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

   R   E   U   P   L   O   A   D   

      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)

Ketema Makonnen - Ketema Makonnen [PH131] [1972] [ethiopia]

originally posted here : A Tertiary Source

           An incredibly skilled player of the Kirar, or the 6-string bowled lyre, Ketema Makonnen's style is comparable to that of Kassa Tessema (who was recently documented on Buda's Ethiopiques). Deeply sorrowful and forlorn, these strings kick up a dusty trail of longing, intuitively navigated by his warm, rustic voice. I find his style much more penetrating than that of Kassa's, where Tessema has a gentler pluck of his krar and a softer vocal leverage, Ketema has a higher degree of ferocity.

Ketema Makonnen - Tizita 1974-5

            Although digging up information on Mekonnen has proven to be difficult, partially due to the varied spellings of his last name (Amharic to English translations are, indeed, fickle), he does have at least one other album recorded for Phillips documented from 1974.

       On this album, many recognizable Tizita classics are heard, including Tizita itself, as well as a personal favorite, Mela Mela (any Ethiopian artist who sings this heart-wrenching ballad tends to leave an impression on me). Mekonnen's rendition is gorgeous, and some of the more obscure titles on the B side match the quality of it. Whirling with delirious melodic shifts, Mekonnen's style is unique and compelling. While basic details of his life are difficult to extract from the labyrinthine depths of the internet, his mark is made on the traditional side of 1970s Ethiopia with this deeply emotional recording.

Ketema Makonnen - 01 - Tizita (5:23)

Ketema Makonnen - 02 - Fano-Che Belew (4:23)

Ketema Makonnen - 03 - Bati (4:25)

Ketema Makonnen - 04 - Mela Mela (6:26)

Ketema Makonnen - 05 - Antchi Hoye (6:07)

Ketema Makonnen - 06 - Gele Beyi (2:47)

Ketema Makonnen - 07 - Endegena (4:29)

Ketema Makonnen - 08 - Ainama Konjo (4:14)

Ketema Makonnen - 09 - Negireshalehu (3:51)

Ketema Makonnen - 10 - Kibret Alem (2:52)

Ketema Makonnen - 11 - Gussumaye (4:17)

Ketema Makonnen - 12 - Amognegn (4:19)

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)

Bezunesh Bekele - Unknown Tape of Bezunesh Bekele [1972-1977] [ethiopia]

        I have a surprise in store for you in the forthcoming posts. After official albums and compilations it is time for a couple of cassettes of Ethiopian authors found on the internet. 

     I have been delaying  with the posting until I found enough information to support them, but as usual, when it comes to older Ethiopian music, it is practically impossible to find it. 

Insight Bezunesh Bekele Her Life Her Music

(english translation)

       To start with, here is a cassette of Bezunesh Bekele. Except two CDs of her compilations and what was released in the Ethiopiques edition, there are no official releases of her on the market. Specialist music sites do not give her full discography, and my Ethiopian sources cannot help.

      The cassette obviously was made as a compilation of her single records made in the period of 1972-1977. In the tags I have listed all the details related to the publication of her singles records, and the folder contains all the covers I could find. Since the music was recorded onto the C-60 cassette of a relatively poor sound, and the songs recorded from crackly records, the sound quality is not particularly good, but it is passable. 

       Track number 7 from side A A7 Bindnew Tizitah is interrupted after 1:49, as it obviously could not fit. The only change I have made is the addition of the complete last song. B8-Tigil New from a disc I own. Everything else is recorded in  a relatively good quality rip.

     If you know anything about this cassette, please get in touch and share your information with the readers of this blog and its author. The cassette arrived with the picture of the cover with track listing. The name of the label is given as Lupano Video Cassette from Amhara. The main cover is made by me, using an internet photo.

       My thanks to Yonas for helping me translate to European alphabet.

