Originaly posted on Awesome Tapes from Africa >here
This 1992 recording (1986 in Ethiopian calendar) is an awesome tape. I've had a YouTube crush on the music of Eritrean legend Yemane G/Michael (aka Yemane Baria, Yemane Barya, etc) for a while and this mostly-acoustic recording is completely bringing me back to a recent trip to Tigray, Ethiopia. The region neighbors Eritrea, and shares a language and musical vibe. I dug this tape up from deep in the stash months ago but didn't really get into it until now. Pentatonic strings and keyboard join the vocal melodies, dancing up and down in a lovely lilt. Amidst the quintessential [ka-dunk] rhythm that is characteristic of a lot of Tigrinya folk music I heard around the Eritrean border, this tape stands out: minimally arranged, urgent, beautiful.
recorded live @ 17ème Rencontre Internationale de la Clarinette Populaire, Glomel, France, may 7, 2005.
A musical meeting between Yanna Badume's Band and virtuoso clarinetist of Ethiopia Aklilu Zewdie (director of Yared School, National School of Music at the University of Addis Ababa).
Aklilu Zewdie
Want to find Poullaouen Glomel and the atmosphere of warm nights in Addis Ababa 70's, when fantastic crooners bewitched girls with languid melodies
Wild! Pulsating! This afro-latin jazz album of Mulatu and His Quintet is an unique and exciting mixture of three cultures: Ethiopian, Puerto Rican and American! During the session, featuring Felix Torres and John Perez on percussions, Mulatu masterfully jumps from vibes to piano to drums. This album is one you will always treasure!
Ethiopian sounds with a twist
By Bill Beuttler, Globe Correspondent
November 5, 2004
It's been decades since Mulatu Astatke has performed his so-called Ethio Jazz in the United States, back when he toured and recorded in the 1960s with his Ethiopian Quintet. But the arranger-composer will be doing so again Wednesday in Arlington at the Regent Theatre, in the first of three concerts with the Either/Orchestra.
A fusion of the traditional music of Mulatu's native Ethiopia and the jazz and Latin influences he picked up as a student in London and Boston in the late 1950s and early '60s, Ethio Jazz enjoyed its short, largely unnoticed heyday between Mulatu's return to Ethiopia from New York in 1968 and the rise of the Marxist dictatorship there in 1974, after which the recording industry in that country remained shuttered for years.
By then, Mulatu had become a major figure in Ethiopian music. He had done so by bringing home and introducing such Western instruments as a Hammond organ, vibes, congas, and timbales, and, more important, by adapting to traditional Ethiopian melodies the composing and arranging skills he had studied under Herb Pomeroy and others during a short stretch at the Berklee College of Music.
Miles Davis, John Coltrane, and others were experimenting with modal jazz at the time Mulatu was studying jazz, and that and other influences shaped his Ethio Jazz.
''I still listen a lot to Gil Evans," says Mulatu by phone from his son's home in northern Virginia, recalling the musicians who affected him most in those seminal years. ''I love George Shearing very much -- I like his changes, I like his approach to his 12-tone music. I was listening a lot to Randy Weston. Coltrane I was listening to a lot. And Miles. Those are the people who really influenced me."
Mulatu's main challenge in combining traditional Ethiopian music with jazz, he says, involved integrating the pentatonic-scale-based melodies of Ethiopia with the 12 tones on which Western music is based. The result, to Western ears, has an eerie, exotic, almost trancelike feel to it, coupled with more familiar jazz, Latin, and soul rhythms and harmonies.
''Whatever you do," Mulatu says, ''if you touch the melody, then the whole thing's going to be changed. So the only thing you have to do to make this music interesting is to really work on the harmonic side of it. So I really worked on what I studied -- nice arrangements and nice voicings and nice soloing."
Mulatu's recorded output has, of course, been sparse. Still, it was recordings that serendipitously brought him together with the Either/Orchestra this past January, when the E/O capped off a two-week tour of the country by becoming the first non-Ethiopian band to perform at the annual Ethiopian Music Festival in Addis Ababa.
