Ayalew Mesfin, being seemingly one of the underdogs of his time, he was extremly funky. His tunes from the Ethiopiques series can prove that, listening to‘Feker Aydellem Wey’or‘Hasabe’you might see why. He first started his career in the 70's and is comparable to the style of Alemayehu Eshete. His Fetan BandandThe Black Lion Bandhad definetly an approach to western funk.
Probably the most fuzzed out track on all of Buda Musique‘s sprawling twenty some odd volumes of their Éthiopiques series, has to be Ayaléw Mèsfin & Black Lion Band’s song Hasabé. That song can be found on the eighth volume, but Mèsfin and his band have been featured on the 13th and 24th volumes, as well as a Rough Guide compilation called The Rough Guide to African Blues.
Ayalew Mesfin - Hasabé
Ayaléw Mèsfin got his start playing with a band calledFetan Band – or Speed Band– at the Patrice Lumumba Bar in Addis Ababa. According to his biography, he has released “about twenty singles and a dozen tapes released since 1974. He also opened the Ayaléw Music Shop in Addis Ababa, that he still owns even after moving to America.
In January 2008, he performed with the Dutch band The Ex at the Hager Fekir Theatre in Addis Ababa.
Ali Birra (standing in the middle) and his band mates in Jimma, Western Ethiopia, 1973
Ali Birra (Amharic: አሊ ቢራ? ; Oromo: Ali Birraa: born September 29, 1947) is an internationally recognized Oromo singer, composer, poet and nationalist. He was born in Ganda Kore village in the city of Dire Dawa, Ethiopia.
For several decades from the mid-60’s and onwards, Ali Birra was the most prominent representative of modern Oromo music. He was part of a golden generation of Ethiopian musicians, performing with the greatest artists and orchestras of the time but being Oromo he was always an outsider in relation to the Amharic musicians of his time. Yet for many Oromos, he was a hero, fighting their cause at a time where the promotion of Oromo culture was illegal and singing in Oromo language banned.
Ali Birra left Ethiopia in 1984 and has since been back only sporadically. But he has not been forgotten. Heading for lunch we tried in vain to find a restaurant where devoted fans would not overwhelm Ali. Throughout the day his phone was red-hot with new and old friends checking in and while driving around Addis with Ali, we were met by a continuous honking and passengers shouting ’we love you Ali’ through the car windows. This was Addis 2012 but felt more like driving around with FelaKuti in Lagos in the 70’s.
Ali Birra - Nin deema
Ali has returned home to Ethiopia to launch his own NGO called Birra Children’s Education Fund. He wants to give something back to Ethiopia and has started support programmes for children in one school in Dire Dawa and one in Galamso in West Hararge. “My father always told me that educated people know how to fight for their rights and to respect the rights of others,’’ Ali explains. He now hopes to expand the programme to other schools around the country.
He has also come back to Ethiopia for musical reasons. In 2013, Ali is celebrating his 50-year anniversary on the music scene and he is planning to commemorate this landmark with concerts in Addis and at home turf in Dire Dawa as well as with the release of one final record before retiring.
“I was lucky to be singer at a time with few Oromo singers around. I got the chance to influence people and their thinking. To be a teacher.To engrave my thoughts in peoples’ minds. The young Oromo musicians now are tough but they have not achieved this yet,” Ali tells me. And things certainly were tough in Dire Dawa in the early 60’s when Ali aged 14 at the time formed his first band HiriyaaJaalalaa and soon after started performing with the group called AfranQallo orUrjiBachalchaa. Being an Oromo musician back then was risky business. Singing in Oromifa was illegal and the band members handed out their records to people on the streets as no Oromo music was allowed on the radio. “We were very young and courageous at that time,” Ali admits.
The emergence of AfranQallo can be considered an early dawn for modern Oromo music and it was at a concert with this group that Ali earned himself his screen name – Birra meaning ‘spring’ or ‘break of dawn’ in Oromifa – through the singing of the ’BirradhaBarihe’ song. In 1964, the group was invited to play in neighbouring Djibouti but the 11 band members were denied permission to leave Ethiopia and had their music instruments destroyed. They decided to split in smaller fractions and travel anyway but when Ali arrived in Djibouti, he was arrested and detained for a month. On New Year’s Eve of 1964, Ali and three of his band members returned to Ethiopia and the next day, January 1st 1965, they were again arrested. Ali who had now turned 16 spent the next six months in prison, jailed for singing in his own language and celebrating his culture. “I still remember it vividly. From that time on I knew that I wanted to fight for the rights of my people,” he recounts.
