Aster Aweke with The Walias Band - Aster Aweke's Best Music [ethiopia]

             When she arrived in her homeland in 1997 for the first time since she'd left in 1981, Ethiopian-born and Washington, D.C.-based songstress Aster Aweke was greeted by thousands of loyal followers awaiting her plane. During the month-long tour that followed, Aweke performed before more than 80,000 people and showed that she remains one of Ethiopia's best-loved performers. 

              Aweke has been equally successful throughout the world. Her second album, Kabu, spent four weeks in the top position on the CMJ New Music Charts, and was in the Top Ten of Billboard's World Music Charts for ten weeks in 1990. 

            A native of Gandor, a small town near Lake Tara, Aweke was raised in the capital city of Addis Ababa. The daughter of senior civil servant in the Imperial government, Aweke was determined to become a musician by the age of 13. By her late teens, she was singing in Addis Ababa clubs and hotels with such bands as the Continental Band, Hotel D'Afrique Band, Shebele Band, and the Ibex Band (before they became the internationally known Roha Band). Launching a solo career, Aweke was encouraged by musical entrepreneur Ali Tango, who financed and released five cassettes and two singles of her music. 

         By 1981, Aweke had become disillusioned by Ethiopia's oppressive political climate and relocated to the United States. Temporarily settling in the Bay Area of California with plans to pursue an education; within two years, Aweke continued on to Washington, D.C., the site of the largest Ethiopian population in the U.S. After building a following with her performances in local Ethiopian restaurants, Aweke toured the U.S. and Europe in 1985.

Aster Aweke with The Walias Band - 01 - Hiywot New [ሕይወት ነው] (4:58)
Aster Aweke with The Walias Band - 02 - Menew Kere [ምነው ቀረ] (4:57)
Aster Aweke with The Walias Band - 03 - Shemonmana [ሸሞንሟና] (4:51)
Aster Aweke with The Walias Band - 04 - Kelem Eshet [ቀለም እሽት] (5:34)
Aster Aweke with The Walias Band - 05 - Ante Gela [አንተ ገላ] (7:33)
Aster Aweke with The Walias Band - 06 - Awko Yedelelenal [አውቆ ይደልለኛል] (4:58)
Aster Aweke with The Walias Band - 07 - Yeleben Abeba [የልቤን አበባ] (8:46)
Aster Aweke with The Walias Band - 08 - Yanen Yene Shega [ያንን የኔን ሸጋ] (5:00)
Aster Aweke with The Walias Band - 09 - Derbabaye [ደርባባዬ] (5:57)
Aster Aweke with The Walias Band - 10 - Gedamay [ገዳማይ] (6:43)

Tilahun Gessesse - Yachate Na [ethiopia]

   Tilahun Gessesse - Akale Ayeneshen   

Tilahun Gessesse - 01 - Terese beredo nat (5:37)

Tilahun Gessesse - 02 - Beny des yebelesh (5:19)

Tilahun Gessesse - 03 - Sewedesh (5:00)

Tilahun Gessesse - 04 - Astawesshalhu (5:43)

Tilahun Gessesse - 05 - Yachate na (8:05)

Tilahun Gessesse - 06 - Etu gela (5:30)

Tilahun Gessesse - 07 - Wegen ola "Oromo" (4:39)

Tilahun Gessesse - 08 - Akale Ayeneshen (6:18)

Tilahun Gessesse - 09 - Yegermal (5:11)

Tilahun Gessesse - 10 - Yager lege neyelgne (7:32)

v.a. - Au Revoir, Mogadishu Volume 1 - Songs From Before The War [2015] [somalia]

            Mogadishu, the capital of Somalia, was once a beautiful port city (with a very ancient history) called the “White Pearl of the Indian Ocean.” But since the coup in 1991 and subsequent civil war, the city has become a shattered wasteland of anarchy, child soldiers, war lords, and constant violence. While conditions have improved over the past five years, their modern history has all but disappeared. So it’s no surprise that this modern music is unavailable; and even at the time, it was rarely properly released.

         What makes this mixtape so fascinating is that the folks at Çaykh spent months finding, compiling, and editing “rips of TV and live recordings on old VHS tapes and radio broadcasts to cassette tapes.”