Russ Gershon, Either/Orchestra's leader, became smitten with Ethiopian music after acquiring several CDs from the French producer Francis Falceto's ''Ethiopiques" series, which included Mulatu work from the early '70s.
Gershon went on to include arrangements of Ethiopian tunes on the E/O CDs ''More Beautiful Than Death" and ''Afro-Cubism." Those got noticed by Falceto and led to an E/O appearance in Addis Ababa. (The E/O's live festival performances with various Ethiopian musicians, including Mulatu, will make up volume 21 or 22 of the ''Ethiopiques" series, says Gershon, and probably be released this spring.)
''There's not that long tradition of high-level jazz playing that they're coming out of," Gershon says of the Ethiopian instrumentalists he heard on disc, ''so there's a sort of simplicity to the playing that I really like. . . . It's sort of all vibe, all feeling, coming through relatively simple technique."
For his part, Mulatu, whose main performing instruments are vibraphone, piano, and percussion, is delighted after all these years to work with American musicians who combine high-caliber chops and a genuine affinity for his music.
''They feel this music," he says, ''and they really play it so nice."
Minyeshu Kifle Tedla was born in the city of Dire Dawa in the east of Ethiopia. During her childhood she moved to Addis Ababa and at the age of 17 she joined the leading ‘National Theatre’ of Ethiopia. Here she developed her artistic multi talents as a singer, dancer, producer and choreographer. With the crème de la crème of the Ethiopian music scene she toured the world around - within 4 month over more than 35 countries - and performed at the greatest Ethiopian music and dance production ever: ‘People to People’.
She joined the stage with famous Ethiopian musical icons such as Mulatu Astatke and singers Mahmoud Ahmed, Tilahun Gessesse, Bizunesh Bekele and many more. To widespread her wings as an artistic multi talent she performed in Ethiopian cinema as well, playing a leading role as an actress in the movie ‘Senait’
Clashing Egos successfully blend the sound of Mo' Wax-like trip hop grooves and exotic sounds with the voices of Darryll-Ann frontman Jelle Paulusma, British singer Kirsty Hawkshaw and Ethiopian vocalist Minyeshu Kifle.
Especially the latter does an impressive performance on the melancholic Afro tune 'Aminjig Nebere (I Trusted You)'. The album reveals itself as a steady grower, so don't trust your initial judgment and certainly use a headset when listening to it because it's truly a sound experrience. "We wanted to make a beautiful album’. It’s much more than just that, it's electronic soulmusic for the 21st century.
Mulatu Astatke is one of Ethiopia's major musicians. In the late 1950s, he travelled to London, and later Boston and New York, absorbing jazz and Latin music, recording several LPs (one of which, Mulatu of Ethiopia, has become a legend among DJs in recent years), and eventually bringing both modern jazz and Latin influences and specific instruments back home to Addis Ababa. On piano, organ, vibes and percussion, with his arrangements and compositions, and as an agent provocateur, he became a pivotal figure in a great era of Ethiopian pop and jazz, from 1968 to 1974. To this day, he remains a ubiquitous presence in the Ethiopian music scene, as club owner, music school founder, radio DJ, composer, arranger and instrumentalist.
The Either/Orchestra is among the longest running and most important large ensembles in jazz. Since 1985, under the direction of founding saxophonist/composer Russ Gershon, the ten-piece group has traversed the history and stylistic range of jazz to make great music out of unexpected connections between styles and approaches to music. Like the late Art Blakey's Jazz Messengers, the E/O has been a kind of graduate school of jazz, whose alumni include John Medeski, Matt Wilson, Josh Roseman and Miguel Zenon, among dozens of other significant players.
