Most people are familiar with the Ethiopian music of the ‘golden seventies’. The great CD-series of ‘Ethiopiques’ focuses on this remarkable period of truly amazing and rich music. The era of the big brass bands came to an end in the period of the ‘Derg’, the military government in Ethiopia from 1975 till 1991. After that, the scene seemed confused.
Many great musicians were forced into exile or passed away. The horns mostly disappeared and were replaced by cheap keyboards everywhere. Awful bombastic overproduced ‘plastic’ pop productions flooded the market. Synthesisers, vocoders, drummachines and hasty productions that all sound alike.
But in the last few years something new is emerging. Young producers have started combining traditional rhythms and strong dance beat production. The result is very original, uplifting and very danceable music. The gurage, wollo, gondar, oromo and other traditional rhythms work wonders for this new dance music. And the Ethiopian youth loves it. It can be heard not only in the hip areas like Bole, but all over Addis and other Ethiopian urban areas. Blasting from restaurants, taxi’s, coffeeplaces, grocerystores and Addis’ giant market, the Mercato.
The ‘Ililta’ CD is a compilation of this new Ethiopian dance music, recorded with a new generation of singers over the last decade. A cross-selection of the production work of Mesele Asmamaw and some of his close colleges.
Tlahoun Gésséssé is widely regarded as the "Voice" of Ethiopia. Born in 1940, his singing and recording career began in the 1950's until his recent death earlier in 2009. As many followers of the Ethiopiques series will know, the incredible 17th installment is dedicated to Tlahoun, largely featuring arrangements by Mulatu Astatke and a selection of the country's finest ensembles. This record is essentially another "Best Of..", featuring a selection of tracks taken from the 60's & 70's golden period of Ethiopian music, when Tlahoun's tenor was recognised as the best around, playing to Haile Selassie I on numerous occasions.
It's standard practice in any country for the most celebrated singers to receive backing from the best players they can offer and Tlahoun worked with the top musicians in Ethiopia. His powerful vocals are well matched by blazing funk, heartfelt soul and superb Ethiopian rhythms, that still sound as fiery and impassioned today as we can only imagine they did back then. The hot and hazy swing of 'Kulun Mankwalesh' or the steaming funk of 'Aykedashem Lebé' show Tlahoun's diversity and range perfectly and are worth the price of admission alone. If you dig any of the Ethiopiques series or Sublime Frequencies Group Doueh this is an absolute must.
Ali Birra (born September 29, 1947) is a famous Oromo singer, composer, poet and nationalist. He was born in Ganda Kore village in the city of Dire Dawa, Ethiopia.
Ali Birra - [1992] - Sin Afán
Ali Birra - [1998] - Hin Yaadin
Ali Birra - [2005] - Jaalala Biyyaa
Ali Birra - [2005] - Remix
Ali Birra - [2009] - Falmi Mirga Keetiif & Barnoota
Born in 1965 in Addis-Abeba, Betsat Seyoum Abrha began in 1985 in a couple of the many bars in the capital before opening her own cabaret in 1990, which has now become one of the most popular in Addis. She aspires to the glory of the modern pioneers of Ethiopian music who play with synthesizers, saxophones, and rhythm boxes, while remaining faithful to the essence of the azmari art.
In opposition to Betsat who has not inherited her gift from any family member, Abbebe Fekade comes from a long line of azmaris from the Gondar region, one that has always been the source of a large portion of the country's musicians. He acknowledges his longing for "modernity", but he also knows how to express all the admiration that he holds for the venerable and venerated azmaris like Yirga Dubale and Bahru Qenie.
In Ethiopian musical tradition, an azmari is a wandering entertainer, a minstrel, or a travelling troubadour who crisscrosses through the Christian regions of the country with his voice and instrument. He is the priviledged vector of popular music and is as fundamental in Ethiopian society as are the griot in Mandingo countries or the lautar in Moldo-Valachia.
Tilaye Gebretook music lesson in a music school affiliated to the Ethiopian National Theatre. He was later employed by the National Theatre where he served as a singer, Song writer, music arranger and Saxophone player in the Dewitt Band, the band for modern music in the National Theatre. He also worked in The Venus Band, The Equator Band and The Dahlak Band as a music arranger and saxophone player. He went to America with The Walias Band and he settled there. He was among the musicians who accompanied such great names like Ephrem Tamiru, Aster Aweke, Tilahun Gessesse and others. Tilaye is also known to have played instrumental music using tenor sax and alto sax as well as flute.