Truly an amazing mixtape.

v.a. - Au Revoir, Mogadishu

       This Tape of 70's and 80's Somali sound is a rich blend of traditional Somali folk music infused with Western funk, rock and reggae and a touch of Indian, Arabic and African flavors.

      Side A is good for that mellow creamy morning. Side B will get your ass wiggling! There are hardly any proper releases of this soulful sound of guitar, synthesizer and drums. 

Track list:

01 Libaaxyada Maaweeliska Banaadir – Naga Tag, Kac Hooyaa

02 Waaberi – ? (edit)

03 Kooxda Halgan – badbaado guri hooyo

04 Qadiijo Qalanjo – Diriyam Oo Hoo Diriyam

05 Waaberi Hargeysa – Soo dhowoow

06 Wabari Xishood & Jaceyl – ? (edit)

07 Iftin – Wanaagaaga

08 Waaberi – ? (edit)

09 Qadiijo Qalanjo – Dhesessha

10 Dur-Dur Band – Ethiopian Girl

11 Iftin – Axdigii Waad Oofin Weyde

v.a. - Ambassel [ethiopia]

originally posted on The Spear blog : here

                Ethiopian music is primarily based on a five tone scale system. This is known as a pentatonic scale (‘penta’ means five, and ‘tonic’ means note). While most of the music uses a pentatonic scale, some melodies may be based on scales with as few as two or three notes. This is common in Ethiopian folk music, as well as children’s songs. On the other hand, some music in Ethiopia may even be diatonic. Diatonic scales contain 7 notes.

          The Ethiopian word for “scale” is “kiñit”. The word “kiñit” describes both the scale being used, and sometimes the tuning of the instrument. This is because some instruments have strings with no frets, so the strings need to be tuned to the scale. These instruments include the krar, begena, and masinko.

           There are four main kiñits that are used in Ethiopian music. These are the Tizita, Batti, Ambassel, and Anchihoye kiñits. Some of these have different versions or other modifications.

           The Ambassel scale is a pentatonic scale widely used in the Gonder and Wollo regions of Ethiopia.

              The notes of the scale (in the key of C) are C, Db, F, G and Ab. The intervals in the scale are a minor second, a major third, a major second, a minor second and a major third.

           The scale is used in Ethiopian music for songs with historical themes. 

             A scale is a related set of pitches (not necessarily exact) that can be used as a compositional unit. It differs from a tuning or temperament since the latter is a system for tuning an instrument.

       The chromatic scale can be played in Pythagorean tuning, meantone temperament, or 12-tone equal temperament, or indeed many different types of irregular musical temperament.

Alemayehu Fantaye & Yohannes Afework - 01 - Ambassel (3:53)

Tigist Assefa - 02 - Ambassel (7:08)

Unknown Amhara Musician Recorded In Dessie - 03 - Ambassel (3:24)

Admassou Abate - 04 - Ambassel (7:08)

Esubalew Adugna - 05 - Ambassel (4:37)

Betsat Seyoum & Abbebe Fekade - 06 - Ambassel (5:27)

Alemayehu Fantaye & Yohannes Afework - 07 - Ambassel (4:52)

Endeshaw Kelemwork & Etenesh Wassie - 08 - Ambassel (5:15)

Alemayehu Eshete-Alèm Girma Band-Amha Eshete-Girma Béyéné - 09 - Ambassel (5:31)

Gétatchèw Mèkurya - 10 - Ambassel (5:41)

Maritu Legesse - 11 - Ambassel (7:24)

Girma Yifrashewa - 12 - Ambassel (8:51)

Etenesh Wassie - 13 - Ambassel (9:43)

Genet Masresha - 14 - Ambassel (6:10)

Chalachew Ashenafi - unknown album [1992] [ethiopia]

Chalachew Ashenafi ቻላቸው አሸናፊ - Temonamona Alu [ተሞናሞነ አሉ]

Chalachew Ashenafi - 01 - Temonamona Alu [ተሞናሞነ አሉ] (6:13)

Chalachew Ashenafi - 02 - GumGum [ጉምጉም] (5:16)

Chalachew Ashenafi - 03 - Keberet Alem [ክብረት አለም] (4:34)

Chalachew Ashenafi - 04 - Gojam Lem Ager [ጎጃም ለም አገር] (8:18)

Chalachew Ashenafi - 05 - Endenesh [እንዴነሽ] (6:46)

Chalachew Ashenafi - 06 - Sedet [ሰደት] (8:01)