In 1997, inspired by the work of Mulatu Astatke among others, the E/O began playing their own arrangements of Ethiopian popular music, which garnered them an appearance at the Ethiopian Music Festival in Addis Ababa in January 2004, the first Americans ever invited. In Addis, the group met Mulatu and invited him to play on their concert, with results that surprised and delighted the audience and critics. Since that time, the E/O and Mulatu have performed together in the UK, Holland, Sweden, Finland, Germany, Canada and the US.
1. Either Orchestra & Mulatu Astatke - I [Soul song] (10:29) 2. Either Orchestra & Mulatu Astatke - talk (0:57)
3. Either Orchestra & Mulatu Astatke - II [Yekermo Sew/Gubelye/YegelleTezeta ] (20:14)
4. Either Orchestra & Mulatu Astatke - talk (0:50) 5. Either Orchestra & Mulatu Astatke - III [Yekatit] (8:32)
6. Either Orchestra & Mulatu Astatke - IV [I Faram Gami I Faram] (7:05)
7. Either Orchestra & Mulatu Astatke - V [Yezamed Yebaed] (2:00)
R E U P L O A D Wudasse was born out of the desire of three Ethiopian musicians to express the beauty and grace of Ethiopian music through the language of Jazz. This first offering is unique in several ways. For one, the all the songs on the album were recorded in front of a live audience, which is a rarity in Ethiopian music circles. And then there is the make up of the band, three Ethiopians and two American musicians, brought together by circumstance and their love of music, doing their best to create music they love even under the roughest of circumstances.
So how did it all begin? Well, four years ago Teferi (drums) visits Jorga (saxophone) in Atlanta to attend Fasilâs (bass) wedding. While staying at Jorgaâs house, the two rent a drum set and start experimenting and jamming on Ethiopian rhythms and scales. In fact, it turned out that both Jorga and Teferi had similar ideas on how to respectfully adapt Ethiopian scales and rhythms to fit into a Jazz context. Teferi goes back to California, and Fasil and Jorga start performing together in local clubs. Two years later, Teferi joins them in Atlanta and Wudasse was born.
Much can also be said about the music creation process. Each band member was equally responsible for the final sound and feel of each song. In fact, most of the songs were arranged with minimal conversation and direction, and all the songs evolved while being repeatedly performed around several Atlanta jazz clubs. Although a lot can be said about each piece on the album, we think the Tigrinya based âaba gerima"deserves special attention. The song starts with Jorga on the keyboard imitating the sounds of the Embilta, a long thin horn that can only produce a few notes. In the Tigray region of Ethiopia, the Embilta is played in an ensemble format by three or more players. Each player is responsible for two or three notes, and therefore has to really listen to his partners to create on cohesive melodic idea. What you hear at the beginning of the song is the keyboard trying to create that infectious Embilta vibe. This vibe is present through out the music true to the original Embilta playing style of the Tigray people. The rhythm played by Teferi on the drums demonstrates the kind of respect and study he has dedicated to Ethiopian rhythms. Teferi respectfully transfers the Guayla rhythm to the modern drum set while at the same time keeping a killer grove underneath the Embilta. And then there is Fasil who is anchoring the whole thing down with his deep grooves. However the song is not complete without Dale Saunders playing the mournful yet meditative melody on his guitar, and Asa (the fish) adding the finishing touches to the rhythm on percussion. Now imagine the song being developed without any conversation or direction from anyone. It is true! It can be said that the song was waiting to be born and all it needed was for the five Wudasse members to be midwives.
The other songs are as equally fascinating. "Ete mete" represents the children song which naturally modulates rhythmically from 6/8 to 7/4. âmegemeriaâ starts with a slow grove that builds to represent the best of Ethiopian jazz-rock-fusion. âdeleqaâ is an experiment in approaching the 6/8 Chikchika rhythm in 7/4 time. But this might not mean much to all the non-musician music lovers who wouldnât care less is the song was in 6/2 or 7/8 as long as it grooves hard the touches the soul.
