AddisAbabaBand - AddisAbabaBand [2015] [den]

       AddisAbabaBand is Danish 13 member ethio fusion jazz band from Aarhus, Denmark playing music inspired from afrobeat, funk and jazz.

The band was formed in 2010.

AddisAbabaBand - Zion

             AddisAbabaBand is as exotic as afrobeat from Aarhus, where the 12-13 man band (they are obviously even in doubt) mixes everything from African rhythms of free jazz and psychedelic rock to funk. It might be a half-pale game, but the Aaroans will happily kick a lot of life and variation into the 10 tracks of the album.

      Just the variation is the key to some of the success here, because one must be uncommonly demanding if you get bored or dozens under the 10 tracks AddisAbabaBand delivers on this debut album. 9 of the numbers are their own compositions, and then there has been room for a single cover number in the form of Girma Bèyènès afrobeat classic "Musiqawi".

        And if you think hm hmmm, oh well, yes, yes. I do not know that. Do not worry, I'm in as unexplored territory as you like! My knowledge, and also interest in, afrobeat and the like, confines myself to random meetings at the Roskilde Festival (where I have always been well entertained) and so I know there is someone called "Kuti". And "Ebo Taylor". Fortunately, they mention AddisAbabaBand as inspirational sources in the press so I do not have to feel like the whiteest ignorant man on the musical savannah.

        What is the result of that? Certainly a kind of cultural disability, where I'm only available to hear more "western" music. So besides, I also hear some old school hip hop. Hmm ... okay, my defense is a little thin. Perhaps I just did not find or take the time to put myself in the afrobe, partly because of a massive jazz scare that has plagued me for decades, but now under control.

       In short, I'm on a small bar bottom, just like the rest of the editors, and do not have the big comparison or reference points that can be pulled out of the toolbox to judge what AddisAbabaBand has captured on the record here. But then we have to go a little differently to work and cautiously feel a little bit - at risk of judging the cases a bit wrong. Itcould be both an advantage and a relief for the band.

      Now, with these reservations, I think I really like AddisAbabaBand's deal with the debut. It fluctuates, it is quite sharp, without the feeling of spontaneity and improvisation that I imagine is a fairly large part of the "genre", lost and, in particular, it is well-played. At no time do I think that it's 12-13 Aaronians who take me on an afrobeat excursion, not that music should be thought of in the suit of the practitioner's skin, but there's hardly any worse than an unfunky white man, who thinks he has rhythmic sense.

    The numbers are mostly instrumental, which would normally also be a challenge to me, but as mentioned, the plate slides very smoothly and unproblematically, or should you say dances? So the absence of a vowel does not become a brake pad for me. When it finally appears on the album's 6th song, "Skyrim" feat. MhukayesangTarharka J., it gives just a nice spit and extra spice to the already tasty musical dish.

   In court you will find everything from songs with a dance-friendly smearing spy movie's feel like "White Man", the more fast-paced, frugal sounding and exciting "Pizzaro", smoked night stamp on 

"Piakågerenout" with a deep blow to the mess that you can hear spit freaks. On a song like "Illuminati", the dance-friendly rhythms become more sweaty and warm, while "Jojpe" has some 70's ghetto swag blacksploitation soundtrack over.Most "African" will probably be on "Zion" where, due to the lack of better words, jungle rhythms are almost in it, while "Musiqawi" delivers the most hypnotic moment of the record with insistent rhythms and, eventually, humming cows.

    The common denominator of the 10 numbers is that everything is pretty trimmed and greasy fried away. The playing time never feels blown up, despite the fact that the music is never overloaded or too complicated, the soundtrack is in spite of being unlucky or unstructured.

     I'm still struggling emotionally to relate to the tones and thus get completely absorbed by them, but if you feel like me, I think that AddisAbabaBand could work like a really nice, fairly easily accessible, but still not for the easy leg, introduction to the afrobeate.

Say goodbye to a dozen Aarhusians!