Chalachew Ashenafi - 07 - Teymeleshu Gela ]ተይመልሺው ገላ] (4:00)

Chalachew Ashenafi - 08 - Etu Gela [እቱ ገላ] (3:43)

Chalachew Ashenafi - 09 - Shemunmun [ሸሙንሙን] (5:16)

Chalachew Ashenafi - 10 - Selela [ሽለላ] (9:22)

Genet Masresha - Yaz Yaz [ethiopia]

Genet Masresha - Yaz Yaz 

Genet Masresha ገነት ማስረሻ - 01 - Yesasa ይሳሳ (6:35)
Genet Masresha ገነት ማስረሻ - 02 - Yata Melam Yesew ያጣ መላም የሰው (7:15)
Genet Masresha ገነት ማስረሻ - 03 - Yashbelu ያሽበሉ (6:23)
Genet Masresha ገነት ማስረሻ - 04 - Yenesew የኔሰው (5:21)
Genet Masresha ገነት ማስረሻ - 05 - Nesana ንሳና (5:39)
Genet Masresha ገነት ማስረሻ - 06 - Yaz yaz ያዝያዝ (6:26)
Genet Masresha ገነት ማስረሻ - 07 - Aynamaye አይናማዬ (4:49)
Genet Masresha ገነት ማስረሻ - 08 - Endemennat Gonder እንደምናት ጐንደር (6:20)
Genet Masresha ገነት ማስረሻ - 09 - Munaw Belay ሙናው በላይ (7:33)
Genet Masresha ገነት ማስረሻ - 10 - Wubatu ውበቱ (5:55)

Tilahun Gessesse - Wegen alegn [1987] [ethiopia]

Tilahun Gessesse - Ayikedashim libe

Tilahun Gessesse - 01 - Wegen alegn (10:01)

Tilahun Gessesse - 02 - Ayikedashim libe (5:29)

Tilahun Gessesse - 03 - Fikirsh new yegodagn (6:11)

Tilahun Gessesse - 04 - Baletela (3:46)

Tilahun Gessesse - 05 - Akamnaguma feyuma (7:39)

Tilahun Gessesse - 06 - Behwala (5:15)

Tilahun Gessesse - 07 - Ethiopia (7:04)

Tilahun Gessesse - 08 - Zenbo (6:14)

Tilahun Gessesse - 09 - Siko menor (4:16)

Tilahun Gessesse - 10 - Ene alamaregnem (3:41)

Tilahun Gessesse - Tilahun Gessesse [1975] [ethiopia]

      Tilahun Gessesse (Amharic: ጥላሁን ገሠሠ) (also spelled Telahun Gesesse or Tlahoun Gèssèssè) was an Ethiopian singer. He was born on September 29, 1940, in Addis Ababa and died on April 19, 2009.

Tilahun was born to Woizero Gete Gurmu and Ato Gessesse Negusse. When he was fourteen years old, he was taken by his grandfather to Waliso where he began attending Ras Gobena Elementary School.

As time went by, his interest in music became increasingly clear, although his grandfather urged him to concentrate on his academic studies. The Ras Gobena School Principal Mr. Shedad (who was from Sudan), encouraged Tilahun's interest in music and urged him to go to Sudan to pursue his music career. Although Tilahun did not go to Sudan, he took Mr. Shedad's advice very seriously. When Woizro Negatwa Kelkai, Ato Eyoel Yohanes and others artists from the Hager Fikir Theatre came to his school to perform, Tilahun took the opportunity to discuss his interest in music with Ato Eyoel. He was told to go to Addis Ababa if he wanted to pursue a career in the field.

Tilahun Gessesse - Agul New

Tilahun left school to go to Addis Ababa, a journey he began on foot without his grandfather's consent. When his grandfather realized that Tilahun was no longer in Woliso, he informed Tilahun's great-aunt in Tulu Bolo. After Tilahun traveled fifteen kilometers on foot, he was caught in Tulu Bolo and stayed overnight with his great-aunt Woizero Temene Bantu. The next day, he was forced to return back to his grandfather in Woliso. Since his interest in music lay deep in his heart, Gessesse chose not to stay at his grandfather's house in Woliso. After staying only one night at his grandfather’s house, he again began his journey to Addis Ababa, this time hiding himself in the back of a loaded truck.