We hope you enjoy listening to the music as much as we enjoyed creating it. We thank the Master Creator for the universe and all that is in it. We would like to thank all our families for the love and sacrifice they paid for our love (and sometimes obsession) for music. We thank Queen of Sheba Restaurant in Atlanta, Georgia for supporting the band and its music for an entire year, even when the band members on stage out numbered the number of people in the audience. We thank the Five Spots Club in Little Five Points, Atlanta for offering us such a great performing space and for giving us these priceless recordings of our bands sound. And we thank you for buying this CD and supporting Ethiopian musicians and Ethiopian music.
dub Addis was born in Durham, North Carolina in 1994 from two Ethiopians, Dereje Tesfaye and Fresew Taye, under the mentorship of Bassie Kangudi from Kinshasa, Congo. In 1995 dub Addis expanded adding Vernon “Aessay” Perry Jr. and Bashier Shakur, African diasporees living in NC. This group became African Children. After performing as African Children around the east coast of U.S., in June 1999, dub Addis departed to Austin TX.
dub Addis - Stay strong
They continued their musical journey with Chris Toms on drum, Aessay and Ras Jorje from Cuba on bass, Asa Savage from Corpus Cristy, TX on lead guitar, Ann Savage from the Philippines on flute, Kuchingo from Brazil on percussion, IdowuAdwale from Nigeria on rhythm guitar, and Johan Dentant from Belgium on alto sax. They've touched Austin, Houston, Dallas, and San Antonio, TX with their international sound.
In June 2001, dub Addis returned to their home base in Durham, NC and were joined by North Carolinia reggae-phile Tre "Sost" Tomson on bass. After performing as a trio for few year, dub Addis added horn section and rhythm guitar.
Currently dub Addis features : Dereje Tesfaye - lead vocal and keys, Jae Fields on trumpet, vocals and keys, Serena Wilie on saxophone and vocals, Ricardo James on trumpet and vocals Dean Irwin on bass and Kenneth Joseph on drums.
01. Dub Addis - Yes I (3:52) 02. Dub Addis - And Enat (Mother of All) (5:53) 03. Dub Addis - Ethio-Vibe (8:03) 04. Dub Addis - No Pain (2:57) 05. Dub Addis - Asio (5:35) 06. Dub Addis - Social Justice (5:04) 07. Dub Addis - Addisu (7:58) 08. Dub Addis - Dar Eskedar (4:22) 09. Dub Addis - Gun Shot (4:20) 10. Dub Addis - Yes I Dub (3:37) "We are dedicated to writing our own material and determined to bring a positive sound to the masses..Our songs vary from traditional Ethiopian rhythms to Roots Reggae." - Dereje
This, Hana’s debut album, displays this exciting young artist at her best. Backed by the Admas band, it is easy to see why many people believe she is destined for stardom in Ethiopian music. Hana performs regularly in nightclubs and venues across the country.
01. Hana Shenkute - Hana - 01 - Demam Ayehu Wello (5:38)
02. Hana Shenkute - Hana - 02 - Endashah (6:42)
03. Hana Shenkute - Hana - 03 - Tefagne Bilihatu (6:36)
04. Hana Shenkute - Hana - 04 - Minew Minew (5:19)
05. Hana Shenkute - Hana - 05 - Hode Ba-Le-Abisho (5:51)
06. Hana Shenkute - Hana - 06 - Ye-Za Ba-Le-Mwal (6:19)
07. Hana Shenkute - Hana - 07 - Sintun Ayechebeh (6:07)
08. Hana Shenkute - Hana - 08 - Addis Fikir (5:48)
09. Hana Shenkute - Hana - 09 - Wede Ruke Ager (5:47)
10. Hana Shenkute - Hana - 10 - Be-Ayonoche Shegnehut (4:12)
Eritrea's got pop !!! And it comes from Lula Band.
This is one of my favorite afro-pop albums. Like previous post, I don't know much about Lula Band ... I discovered their music by soulseek sharing program few years ago.
If you have more information about this band, send me an e-mail and I will post it here. Thanx in advance !!!