Tilaye Gebre also stakes his claim to the jazz idiom. His Endless Dream (Shakisso Music Productions 001, 1995) wouldn't be out of place on one of those "Smooth Jazz" radio stations, with it seamless blend of synthesizer and saxophone, but I love it nonetheless - Gebre's just too talented a musician. Here is his only album, so far :
Melkamu Tebeje are one of Ethiopia’s history-making singers who have been able to contribute, in his own unique ways, to the Ethiopian cultural and artistic renaissance.
He was born in Sidamo region in Ethiopia in 1946. Melkamu has written and produced over 200 songs over the course of 30 years. He is famous for a song called "Awassa, Langano"
Here is his live recording, unfortunately without tags.
Kuku Sebsebe (surname also spelled Sebsibe) is an Ethiopian popular singer. She lived in the Washington, DC, area of the United States for many years but moved back to Ethiopia c. 2003. She generally performs with synthesizer and drum machine accompaniment, occasionally with the addition of traditional instruments such as the krar or other instruments such as the electric guitar. While she uses modern instruments and harmonies, her vocal style is essentially traditional, using modes such as tezeta.
Kuku was born on December, 8th in Addis Ababa, Ethiopia. She spent a majority of her education at Nazareth school and graduated from American Mission. Kuku’s interest in music sprouted from a very young age. Since the age of nine, she used to entertain her classmates by mimicking all the popular artists of both Amharic and English music by using her lunch box as a drum. Her passion and love for music was nourished by her father, Dejazmach Sebsebe Shiberu’s jam sessions at their home and his musical/peptic background.
At the age 15, Kuku presented her father’s own property [as well as collections of other verses] to her favorite singer Muluken Melesse. The first time she performed on stage with was at her graduation party at Hilton hotel. Her classmates accustomed to her caroling pushed her on stage and set her way for a career in music. This musical act led her to work both with Ibex and Wallias band. She worked with Ibex band at Ras hotel for short time and went on to be the first female singer to perform at Hilton hotel with Wallias band appearing 5 days a week.
Shortly after her first gig, Kuku then joined Roha band at Ghion hotel, becoming the first vocalist of the group, and recorded her first hit single “Ingidayenesh’’ with Alemayehu Eshete.
Because of the poplarity of the song she continued to recite her debut album with Roha band titled “ Fikreh beretabegne”. She also charmed her fans at villa Verde restaurant [one of the best place at the time] where she performed with Melesse Gesesse on the piano. She released her second album “ Ajere meweded” and first video clip on ETV that showcased the famous Kuku style braids. She began to perform concerts, as her fan base was growing, both nationally and internationally. In Ethiopia she showed regularly at cinema Ras in Merkato and also in Nazareth, both with Roha band. Her biggest fan that was known by all was the cake man that used to go to all her shows and always brought the celebrity a personalized cake to wish her a good luck.
Her first international concert was at Djibouti Sheraton with Roha band where they performed along the red sea with the best view of the ocean. Shortly after, she put a show at the Sana Sheraton in Yemen, with Ethio Star Band. Her fans were so excited by her appearance, they showered her with gifts of gold and money as a customary sign of respect and to show their love and honor for the musical icon. A gesture Kuku keeps in her memories and thanks all of her fans for their hospitality. She also showed in Abu Dhabi and Dubai with Roha band. During her time as an emerging artist, Kuku performed alongside with Mahmud Ahmad, Tekele Tsefazgi, Ali birra, Levont fondanchi and Mengesha Getahun.
In late 1980’s, Kuku made her move to United States. She performed her first U.S concert at Hayatt Regency in 1988 and brought the house down for her Ethiopian fans outside of their home land. She began performing in all major cities in the U.S mainly with Teddy Mekonnen. She also began her first international tour all over major European cities. Settling down in DC/VA area, she began to sing at Meskerem restaurant with Teddy Mak on the keyboard. With Teddy she released her “ Ethiopia” album following by “Gize “ with Abegaz Kibrework. Kuku then took a hiatus from her singing career to be a mother, giving birth to her son Caleb, in 1996.
Kuku moved her family back to Ethiopia in 2002 and immediately recorded her album “Gize setegne” with Elias Melka and most recently the “Tizita” album with Express band.