In Addis Ababa, Tilahun was first hired by the Hager Fikir Association, which is now known as Hager Fikir Theater. After a few years at the Hager Fikir Theater, he joined the Imperial Bodyguard Band where he became a leading star singer. During his time with the band, Gessesse ran afoul of the government after the attempted coup d'état of December 1960 by the Imperial Bodyguard. He was arrested and put in prison for a time.

Tilahun moved to the National Theater where his success continued. He was so famous that he appeared three times in front of Emperor Haile Selassie I. During a visit, the Emperor advised him not to abuse his talent.

The majority of Tilahun's recordings are in Amharic, and some are in Oromiffa.

He received an Honorary Doctorate Degree from Addis Ababa University, in appreciation of his contribution to Ethiopian music. He has also received an award for his lifetime achievements from the Ethiopian Fine Art and Mass Media Prize Trust.

Tilahun Gessesse died on April 19, 2009. He had been in poor health for several years due to diabetes.

Tilahun Gessesse - A1 - Hebret (2:50)

Tilahun Gessesse - A2 - Bezu Gizie Alefe (2:50)

Tilahun Gessesse - A3 - Agul New (2:56)

Tilahun Gessesse - A4 - Megnot Eko Helme New (2:48)

Tilahun Gessesse - B1 - Derese (4:30)

Tilahun Gessesse - B2 - Feker Betwan Serta (2:35)

Tilahun Gessesse - B3 - Kasegnesh (3:03)

Tilahun Gessesse - B4 - Kanchi Gar Kalhone (2:50)

Hirut Bekele - 10th album [poor rip] [1978] [ethiopia]

The very last album of Hirut Bekele, legendary ethiopian singer.

Hirut Bekele ሂሩት በቀለ - I am not meant for you  [ባልታደልህ ነው]

Hirut Bekele - 01 - I am not meant for you [ባልታደልህ ነው] (3:22)
Hirut Bekele - 02 - Lend me your name [ስምህን አውስኝ] (6:53)
Hirut Bekele - 03 - Remembering you [ከዓይኔ ውል እያለ] (5:57)
Hirut Bekele - 04 - It is love [ፍቅር ነው] (6:35)
Hirut Bekele - 05 - My darling [ነፍስ ነገር] (6:43)
Hirut Bekele - 06 - I will come today [ዛሬስ እኔው መጣሁ] (6:11)
Hirut Bekele - 07 - My heart like the river Abay [ልቤ እንደ አባይ ውሃ] (5:49)
Hirut Bekele - 08 - The hill [አቀበቱን] (5:18)
Hirut Bekele - 09 - Hidden love [ስውሩ መውደድ] (6:25)
Hirut Bekele - 10 - My defiant heart [ልቤ አብሮ] (5:23)

Hirut Bekele - Gelawa [feat.Tadele Bekele] [ethiopia]

           Step by step, piece by piece, bit by bit ... and the big puzzle of ethiopian oldies is slowly but steadily completing.

          Here is the almost unavailable Hirut Bekele's CD Gelawa. I got it from one of my ethiopian friends. 

Hirut Bekele - Endiaw Zim

          At the conclusion of her music career, the one thing that remained as intact as it has always been is that Artist Hirut Bekele is still the love of her fans and millions of admirers around the world, even myself now I can openly say that, I don’t think if I will ever love any artist as much as I have loved this stunningly gifted vocalist, who is simply as remarkable as a lone “ጽጌረዳ” in the garden.

              You can trace the journey of Hirut Bekele in the music field all the way down to five decades or more and still find her as one of the most dynamically famous artist of all time and surprisingly her songs remained as fresh as they were back in the days, and it appears that, nothing has ever changed since then, except she is no longer in the crowd.

          Off course, like most Ethiopian public figures of her time, even Hirut Bekele herself has taken a long road to fame which was full of unexpected setbacks and missteps along the way but manged to be counted among the greatest contributors in Ethiopian history,

           Plus the countless unforgettable songs that she left behind in the care of her fans across the continent, will forever keep her in the heart of millions.

May God bless the remaining journey of the legendary vocalist.