Bezunesh Bekele - A1 - Aha Gedawo (3:50)
Bezunesh Bekele - A2 - Kal Kidan (4:20)
Bezunesh Bekele - A3 - Yemisereq Bihon (4:26)
Bezunesh Bekele - A4 - Hilem Norual Leka (4:34)
Bezunesh Bekele - A5 - Min Bedelkut Minew? (4:19)
Bezunesh Bekele - A6 - Mehonu Asaznegn (3:29)
Bezunesh Bekele - A7 - Addis Fikir (3:20)
Bezunesh Bekele - A8 - Bindinew Tizitah (1:49) *


Bezunesh Bekele - B1 - Simhin Salanesaw (4:32)
Bezunesh Bekele - B2 - Yemaimot Gabicha (4:11)
Bezunesh Bekele - B3 - Ayasayegn Chikune (4:24)
Bezunesh Bekele - B4 - Ferenj Ager Satihed (4:16)
Bezunesh Bekele - B5 - Atirakegn (2:56)
Bezunesh Bekele - B6 - Eniramed (3:33)
Bezunesh Bekele - B7 - Be'ayin Yemitay Edil (5:52)
Bezunesh Bekele - B8 - Tigil New (3:31)

Anbessa Tekle - Eza Abebakum [2009] [ethiopia]

Anbessa Tekle

Anbessa Tekle - 01 - Metsikaley'Do? (5:03)

Anbessa Tekle - 02 - Eza Abebakum / Weney Teleale (13:49)

Anbessa Tekle - 03 - Ni'Esnet / Nie Gamey Kuhulo (11:32)

Anbessa Tekle - 04 - Lomi Ayney Berhe / Sidra Zom Merawti (13:07)

Anbessa Tekle - 05 - Esele / Kuhul Selel Beli / Silso (16:53)

Tilahun Gessesse - [2000] - The Greatest Hits [ethiopia]

 R   E   U   P   L   O   A   D   

Tilahun Gessesse - Selamtaye Yidres

      Tilahun Gessesse was born on 29 September 1940, in Addis Ababa and died on 19 April 2009.

      Tilahun was born to Woizero Gete Gurmu and Ato Gessesse Negussee. When he was fourteen years old, he was taken by his grandfather to Waliso Oromia 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 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.

     Tilahun's recordings are in Amharic and Oromo.

   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. 

01. Tilahun Gessesse - Yene Filagote (4:09)

02. Tilahun Gessesse - Bedehna Iskigetimen (4:28)

03. Tilahun Gessesse - Ine Negn Way Antchi (4:33)

04. Tilahun Gessesse - Ketero Yikeber (3:32)

05. Tilahun Gessesse - Alinkugn (4:30)

06. Tilahun Gessesse - Rasihin Bitcha (3:27)

07. Tilahun Gessesse - Harkafune (3:25)

08. Tilahun Gessesse - Mesak Isikalehu (4:34)

09. Tilahun Gessesse - Wedo Yetela Sew (4:09)

10. Tilahun Gessesse - Wey Min Tilik (3:24)

11. Tilahun Gessesse - Sew New Yetchekene (4:12)

12. Tilahun Gessesse - Tchuheten Bitsemu (3:32)

13. Tilahun Gessesse - Sigibgib Joroye (3:29)

14. Tilahun Gessesse - Ewnet Marign (3:30)

15. Tilahun Gessesse - Kunenie (4:24)

HOT STUFF : chOOn : Upcoming DJ Mitmitta Mix!!! 29/01/2016 11:00 - 13:00 GMT (12:00 - 14:00 CET)

Guest Mix #2 // DJ Mitmitta
chOOn!!

DJ Mitmitta is an Amharic speaking Norwegian and one of the main record collectors based in Ethiopia. He started a music shop in Aware, Addis-Ababa in 2010 called Mitmitta Musika and with that an  – posting accompanying blog - some of the strangest and downright warped, psychedelic pop music I’d heard from the region. Over the past two years he evolved the shop into a commercial record label by the same name re-releasing in collaboration with Domino Sound from New Orleans, a compilation of traditional wedding songs by Getatchew Degefu & friends to great acclaim.

I approached him nearly 2 years ago with the idea for a mix of Ethiopian sounds spanning the 1980s and early 90s. This was a period of great political upheaval in the country. Ethiopia was in the throes of a bloody civil war and at the mercy of a military dictatorship. The production of vinyl recordings stopped, many of the countries leading musicians emigrated to the west amid the political turmoil and the permanent curfew all but ended live music performances.

Much has been made of Ethiopian music pre 1974 – box sets, huge reissue archives, the revival of classic recordings and artists have been lauded by music critics across the land but the same cannot be said about the music produced during the period under military rule (1975 – 1991, commonly known as the "Derg" years) – and that which I had heard was usually negative.