After his release Ali was still detained on numerous occasions, sometimes for weeks, sometimes for months, until he in 1966 left Dire Dawa for Addis. But although he left Oromia and 20 years later left Ethiopia, Ali has never stopped being a strong and outspoken Oromo advocate. Seven years ago he met with the late Ethiopian Prime Minister MelesZenawi to discuss various Oromo issues and he has often encouraged the federal government to support arts and culture in Oromia by establishing a music school in the region.
Many of Ali’s early lyrics were strongly inspired by the revolutionary Oromo poet Abubakar Musaa. But singing in Oromifa was only one of the ways that Ali tried to distinguish his music from the dominant Amharic sound. He and fellow Oromo musicians used grace notes and played in diatonic instead of pentatonic scales creating a less Amharic and more Indian or Arabian sound. “Nowadays Oromo music sounds similar to the Amharic,” Ali deplores. But simultaneously he praises the many new Oromo musicians: “Back then it was mostly Ali Shebbo and I. Now you have new Oromo singers coming forth almost every day,” he says and starts listing some of his favourite heirs such as Tadele Gemechu, Jambo Jote, Qamar Yusuf, Hachalu Hundessa and Elemo Ali among others.
While there truly are many talented young Oromo musicians out there, none of them have carved out a sound as unique as the one that characterizes many of Ali’s recordings from the 60’s and 70’s: the one of a guitar tuned as an oud. This was a sound crafted under rather peculiar circumstances. Ali and his childhood friend Ali Shebbo had learned to play the oud in Dire Dawa. In 1966, when Ali Birra went to an audition for Emperor Haile Selassie’s Imperial Body Guard Band, he was asked if he played any instruments. He replied that he played the oud but was then told they did not have an oud in Addis. Instead Ali was given a guitar, which he tuned like an oud because that was what he knew the best. Thus, the inimitable Ali Birra sound was born.
He has since tried to remain true to that sound. When I ask him about his musical philosophy, he explains: “I believe in small incremental changes to my music while staying faithful to its origins. I have tried to use new technological means while respecting the past. When I left Ethiopia, I was lucky to get the chance to study music in the US. It made me able to better analyse music and its scales. At the same time I can play many different instruments. Many new musicians today are only vocalists or they can only play one instrument.“
Ali describes, how at first the audience was not really able to understand his Eastern Oromo dialect but when he started singing a classic Arabic song praising the prophet Mohamed, the crowd went berserk and started throwing money at the band. Ali repeated the song and in the end the floor was covered with money. The group was originally paid 400 birr to play the concert but ended up earning close to 10,000 birr that single night
In 1977, Ali joined the renowned all-star Ibex band and in 1980 the Ethio Star Band. Nevertheless, Ali also had his difficulties this time around: “When I joined the Ibex Band, I was disarmed my guitar. I was told that my guitar style did not match their vocal so I was left with singing together with Mahmoud Ahmed. At least, this gave me a bit more freedom to be a performer.” Some of the more serious artistic restrictions came from the Derg regime. “There was a lot of censorship during public concerts and the majority of the songs we recorded had to include some praise of socialism, Marxism or Leninism”, he elaborates.
The night before Ali in 1984 left Ethiopia, he played with the Ethio Star Band at a wedding at the Hilton. “I never get paid for that job,” he notes. A few years earlier, Ali had met and married a diplomat named BrigittaAlstrom working at the Swedish Embassy. When Brigitta’s posting in Ethiopia ended, she was transferred to Los Angeles and Ali decided to follow his wife to the US. “My motivations for leaving Ethiopia were mixed. I wanted to be with my wife, to escape the harassment of the regime and to explore new opportunities abroad.”
In the US, Ali studied music theory at the university and used most weekends touring the US and Canada with fellow Ethiopian diaspora musicians. Diplomatic life later brought Ali to Saudi Arabia and Sweden and he continued to perform and record music throughout this period. Ali now resides in Canada with his wife Lily.