                                                                                       

          by Eduardo Byrono

Hirut Bekele - 01 - Endiaw Zim (6:12)

Hirut Bekele - 02 - Ere Endet Neh (5:22)

Hirut Bekele - 03 - Shebelaye (6:33)

Hirut Bekele - 04 - Tadele Gelawa (6:06)

Hirut Bekele - 05 - Lib Asataw (4:18)

Hirut Bekele - 06 - Essu Lij Yene Newu (4:21)

Hirut Bekele - 07 - Libe Abro (5:23)

Hirut Bekele - 08 - Anten Bemalete (4:03)

Hirut Bekele - 09 - Demam Konjo (5:25)

Hirut Bekele - 10 - Atiubegn (5:37)

Hirut Bekele - 11 - Endemin Aleh (7:14)

Hailu Mergia & The Walias Band - Unknown instrumental album [poor cassette rip] [ethiopia]

      Awesome Tapes From Africa   are to reissue a third album by cult Ethiopian jazz pianist and synth pioneer Hailu Mergia. Writing on Facebook, the label say that Wede Harer Guzo was recorded with the Dahlak Band in 1978 in Addis Ababa, in the wake of Mergia’s 1978 success Tche Belew. Album is goiing to be released on June 17th 2016.

Read more here :

     As a prelude to this long-awaited lost treasure, I am posting one of Hailu Mergia's "lost tapes", unknown instrumental album with Walias Band. 

Walias Band - rare ethiopian groove

          Walias Band (sometimes spelled Wallias Band; Amharic: ዋሊያስ ባንድ?) were an Ethiopian Jazz and funk band active from the early 1970s until the early 1990s. Formed by members of the Venus Band, Walias backed up many prominent singers with a hard polyrhythmic funk sound influenced by western artists like King Curtis, Junior Walker and Maceo Parker. In 1977 they recorded one of the few albums of Ethiopian instrumental music in collaboration with vibraphonist Mulatu Astatke, whose role as a bandleader and composer was also a major influence on Ethiopian popular music.

             In 1981 Walias became the first modern Ethiopian band to travel to the United States, playing on a tour with singer Mahmoud Ahmed primarily to audiences of Ethiopian refugees. Four members—Girma Bèyènè, Mogès Habté, Mèlakè Gèbrè and Hailu Mergia—stayed in the U.S. and formed a new group called Zula Band in favor of returning to live in Ethiopia under its dictatorship. Mergia took work in Washington DC driving a taxi cab and released solo cassette tapes of traditional Ethiopian music played on analog synthesizer, electric piano and accordion. The remaining members—Yohannes Tèkola and Tèmarè Harègou—continued to play together under the Derg dictatorship for another decade.

              In the late 1990s Walias Band found a wider audience in the west when the French label Buda Records reissued much of the group's music on the Ethiopiques series of compact discs. Their instrumental, "Musicawi Silt", became a popular dance number and has been covered by a number of artists.

        The Walias Band's name derives from the walia ibex, an endangered species of the Capra genus native to the mountains of Ethiopia. They share no members with the similarly named Ibex Band who also backed up Mahmoud Ahmed during the same epoch.

         Vocalists that Walias worked with included Getachew Kassa, Mahmoud Ahmed, Woubishet Fisseha, Alemayehu Borobor, Seyoum Gebreyes, Netsanet Mellessè and Tilahun Gessesse.

Members : 

Girma Beyene - Piano, electric piano, arranger

Hailu Mergia - Organ, Moog synthesizer

Mahmoud Aman - Guitar

Alemseged Kebede - Bass

Temare Haragy - Drums, percussion

Yohanese Tekola - Trumpet

Moges Habte - Tenor saxophone

Tracklist : 

Hailu Mergia & Walias Band - 01 - Nanu Nanu Neyi (5:58)

Hailu Mergia & Walias Band - 02 - Turun Feri (5:55)

Hailu Mergia & Walias Band - 03 - Kemekem (6:38)

Hailu Mergia & Walias Band - 04 - Tiz Alechign Zare (5:55)

Hailu Mergia & Walias Band - 05 - Yekereme Fikir (6:28)

Hailu Mergia & Walias Band - 06 - Monaliza (6:22)

Hailu Mergia & Walias Band - 07 - Nafkote (Aynoche Terabu) (5:49)

Hailu Mergia & Walias Band - 08 - Emo Yedigere (4:28)

Hailu Mergia & Walias Band - 09 - Munaye (7:59)

Hailu Mergia & Walias Band - 10 - Alem Zemene (6:20)

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