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.
R E U P L O A D Moges Habte was member of the school band at the Kokebe Tsbah Haile Sellasie primary school. He later joined the St.Yared Music School and studied music. He used to play saxophone at the Zula night club. Moges and his friends later set up the Walias Band, which regularly played at the Hilton and Wabe Shebele hotel. Moges had a big role in the production of Hailu Mergia’s instrumental. He as well toured America with the Walias Band in 1980 and never came back. He established himself in America and besides accompanying famous singers. Moges had released albums of instrumental music.
Moges Habte's talent is well known to many avid listeners of Ethio Jazz. For those who may not know, however, Moges is an amazing saxophone player whose musical roots date back to the fourth grade at Kokebe Tsibah Haile Selassie Day School and the Yared School of Music. After studying music for years and performing in some of Ethiopia's best marching bands, Moges began playing in nightclubs.
In the 1970s, Moges and other musicians formed the Walias Band -- a group whose music is highly sought after by music collectors 30 years later! (One Walias LP sold for US$120 a few years ago!!!) In "Kalen Alatefewm," a hit originally popularized by Mulatu Astatke and Teshome Mitiku, Moges seduces and hypnotizes you with his saxophone -- seamlessly blending Ethiopian melodies with jazz elements to create what I believe is a masterpiece! The percussion by Mikias Abebayehu perfectly reinforces Moges' playing while showing restraint so as to not overwhelm either Moges or keyboard playing by Brihane Kidan.
I can guarantee you will not be disappointed!!! Moges' interpretation of "Musicawe Silt," a timeless composition by Girma Beyene and made famous by the Walias Band, is amazing for what it is and for what it is not. Once again, Moges' saxophone playing is phenomenal!!! The Ethiopian melodies are given an update -- the playing is less funky and much more.
Entire contet of this page is taken from Tumblr webpageof guy named DJ Mitmitta, or Kidus Berhanu or Vemund Hareide as he is titled in his Norwegian passport, and this blog post(from december 2013).
He is true archaelogist of ethiopian vinyl and cassette releases and his devotion to rare ethiopian music is unique.
DJ Mitmitta
Curiosity and frustration can take you far. It has for Kidus Berhanu. Better known as DJ Mitmitta or Vemund Hareide as he is titled in his Norwegian passport, these virtues have taken him all the way from Oslo to the Ethiopian countryside. For Kidus, it all started with a frustration with the uniformity of Western music. A frustration that fed his curiosity to discover the yet undiscovered musical treasures of Ethiopia and led to a commitment to archive and spread the joy of Ethiopian music. This has since materialized in countless travels across the country to collect cassettes with traditional Ethiopian music and the Ethiojazz of the 60s and 70s, and in the founding of Mitmitta Music Shop in 2010 (The shop is currently closed but Kidus is hoping to reopen in a few months at a new location in town.)
This is a journey not unlike others. Awesome Tapes’ Brian Shimkovitz, Sahels Sounds’ Christopher Kirkley and labels such as Soundway, Analog Africa and Sublime Frequencies have embarked on similar voyages. But what distinguish the musical odyssey of Kidus is not only its East African focus. It is also its material character and the focus on the local market opposed to international distribution. For Kidus, the modus operandi has not been spreading the music through a blog nor through reissuing old vinyl records. Not yet. The approach has instead been one of collecting, cataloguing and digitalizing.
The Archaeology of Cassettes
More than anything, Kidus’ project is an endeavor into musical archaeology and ethnography. And it’s a project focused on and redeemed through tapes (his cassette collection now numbers more than a thousand different Ethiopian tapes). As he explains: “Vinyl is hyped. And tapes are still a popular format. In Ethiopia, a lot of the good old music was never issued on vinyl or on CD.” However, the predominance of cassettes also makes Kidus’ point to one of several caveats in the music industry and to an irony in his own project. Because while the cassette is his preferred format, it was exactly the spread of the cassette in the late 70’s and onwards that exterminated numerous record labels in Ethiopia and on the rest of continent and gave way for cheaper productions and musicians being replaced by a single synthesizer.
In Ethiopia, the record producers and music shop owners could buy one master tape and then easily duplicate this via cheap blank tapes. An early form of musical piracy that resulted in low quality recordings, unduly low prices and a situation where great Ethiopian artists such as Tilahun Gessesse or Mahmoud Ahmed received only a one-off payment and no benefits of potential future distributions. This however can possibly change with the introduction of a new copyright law in Ethiopia in 2010 that led to many music-shop owners being jailed for copying music for piracy purposes.
Ethiopian Music as off-limit for Ethiopians
Another and somewhat bizarre consequence of the functioning of the Ethiopian music industry prior to the 2010 copyright legislation is that today only very few Ethiopians have access to legal copies of the old Ethiopian recordings. Alemayehu Eshete, Muluken Mellese, Getachew Kassa and other of the artist that have become globally renowned through the Ethiopiques series are simply not legally accessible for the majority of Ethiopians.