Ali Birra with Ibex Band - 01 - Asa Bela (4:25)
Ali Birra with Ibex Band - 02 - Turun Bula (5:46)
Ali Birra with Ibex Band - 03 - Tola-Tola (7:47)
Ali Birra with Ibex Band - 04 - Adu-Golegolasa (3:36)
Ali Birra with Ibex Band - 05 - Dira Dawa (4:14)
Ali Birra with Ibex Band - 06 - Bilusuma (7:38)
Ali Birra with Ibex Band - 07 - Yaleselesa (5:07)
Ali Birra with Ibex Band - 08 - Yedenka (6:14)
Ali Birra with Ibex Band - 09 - Bilasawa (With Mahmoud Ahmed) (6:25)
Wubshet Fiseha found his great passion for singing in his youth age in school and at his living areas, his friends listening to his great talent used to encourage him to carry on with his potential. Kibur Zebegna band and Yepolis orchestra was Wubishete’s childhood music icon, he has always looked up with hope to join the band someday, his dreams eventually came true to join the band which hosts many famous singers in town.
Wubshet Fisehais great singer which sang his works in stage from the 1960’s to 1970’s E.C. Wubshet has worked from his first band Kibur Zebegna to different bands all around Addis playing in different night clubs and hotels. To name the few, in Hilton hotel with Walias band, in Shebele Hotel with Ethio Star band, Sheble band, and other famous bands.
Besides his singing career, he is also a great guitar player, this talent have made him contribute to accompany the famous artist Aster Aweke in her concerts and recordings which were produced by prominent local producers. Wubshet Fiseha has produced different melody and lyric compositions, and has released more than six music albums.
Wubshet Fiseha was the lead singer in the famous band Walias and Ethio-Star band in the 1960’s and 1970’s E.C. being a star singer at the time.
Out of the many famous albums releases, Wubushets albums such as “maleda maleda”, and his last release “Aseb Shegaw Wende Late” were a hit album.
He went on a tour with Walias Band to U.S.A., in this tour Wubshet gained a wide fame from Ethiopian diasporas who went to U.S. in the derg regime, performing traditional music to the Ethiopian audience in U.S., Wubshet gained control of many music concerts in U.S.
After leaving Ethiopia to tour in the U.S. with Walias band, he has made his living in the United States, coming to his mother land Ethiopia for an occasional visit for recordings, worked in the U.S. as a singer for some time.
Wubshet Fiseha have made more than 100 Amharic songs which are listened from generation to generations, Wubshet, having passed away his works still follow his great legacy being listened to the audience till present.
Roha Band has influenced the Ethiopian music industry as no other private music band has succeeded in. Perhaps one can safely say that Roha Band means to Ethiopia what “The Beatles” were to Britain.
The establishment of “The Roha Band” draws upon heavily or has a strong relation with the fall outs from the wind down and disintegration of the Ibex and Dahlak bands. Members of these two bands recollect that the reasons for the dissolution of the two bands have to do with the emigration of band members to the Sudan and the US leaving a serious vacuum of skill in the bands.
The Roha Band took it’s name from the historic town of Lalibela. The founding members of the band were Giovanni Rico (Bass guitar), Selam Seyoum (Lead guitar), Fekade Made Meskel (Tenor Sax), all these three hail from Ibex Band and those who joined the Roha Band after the disintegration of the Dahlak Band were Dawit Yifru (Key board and music arranger), Levon Fondachi (vocalist), Tekle Tesfazgi (drummer and vocalist joined the Roha Band leaving their private activities. After the band begun its work, it soon realized that it needed an additional skill and resources. This resulted in the second wave of outsourcing which brought Yonas Degefe (saxophone) and Elias Bekele, Berhanu Yoseph and Ashenafi Awel (both drummers) as well as Yared Teferra (saxophone) in to the fold of the band.
The startup was difficult specially in terms of capital and musical instruments. Thus, the former Ibex Band members brought the musical instruments they got upon the dissolution of the band to use them in their new band assignments. The band also secured a loan of Birr 40,000.00 from Ato Abeselom Yihdego for the purchase of additional instruments. This well known philanthropist thereby left a deep sense of gratitude in the memory of the band member’s to date. In fact, the man is known for a helping hand he extends from time to time to those engaged in the activities of music and sports.
