! Some raw, ethiopian Funk mixed with the best grooves this world has to offer…essential! Save the Tigers!” Quarion

“What a wonder. Superb” Laurent Garnier

“Love it – powerful music” Sinden

“wow. It’s like mulatu in a time machine. love the interpretation and love the finished sound.” Scattermish.

Imperial Tiger Orchestra are :

Raphaël Anker (trumpet), 

Alexandre Rodrigues (rhodes, keyboards),

John Menoud (saxophone), 

Cyril Moulas (bass), 

Luc Détraz (percussions) and 

Julien Israelian (drums), 

Mulatu Astatke - Mulatu Steps Ahead @ Glatt & Verkehrt [Krems, Austria - 30.7.2011]

   R   E   U   P   L   O   A   D   

1. Mulatu Astatke - Krems 30.07.2011 - I - Dewel (13:07)
2. Mulatu Astatke - Krems 30.07.2011 - II - Yekermo Sew (11:46)
3. Mulatu Astatke - Krems 30.07.2011 - III - Netsanet (8:17)
4. Mulatu Astatke - Krems 30.07.2011 - IV - Chik Chikka (19:06)
5. Mulatu Astatke - Krems 30.07.2011 - V - Motherland (12:05)
6. Mulatu Astatke - Krems 30.07.2011 - VI - The Way To Nice (7:04)
7. Mulatu Astatke - Krems 30.07.2011 - VII - Yegelle Tezeta (5:07)
8. Mulatu Astatke - Krems 30.07.2011 - VIII - Yekatit (5:42)
9. Mulatu Astatke - Krems 30.07.2011 - IX - Mulatu (12:18)

Mulatu ASTATKE | vibraphone, congas, piano; 
Shabaka HUTCHINGS | saxophone; 
Byron WALLEN | trumpet; 
Richard Olatunde BAKER | percussion; 
Tom SKINNER | drums; 
John EDWARD | double bass; 
Alexander HAWKINS | keyboards; 
Danny KEANE | cello