   Ken Damgaard Thomsen   

AddisAbabaBand - 01 - Jojpe (4:47)

AddisAbabaBand - 02 - White Man (3:43)

AddisAbabaBand - 03 - Illuminati (3:10)

AddisAbabaBand - 04 - Musiqawi (5:49)

AddisAbabaBand - 05 - Zion (4:04)

AddisAbabaBand - 06 - Skyrim feat. Mhukayesango Tarharka J. (4:26)

AddisAbabaBand - 07 - Pizzaro (5:13)

AddisAbabaBand - 08 - Piakagerenout (4:38)

AddisAbabaBand - 09 - Meter (2:25)

AddisAbabaBand - 10 - Pangea (4:13)

Alto Saxophone, Baritone Saxophone – Lasse Enøe

Bass, Percussion – Jens Peter Møller

Drums – Martin Aagaard Jensen

Guitar – Jesper Rasmussen, Mikkel Govertz

Keyboards – Simon Gorm Eskildsen

Percussion – Feike Van Der Woude, Martin "Muskel" Madsen

Tenor Saxophone – Olaf Brinch

Tenor Saxophone, Flute – Marco Dania

Trombone – Christian Tscherning Larsen

Trumpet – Jakob Sørensen

Violin, Vocals, Percussion – Preben Kaels

Vocals, Mbira – Jimmy Mhukayesango Tarharka

Petites Planètes - Now Ethiopia • GABRA MUDEN'S ZAR • trance ritual from Gondar [2012] [ethiopia]

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originaly posted HERE :

1.  opening act   11:04

2.  trance act   06:46

3.  fire and coffee   19:54

4.  zar or the other   11:08





recorded by Vincent Moon 

in Gondar, Ethiopia 

april 2012

Petites Planètes - Now Ethiopia • TILAHUN • lalibela songs from Addis Ababa [2012] [ethiopia]

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originaly posted HERE :

          Lalibela, a small town in northern Ethiopia, home to 11 spectacular churches that were carved both inside and out from 

a single rock some 900 years ago. 

           Their building is attributed to King Lalibela who set out to construct in the 12th century a 'New Jerusalem', after Muslim conquests halted Christian pilgrimages, even today it is believed that Lalibela pilgrims share the same blessings as pilgrims to Jerusalem. 

      The Jerusalem theme is important. The rock churches, although connected to one another by maze-like tunnels, are physically separated by a small river which the Ethiopians named the Jordan.

1. blessings     15:12

2. offerings     04:23

 film _ vimeo.com/55371955

recorded by Jacob Kirkegaard 
in Taitu Hotel 
Addis Ababa, Ethiopia 

june 2012 

produced by Vincent Moon & Jacob Kirkegaard

Wayna - The Expats [2013] [usa-ethiopia]

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       It has been said that Ethiopian-born, singer/songwriter Wayna possesses a voice that is as sweet and pure as it is honest and passionate. This young talent’s love for music started as a child, when she starred in theater productions like “Annie,” and “Damn Yankees” and toured with a children’s musical review company. Wayna went on to hone her vocal talents as a young adult by absorbing the works of her favorite artists, including Minnie Riperton, Billie Holiday, Stevie Wonder, and Donny Hathaway.

Wayna - Daydream

       While in college, Wayna was crowned Miss Black Unity of the University of Maryland in 1995, earning a one year tuition scholarship and special honors for “Best Talent” and “Best Response to Question” at the 17th annual pageant. The following year, she founded a gospel quartet and performed with the group at the World Famous Apollo Theater in Harlem, NY, where they placed as finalists in the Amateur Night competition. She traveled with the critically acclaimed University of Maryland Gospel Choir and regularly performed at churches and gospel showcases throughout the East coast.

           After earning a Bachelor’s degree with a double major in English and Speech Communication from the University of Maryland, Wayna began her professional career as a Writer in the White House for the Clinton administration. But soon, the pull to realize her dream as a recording artist would prove too great. She left to concentrate on her music full-time. 

    Since then, Wayna has collaborated with legendary studio icon/producer Bill Laswell, with critically and comercially hailed producer Eran Tabib, Jive Records producer, Veit Renn, and former Touch of Jazz standout, Kev Brown. She is a featured vocalist/co-writer on on the Sly and Robbie album, Version Born released by Palm Pictures and also featuring contributions from Killah Priest, Black Thought, and N’dea Davenport. She’s also served as a featured vocalist and writer on a number of independent projects for artists, including W. Ellington Felton, Kenn Starr, Kev Brown, Cy Young, and Tamara Wellons.