Kidus is hoping this will change. He spends lots of time nagging the distributors to re-distribute their old releases, trying to convince them that these records will sell again. The problem is often that the covers are out of print and to make it profitable for distributors they would need to reprint at least 1-2000 covers. But his mission of making Ethiopian music available for both the foreign and the Ethiopian music audience does not stop here. He will soon be releasing a recording of Amharic wedding music from 1973 on both cassette AND vinyl. At the same time he dreams of expanding the geographical focus of his work by collecting, sustaining and distributing old Eritrean, Somali and Sudanese music.
Aster Aweke & Wubishet Fisseha
The Regionalization of Ethiopian music
While music from the rest of Africa has a strong appeal to Kidus, there is and will probably never be something quite like the tunes of Ethiopia for him. After spending part of his childhood in Ethiopia, he returned to Addis briefly as a teenager. The past few years he has spent travelling back and forth between Norway and Ethiopia, between studies, work and cassette hunting. He now spends most of his time in Ethiopia and is fluent in Amharic, the official Ethiopian language. His fascination of Ethiopian music has several roots, as he describes: “The Ethiopians really value their music and even today Ethiopian music is closely linked to the cultural traditions of the country. In addition, the great variation in the music of Ethiopia’s different regions really appeals to me.”
The vast regional difference in Ethiopian musical tradition is something that also poses a challenge to his ethno-musical investigations. The best music of Tigray or Oromiya is not found in Addis but in the music shops in provincial Ethiopia. Kidus highlights the Tzeta music shop in Dessie and the Negarit shop in Dire Dawa as the best music shops outside and the places to find respectively old Tigray, Amhara and Oromo music. He further explains the initial reception of the old music shop owners when a young pale Scandinavian walks into their domain and asks for cassettes with old – and for many Ethiopian also forgotten – artists: “At first they are quite suspicious. But quickly suspicion turns into excitement and appreciation. Mutual appreciation of and gratitude for a joint effort to preserve an important heritage.”
The Faranji Connoisseur
Many of these grand old men of Ethiopian music – collectors, producers and music shop owners – have since become close friends of Kidus. And Kidus himself has become a renowned connoisseur of Ethiopian music. The go-to-guy for advice and expertise on the music and the music scene of Ethiopia. A position very few faranjis (meaning foreigners in Amharic) can credibly claim. And not an easy position to achieve taking into consideration the relative isolation of Ethiopia and its music during the past century. Nevertheless, Kidus still sees himself as a foreigner in Ethiopia and its music industry and he is aware of the challenges that this poses to him.
Although the emphasis in Kidus’ efforts has mainly on the Ethiopian artists of the past, he has also witnessed on first-hand the changes in the contemporary music scene in Addis (link to Jazzamba article). Changes of both the encouraging and less positive kind. The revival of Ethiojazz has led to an explosion of live music in Addis the last few years: “All clubs want their own band now and there is a lot of talent out there, which is good. Unfortunately, many of the new bands are afraid of experimenting. This is also the case for many of the European or American bands that have started playing Ethiojazz. Many of them are simply trying to copy the success of Mulatu Astatke.”
Umar Suleeyman
There are of course exemptions to this trend and Kidus points to the Nubian Arc as one of the most experimental and forward-looking bands around (see further recommendations from Kidus below).
Kidus concludes by highlighting a more remarkable effect of the renewed interest in Ethiopian music. According to Kidus the new golden era of Ethiopian music has substantially changed the image of Ethiopia and provided the outside world with a new impression of what Ethiopia is in cultural terms. And Kidus is here to make sure that the insight of foreigners and Ethiopians into the unique musical treasures of Ethiopia will grow and proliferate for years to come.
Samuel Berhanu popularly known as Sami Dan is a reggae artist. He attended Addis Ababa University where he graduated with a degree in Construction Technology and Management. His music career began while in high school. At the time he played with the Eldan band for five years. He took a break to focus on his education and after he graduated he joined Hasset Acoustic Band and played for three years. With Hasset, he had the opportunity to be part of Sydney Solomon and Imperial Majestic Band and played there for a year.
In 2014 Sami Dan started his own band, Zewd Acoustic. That year Sami also released a four-song promotional CD. His singles ‘Anchi Yene’ and ‘Shegitu’ got overwhelmingly positive feedback on radio and online.
He released his debut album Keras Gar Negeger in 2016.
Sami Dan - Kalesh Anchi [Lyrics] (ካለሽ አንቺ)
Now with an intention to approach the entertainment world with a unique sound and style, Sami Dan has written all 13 tracks on the new album, songs that address critical social issues in Ethiopia like legislation and work ethics. Keras Gar Negeger (Speaking with oneself) is released by Blue Media PLC, the company better known for organising the Taste of Addis Food Festival and the Addis Beer Fest.
An energetic live performer, Sami says his new album contains his own deep ideas and life experiences. He believes that artists are leaders in society and therefore need to address issues that affect the society, while also pointing out problems in the society with a view of encouraging positive change. “The ideas and the experiences I have acquired over the years in my career are interpreted in the album. I hope they will help someone learn from my challenges and successes,” he says.
Reggae is the dominant genre on the album but Sami says that as a versatile artist he has also included other genres. He reckons that reggae in Ethiopia is growing, but based on the history of the genre it has not yet attained the status it deserves. He is hopeful that a new crop of artists will take Ethiopian reggae to greater heights, and that his new album will contribute to the growth of reggae in the country.
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