The “Tizita” album is one Kuku holds dear to her heart and looked forward to recording most, eager to celebrate ballads of past era. Most recently she has performed in many cities in Europe, the Middle East, South Africa, Bahirdar, Gambella and Hawassa. Locally she has worked at night at Frank Addis, Indigo, Harrar Mesob, Weregenu, Harlam jazz, Fahrenheit club and is now crooning at Jazz Amba, the newly renovated Taitu hotel. She recently released her dynamic new album “ Chalkubet”, which was arranged and mixed by Abiy Arka and contained 15 songs. Kuku sings of the eternal power of time in being capable in living with people by managing a relation and its effect on life and the world around us. She has mingled flashy contemporary grooves and traditional Ethiopian flavors to lead as a journey in “Chalkubet”.
Ethiopian singer Eténèsh Wassié previously appeared with the French jazz group Le Tigre des Plantanes on the album "Ethiosonic”. Here she is only accompanied by le Tigre’s acoustic bass player Mathieu Sourisseau, with very occasional contributions from guest instrumentalists, and the result is a stark contrast in sound.
The complicity between Etenesh’s untamed voice and Mathieu’s shifting chords create an intimate musical experience with plenty of open spaces for improvisation while the Ethiopian repertoire is subtly coloured by Western musical influences
Eténèsh Wassié - vocals
Eténèsh is an adventurer. With an outstanding personality, she is ready to embark on the wildest projects. She was born in Gonder in 1971 and discovered very early she had a voice. Although she has established herself with her three-piece suits, her humor and her sharp sense of the joke , Etenesh has always had a special place in the azmari area. In Ethiopia, azmari tradition, these "griots" of East Africa, is very strong and is part of daily life. She began her career in the early 90s in "azmaribèts", these kind of cabarets, accompanied by messenqo players (one string violin) and kebero (percussion), she keeps the tradition alive in vocal improvisations rich in double meaning "sem-enna-wèrq" (the famous national intellectual sport!). Quickly invited by several Ethiopian musicians with whom she collaborated on stage or on disc, Etenesh gradually frees herself and joins the network of artists outside the mainstream. Francis Falceto, big fan of those azmaribèts and editor of the series "Ethiopiques", discovered Etenesh and felt in love with her unique voice and her charisma. He invited her to several European tours between 2000 and 2005 with musicians, singers and dancers for "Cabaret Ethiopian" tours (Banlieues Bleues, Tribu Festival, Châteauvallon ...). Then in 2007, he suggested her to join le Tigre des Platanes. Since she is touring internationally several times a year. “Eyes half shut, Eténèsh lets her voice guide her where it takes her (takes us), thrilling, digging, colossal little sister of such a Piaf and a Billie Holiday. But the register of tears wouldn’t be enough for her, and she might as well, without warning, hasten the tempo after a ballade we would have wished endless.”
Mathieu Sourisseau – acoustic bass
Mathieu is first of all guitarist, sousaphonist autodidact, Mathieu is currently exploring the possibilities of the bass because ... it's like a condensed version of both. Mathieu Sourisseau is a longtime companion of saxophonist Marc Démereau, with who he is associated for several projects : sousaphone in La Friture Moderne, fanfare de luxe. It's with le Tigre des Platanes - cheeky quartet in which he plays the acoustic bass - he felt in love with the voice of Etenesh Wassie. Mathieu also works with Didier Kovarsky in les Oiseaux. He worked also with Benoit-Bonnemaison Fitte for an acoustic guitar solo accompanied by super eight films: la Maison, Souris, created at the request of Jean-Pierre Layrac for the opening of the season 2004/2005 of Un Pavé dans le Jazz.
The Ari are highland farmers from the northwest corner of Ethiopia, and their community songs are simply remarkable. Making use of the full range of possibilities in the human voice by varying registers, timbres, and vowel resonance, they weave two or more countermelodies into grand polyphonies that are startling in their intricate, endlessly unfolding patterns. Occasionally accompanied by handclaps, tambourines, zithers, or flutes, it is difficult to not think of tape loops or synthesizers while listening to these 20 tracks, but it is human voices making this joyous, eerie music. The use of flutes here is also interesting, since generally there are two flutes moving in staggered melodies against and across each other, at times managing to sound somewhat like a wheezing calliope. Scholars and ethnomusicologists will undoubtedly get the greatest use from this disc, but it is stirring and strange enough to intrigue the casual listener as well. ~ Steve Leggett
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