       Unlike Wayna's jazzy neo-soul albums Moments of Clarity, Book 1 and Higher Ground (which earned her a Grammy nod for "Lovin You (Music)"), her latest release, The Expats, explores the Ethiopian-born singer-songwriter's desire to sonically travel, employing greater world beat influences while drawing on unexpected sides of her voice. 

     Standout opening track "Yo Yo" shows off her dreamy melodic vocals against African beats, revealing that although she's labeled a progressive R&B artist, she would shine in more rock-based genres, too; on the theatrical "Freak Show," her crazy range soars to operatic levels. There are moments where Wayna's flawlessly executed vocals sound strident, making one miss the sultry soul she showcased on previous releases, like "I Don't Want to Wait," a track on which uncooperative production aims itself in too many directions, ultimately working against itself. Overall, Wayna has an innate ability to enrich each song with atmosphere, making The Expats a sweeping global affair: the songs take you to the Sahara desert ("Echo") and the lush plains of Jamaica ("Amazing"), all the while bringing something to music that is too special to ignore.

01. Wayna - Yo Yo (5:44)

02. Wayna - Time Will Come (feat. Emperor Haile Selassie) (4:44)

03. Wayna - Echo (4:28)

04. Wayna - Amazing (4:01)

05. Wayna - I Don't Wanna Wait (4:25)

06. Wayna - Freak Show Intro (feat. Chris Rouse) (0:43)

07. Wayna - Freak Show (4:25)

08. Wayna - Long as You Know (feat. Setgn Satenaw) (5:17)

09. Wayna - Send It Away (feat. Frederic Yonnet) (4:42)

10. Wayna - Holy Heathen (feat. Naz Tana) (6:00)

Asnakech Worku & Alemu Aga - Ende Jerusalem [1996] [ethiopia]

                   

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Asnakech Worku or Asnaqètch Wèrqu: Krar player and poet

       Asnaqetch Werqu was born an orphan who went on to become the first actress to appear on the Ethiopian stage. However, her musical talent garnered her attention that outshone her acting career in the National Theatre. Reportedly, she initially worked as an actress and dancer in the Haile Sellassie I theatre troupe and was actually the first woman to be part of this troupe. At an early age Asnaqetch taught herself to play the krar and eventually went on to become famous as a master of the krar (lyre) and a singer who was considered to be the last great storyteller to engage in the tradition of poetic jousting, following in the traditions of the Azmaris or artist caste.

       A five (sometimes six) stringed lyre with a gut resonator, the krar was an ancient Ethiopian instrument frequently used by the Azmari or musician class. It has been said the the Japanese koto has a sound similar to that the krar. Azmari, can be male or female, and are skilled at singing spontaneous verses while playing the krar or masenqo (one-stringed fiddle). They play in drinking establishments known as 'tejbeit' that serve 'tej' (honey mead). They are also often invited to perform at private parties where they would improvise lyrics based on a theme suggested by the host. This poetic jousting not only relies improvisation but the art of poignant verses, wit, imagery and sarcastic puns.

       Following Haile Selaissie's removal from office by the Derg in 1974, artists in Ethiopia were often forced underground to perform or had to attempt to create their music in a very hostile environment. This repressive regime slaughtered hundreds of thousands and fuelled subsequent unrest. Nevertheless a brief period of artistic freedom existed in the 70's between Selaissie's imperial rule and the military junta of the Derg.

Asnakech Worku

       The French label Buda Musique, was able to select 22 songs to compile an album for Volume 16 of the acclaimed Ethiopiques series - named The Lady With The Krar. These songs were chosen from two LPs recorded in 1974 and 1976. Buda Musique acquired them from their previously-acquired Kaifa Records archive (1973-77). Apparently, the first 12 songs on this album were released during the beginning of the revolutionary disorder and were banned almost immediately afterwards, as many records were simply taken off of store shelves. It didn't help that the krar was often regarded as a 'devil's instrument' by certain segments of the population.