So I present this guest mix by DJ Mitmitta – 2 hours of rare Ethio-Eritrean sounds – synthesizers, organs, wah wahs, pop and traditional sounds from the 80’s and early 90’s.

Here are a few words about this mix from DJ Mitmitta…

'The idea of this mix goes several years back from when I had a music shop up and running in Addis. I always said to myself I should make a mix presenting some of the cassettes I had for sale in Mitmitta Muzika Bet. To make that selection it meant I had to digitize every single cassette that potentially could become a part of the mix. This didn't happen, or at least I didn't have enough tapes to make the desired selection and the years went by, the shop closed and those tapes were lost down in collection boxes. It was when mr. chOOn!! from Subcity Radio contacted me that I started to pick it up again – he was interested in the perceived lack of interest and regard from music collectors and archaeologists for music made during the Derg years (1975 – 1991), Ethiopia’s stay under military occupation. Being the only westerner he knew of living in the region with an active interest in and access to lots of this music he asked whether I’d be interested in curating an interesting mix of sounds from this period. So I started picking out the potential cassettes again that could fit into a theme of 80s, instrumentals, pop and traditional sounds. The pile became way to big to finalize in the then near future, so I had to tell him to be patient. Now, almost 2 years later and after having a couple of days off in Dire Dawa, East Ethiopia I managed to punch out the last selection, which became this mix.

The mix's selection consists of lesser-known artists and lesser-known releases of established artists, which somehow have caught my attention. Mostly because of the way the singer sings, or the way a synthesizer or an organ is played, or how the bass or programmed drums play along, or how it's all put together in a different soundscape than what most people are used to from listening to 70s Ethiopian music. It's divided into 4 half-hour sets so that you can easily tape it onto 60 minute tapes. I'm hoping this is something for both Ethiopian and foreign ears. Enjoy!'

friday, 29/01/2016   11:00 - 13:00 GMT 

                                   12:00 - 14:00  CET 

link for streaming mixtape DJ choon  >>  Guest Mix #2 // DJ Mitmitta

ENJOY!

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

   R   E   U   P   L   O   A   D   

        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)

Martha Ketsela - Welo Mejen [2007] [ethiopia]

         She is a painter, a poet, a "flower designer," and, for a stake in life, a dutiful mother. But, in the main, Martha Ketsela is one of the very few female Ethiopian artists struggling for a breakthrough in her expertise in the United States. And, with all due respect to possible future commentaries by critics (we expect that to come in the future), she appears to have surfaced as an artist that even more makes her one of the very few to make things of their craft happen.

Martha Ketsela - Welo Mejen

        According to art watchers, in her current works Martha brings a refinement of what once was a roughly hewn skill. She now combines a schooling that blends an Ethiopian upbringing whose influence she highlights in her discourse as well as her art and a western libertarian mark that possibly might have resulted from her further training as an artist (and, of course, living) first in Germany and later in the United States. 

     Martha nevertheless says she remains first and foremost an Ethiopian. If we are to judge her by the works she presented at the WorldSpace lobby in Washington DC. some of Martha's paintings indeed subscribe to an Ethiopian spirit. Though very much gripped by what she has lived through since 1979 when she left Ethiopia, principally western landscape and western ideas and thoughts; she occasionally managed to probe into her Ethiopian beginnings. Some of her recent paintings such as "Music" and a few more manifest a mix of Ethiopian calligraphy (not new to Ethiopian artists in the Diaspora) and western tendency for abstraction.

Martha Ketsela - 01 - Tezeta (6:04)

Martha Ketsela - 02 - Hagere (4:57)

Martha Ketsela - 03 - Welo Mejen (6:18)

Martha Ketsela - 04 - Fegegta (6:00)

Martha Ketsela - 05 - Fekere (5:44)

Martha Ketsela - 06 - Musica (5:13)

Martha Ketsela - 07 - Geze (4:36)

Martha Ketsela - 08 - Zemeta (5:22)

Martha Ketsela - 09 - Audamet (4:38)

Martha Ketsela - 10 - Gebre (4:35)

Martha Ketsela - 11 - Egesegesalhu (4:42)