Roha Band reunion
The beginnings of the Roha Band were pretty humble and it remains a relative unknown for some time. It was affiliated to the Hilton and Ghion hotels, not a great way to reach the wider public other than the small number of customers of these hotels.
The band’s introduction to the public rather came through its involvement in the recording industry where it accompanied and engaged in music arrangement. It benefited nearly all of the best known vocalists of the country both veteran and emerging talents. With this the fame of the band sky rocketed. The skill of the members was phenomenal, their rythems and arrangements were electrifying. The name Roha Band became synonymous with an paralled musical talent and it was the number one preference for a singer who contemplates an album release.
Its excellence is such that music lovers never mind to buy cassettes even those released complete stranger if it is accompanied by the Roha Band and produced by the Ambassel Recordings. The two brands offer a guarantee through quality. The legacy of the Roha Band has influenced the music industry in some other ways. For instance, usually it is the singer or the vocalist that takes the lion’s share of the admiration and fame after a successful release. The public never asks about the band accompanying the singer. There is no doubt the Roha Band’s influence changed this in drawing the attention of the public to the bands behind the fame and glory of singers.
Among the focalists in whose releases the Roha Band took part (both in accompanying and music arrangement) were Mahmoud Ahmed, Tehome Wolde, Muluken Melesse, Alemayehu Eshete, Melkamu Tebeje, Kuku Sebsbie, Hamelmal Abate, Neway Debebe, Tsehate Yohannes and many many others.
Roha Band - Oromigna
Besides its regular engagement at the Hilton and Ghion hotels, the band also took part in several musical tours with the vocalists it accompanied. It’s tours took it to towns like Asmara, Assab, Massawa, Mekele, Bahar Dar, Jimma, Dire Dawa, Awassa, Nazareth e.t.c.The instrumental it released was an instant hit and exhibited the individual and collective skills of the band members. The cassette is still highly sought after, a limited release as it was.
In the cassette Aster Aweke’s “Hode Mela”, Mahmoud Ahmed’s “Shegule ya lelawo”, Tekle Tesfazgi’s “Fikere telemeni” went instrumental showing how best the band can play both fast and slow music. Among the several music tours the band did the one that requires a special mention was the band’s tour to the areas of Metekel and Gambells where students and instructors of higher education institutions were on duty of building houses for a grand resettlement programme. The band toured these remote border areas and gave live shows free of charge. It has to be noted here that the government sent the band to these areas at the request of the students. The shows it gave were successful both in entertaining the tens of thousands of students who were in hostile and most basic of conditions ans in securing a good reputation to the band.
The Roha Band further developed its resources and brought better musical instruments some of which were new to the domestic music industry. Having strengthened itself, the band toured even further, this time to voluntaries in Africa, the Middle East, Europe and several states in America.
The fact that the band members were, besides their musical talent, versed in various individual skills and had different trainings, gave the band the opportunity of making use of this resource and be able to have a very good financial administration and resource management. For instance, the band’s music arranger and key board player Dawit Yifru is a professional accountant, Giovanni Rico studied management. In fact the band was a well managed one.
In a band setting, working together for 13 years is a rare thing. The Roha Band did this until it finally dissolved in 1993.
Factors such as members desire to earn a living by engagements and businesses other than music, the hardship the entertainment industry faced with and the unfavorable and a business centered competition from second rate bands offering their service cheap e.t.c. all pushed the Roha Band out of the lime light and into oblivion. Out of the band members Dawit Yifru, Yonas Degefe (Simon Libanos), Yared Teferra and Ashenefi Awel are still in the music industry. Dawit Yifru is the current president of Ethiopian Musicians Association. The other band members gave up music for good and are leading their lives in other engagements. Apart from Tekle Tesfazghi who died in a car accident in 1987, the others are not only alive but also had a serious plan in mind. Following an over whelming request from the public ina recent radio programme on one of the FMs, the band members confirmed that they have a well thought over plan to regroup one again and give a show as a fare well bid to their fans wheather of not an age factong on musical talent is something to be seen.
Roha Band - 01 - Ambassel - Instrumental (6:24)
Roha Band - 02 - Kememot Aldenem (6:48)
Roha Band - 03 - Fikrey Telemeni [Tegregna] (4:58)