       Werqu's verses evoke epic tales and her love ballads are tinged with longing and melancholy. Surprisingly, during her time as an musician and actress, artists in general were frowned upon, and this was especially true for female ones. This contributed to many hardships and suffering in Werqu's life, which she often expressed in her music, as she recorded her struggles against the conventions of established society. Ironically enough, it is from the depths of this emotional angst that we see the emergence of a profound spiritual beauty that resonates with her 'serenely-emotional' vocals as they meld with the hypnotic melodies of the krar.

Alemu Aga

       (born 1950) is an Ethiopian musician and singer, a master of the bèguèna.

Born in Entotta, near Addis Ababa, Alemu became interested in the begena (a ten-stringed member of the lute family, also known as "King David's Harp") at the age of twelve, when a master of the instrument moved in next door to his family, the Aleqa Tessema Welde-Emmanuel. Aleqa Tessema began teaching at Ras Desta school, where Alemu was a pupil. As well as studying the begena at school, Alemu carried his master's instrument to and from school, and thus benefited from more of Tessema's time.

       He went on to study geography at Addis Ababa University, and after graduation went to work as a geography teacher at the Yared Music School, where for seven years he also taught begena. Alemu went on to become an acknowledged master of the instrument, first recorded in 1972 by Cynthia Tse Kimberlin for a major UNESCO collection, and performing and broadcasting around the world. In 1974, however, the Derg military junta came to power in Ethiopia; their anti-religious policies also included the banning of the begena from radio broadcasts, and the closing down of the Yared School's teaching of the instrument. As a result, Alemu Aga decided to give up his teaching post in 1980, and opened a souvenir shop in Addis Ababa's Piazza district.

For a time he played only in private, but the collapse of the Derg's régime led eventually to a change in state policy, and Alemu again began to teach and perform in public.

01. Asnakech Worku/Alemu Aga - Tizita (7:40)

02. Asnakech Worku/Alemu Aga - Arada (5:27)

03. Asnakech Worku/Alemu Aga - Ende Jerusalem (6:59)

04. Asnakech Worku/Alemu Aga - Mela Mela (6:18)

05. Asnakech Worku/Alemu Aga - Wogene (4:31)

06. Asnakech Worku/Alemu Aga - Abet Abet (6:30)

07. Asnakech Worku/Alemu Aga - Besmeab (12:39)

08. Asnakech Worku/Alemu Aga - Wanen (3:52)

09. Asnakech Worku/Alemu Aga - Yibelahala (3:04)

10. Asnakech Worku/Alemu Aga - Alayenim Belu (3:49)

11. Asnakech Worku/Alemu Aga - Girf (0:56)

12. Asnakech Worku/Alemu Aga - Selamta (12:30)

Saba - Jidka [The Line] [2007] [ethiopia]

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               Saba Anglana, singer and songwriter, was born in Mogadishu, capital of Somalia, to an Ethiopian mother (born in Somalia) and Italian father. After doing much of her growing up in Italy, Saba studied to become a mosaicist, completing a degree in Art History at the University of Rome La Sapienza. She worked in the communication and publishing industry and, as actress, for TV and theatre.

Saba - Jidka 

       Due to the family's mixed-marriage status (Saba's father was Italian, and her mother a Somalia-born Ethiopian), the Anglana were forced to flee to the father's homeland when Saba was five years old. Anglana was thereafter raised in Italy, eventually rising to national prominence as a television actress, but her Somali roots remained an important focus. She studied the native language with her mother, particularly the regional dialect of Xamar Weyne, and connected to her native country through music.

       The word 'Jidka', which is the title track, means line – the line that runs on her belly and divides it into two parts – a darker side and a lighter one. This for her represents the union of diversities and the harmony that her parents found when they fell in love. Her story focuses on her identity as multilayered and with many different influences. She sings in her mother tongue – a type of Somali that is spoken in Reer Xamar, a quarter of Mogadishu, and has real expression and rhythm in itself. The result is an album which is a real mix of contemporary and traditional.

