Azla Vegan is a family owned restaurant based in South Central Los Angeles. In addition to serving mama Azla's love-infused Ethiopian food, this family is passionate about sharing the rich artistic traditions of Ethiopia and the Ethiopian diaspora with the world.
Azla Sounds, Volume 1 is the first in a series of recordings presented by Azla Vegan. These recordings highlight the traditions and rich cultures of Ethiopia, as well as the various sounds and textures from the Diaspora that inform our aesthetic.
This post is completely taken from extraordinary new blog dedicated to an older african music. My true admiration goes to Matthew Lavoie, the author. You may find his blog here >>>WALLAHI LE ZEIN!
Menelik Wossenachew
Here is another reel of radio recordings from the horn of Africa. This reel was compiled by Ato Girma Zande, the music librarian of Radio Ethiopia back in the late 1960s (my guess is 1966-67). As you have surely read in the Ethiopiques liner notes (essential reading on Ethiopian music), the 1960s were a decade of musical ferment in Ethiopia. A decade of musical innovation and flux, foreshadowing the prolific early 1970s, the 'Golden Era' of Ethiopian popular music that has become a musical benchmark--akin to 1930s Harlem or 1980s Kingston--known to music lovers throughout the world.
This reel features five tracks by Bezunesh Bekele, including a 'traditional' version of 'Ere Mela Mela' as well as a live recording, three short and wonderful tracks by Bahta Gebrehiwot, three by Tilahoun Gessesse, the greatest Ethiopian singer of the Golden Age, and four lovely cuts by Menelik Wessenachew. These singers are accompanied by the great orchestras of the decade, the Ras Band, the Imperial Bodyguard Orchestra and the Haile Selassie Orchestra. The reel starts with four tracks of 'traditional' music, featuring, in particular, two lovely songs from Tigre and Shoa province.
Bezunesh Bekele - Hizb le Hizb
I recorded these tracks straight from the master reel to CD. This is an old reel and some of the tracks are a little wobbly. I have left the tracks in the order that Ato Zande dubbed them and I have not fiddled with the sound, no noise reduction, filtering, or eq.
Ethiopian Popular and Folk Music (Tracks prepared by Ato Girma Zande, Music Librarian, Radio Ethiopia)
I don't think any of these tracks are on the many reissues of classic Ethiopian music that have been released in the last twenty years. Don't hesitate to point out releases that I may have missed or to share what you know about these recordings.
The first picture is taken from a Menelik Wessanachew record sleeve and the second from a Bahta Gibrehewot sleeve. Enjoy.
Askale Berhane - 01 - Gojja Minja (2:19) Bezunesh Bekele - 02 - Era Mela Mela (3:38) Uncredited - 03 - Mandjar (from Shoa Province) (3:21) Uncredited - 04 - Temesgen (from Tigre) (5:45) Bahta Gibre-Hewot with Ras Band - 05 - Anchem Indela (3:33) Bahta Gibre-Hewot with Ras Band - 06 - Tar New (1:17) Bahta Gibre-Hewot with Ras Band - 07 - Ine Nenj Woy Monj (2:50) Bahta Gibre-Hewot with Ras Band - 08 - Ene Metch Alkuna (2:22) Bezunesh Bekele & Imperial Body Guard Orchestra - 09 - Ere Keyete Meta (2:58) Bezunesh Bekele & Imperial Body Guard Orchestra - 10 - Ante Temeta Ene (live) (2:28) Bezunesh Bekele & Imperial Body Guard Orchestra - 11 - Yaleb Lay Esat (5:59) Bezunesh Bekele & Imperial Body Guard Orchestra - 12 - Kante Gara Lehun (2:25) Telahun Gessesse - 13 - Satwadenj Wodeyet (4:18) Telahun Gessesse - 14 - Ere Min Yeshalengal (2:22) Telahun Gessesse - 15 - Feker Lebichaye (4:10) Menelik Wossenachew & Haile Selassie Orchestra - 16 - Yayne Alem (3:41) Menelik Wossenachew & Haile Selassie Orchestra - 17 - Tez Teyengalesh (3:55) Menelik Wossenachew & Haile Selassie Orchestra - 18 - Almaz Eyasebbhush (4:40) Menelik Wossenachew & Haile Selassie Orchestra - 19 - Yehagre Tezeta (2:23)
The amazing Ethiopoques series continues to amaze with another stunning album of classic "Golden Era" Ethiopian recordings from 60's & 70's Addis Ababa. The third in their 'Ethiopian Modern Music' volumes, this album collects a massively varied set of killer grooves; from the super tight soul funk of Girma Béyéné's 'Ené négn bay manésh' or his kinkier psyche funk winner 'Yebeeqagnal', to Seyoum Gébreyés and Wallias Band's rhodes driven 'Métch enéterf féléghu' or the extended slow jam 'Djémérégne' from Muluqén Mélléssé and the intoxicating female vocals of 'Métché néw' from Asséléfétch Ashiné and Géténésh Kebrét.
1. Girma Beyene - Ene negn bay manesh (4:02)
2. Seyoum Gebreyes and Wallias band - Metch ene terf feleghu (2:21)
3. Hirut Beqele - Ewnetegna feqer (3:15)
4. Samuel Belay - Qeresh endewaza (3:17)
5. Girma Beyene - Yebeqagnal (3:30)
6. Girma Beyene - Ene negn bay manesh (3:27)
7. Muluqen Mellesse - Djemeregne (7:29)
8. Asselefetch Ashine and Getenseh Kebret - Metche new (3:33)
9. Getatchew Mekurya - Gedamay (3:48)
The arrangements and bands are ably handled by Mulatu Astatke, Getatchew Mékurya and a hosts of other legends who have previously contributed to this ear opening series. This series just blows our minds and any followers of Finders Keepers Turkish Psyche picks, the Sublime Frequencies series or indeed anything from Mulatu Astatke will want to invest without delay. Essential !!
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 Ahmed’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, 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.
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, 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.
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