       On 'Jidka' (The Line), her musical debut, she explores the divide between Somalia and Italy with a rare sensitivity and gentle humour; mixing acoustic guitars and koras with traditional African beats and contemporary percussion. The result reflects both one woman's search for her identity and what it means to be

01. Saba - I Sogni (3:00)

02. Saba - Hoio (3:49)

03. Saba - Hanfarkaan (3:06)

04. Saba - Jidka (3:15)

05. Saba - La Temps Passe (3:58)

06. Saba - Manta (4:30)

07. Saba - Yenne Yenne (3:32)

08. Saba - Furah (4:34)

09. Saba - Je Suis Petite (3:10)

10. Saba - Boqoroda Meskin (3:15)

11. Saba - Melissa (4:07)

12. Saba - Huwaiahuwa (1:41)

Melaku Tegene - Ambassel Tewesta Instrumental, Vol. 4 [2017] [ethiopia]

Melaku Tegegne - Mela Tistegn

Melaku Tegene - 01 - Yenate Weleta (6:11)

Melaku Tegene - 02 - Eyekesekesegn (6:40)

Melaku Tegene - 03 - Addis Fikir (5:11)

Melaku Tegene - 04 - Ezam Ezam (5:38)

Melaku Tegene - 05 - Men Bedelkut (5:28)

Melaku Tegene - 06 - Mech Begenzeb (5:28)

Melaku Tegene - 07 - Fikrun Belebe (5:42)

Melaku Tegene - 08 - Amrobetal (7:06)

Melaku Tegene - 09 - Kentu Sega (6:35)

Melaku Tegene - 10 - Sekeken New (4:29)

Melaku Tegene - 11 - Aywetagnem Kefu Neger (7:11)

Woubeshet Feseha / Wubshet Fisseha - unknown album [1984] [ethiopia]

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Original source : Awesome Tapes from Africa

       Great ethiopian groove !!! 

     1976 is the release date in the Ethiopian calendar; that makes it 1984 in the Gregorian calendar.

Shewankochew, Shibabaw, Egziabher - Love songs from Ethiopia [1997]

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   Christian Ethiopians living in the central north: the Tigre, Amhara, Gojjam, Begemdir and Simen, and the Shewa; the rest of the country, the plateau to the south, is occupied by the Galla tribes. The western frontiers of the country are populated by the Shanqella, the east is dominated by Moslem peoples (the Danakil, Issa and Somali), and the south by various populations regrouped under the term Gurage.

   The musical traditions of Ethiopia reflect this diversity: Christian religious music, sung and danced by priests accompanied by drums and sistrums; the Jewish religious music of the Beta Israel ; the secular music of the Amhara and Tigre Christians; the religious and secular music of the Galla Moslems; and the innumerable vocal and instrumental forms of the southern populations. These traditions are not isolated, and they have tended to mutually influence each other.

   Parallel to the classical poetry which sung at court or in the halls of the lords, a more colorful tradition developed, namely that of the azmari minstrels. This poetry in a more simple style is sung in Amharic or in Tigre.
The verses, often improvised or suggested by others, in which may be found abundance of metaphors and double meaning, but also irony and sarcasm, are most often accompanied on the masinqo bowed lute.

   The voice, used in service to the texts, is displayed over a relatively wide range. Ornamentation and vibrato, voice timbre which becomes brassy in dramatic moments, the use of pentatonic scales: all these techniques clearly illustrate the relationship of this music to the Nilotic world. In addition, a strong and very ancient influence of Arabic culture is detectable, especially obvious in the occurrence of non-tempered intervals.

                        Fantahun Shewankochew - vocals and krar lyra

                        Ejigayehu "Gigi" Shibabaw - vocals

                        Wores G. Egziabher - masinqo bowed lute & vocals

                                             

  front cover

                                              

back cover

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Ejigayehu 'Gigi' Shibabaw - One Ethiopia [2000]

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01. Gigi Shibabaw - Ande Ethiopia (6:42)
02. Gigi Shibabaw - Eeske Meche (6:37)
03. Gigi Shibabaw - Na (6:38)
04. Gigi Shibabaw - Salayew (5:46)
05. Gigi Shibabaw - Gera Geru (6:09)
06. Gigi Shibabaw - Abo Shemane (5:31)
07. Gigi Shibabaw - Adey Abeba (6:26)
08. Gigi Shibabaw - Gela (6:47)
09. Gigi Shibabaw - Kwass Media (6:04)
10. Gigi Shibabaw - Amnalehu (6:37)