Blogtrotters

Monday, September 23, 2013

v.a. - Ethiopia - High Plateaux Music [1999]


   R   E   U   P   L   O   A   D   






01. Khadija (3:33)                                     10. Fikrie yenie neh (2:40)               
02. Hagerie (1:44)                                     11. Kebeoda (3:16)
03. Dinkara (3:49)                                     12. Piece pour masengo (2:22)
04. Foodhir (2:59)                                      13. Barri (2:46)
05. Liif (3:04)                                              14. Syematibela (3:14)
06. Neger (2:58)                                        15. Sokota (2:54)
07. Didhig (4:22)                                        16. Piece pour washint (1:06) 
08. Piece Pour Krar (2:19)                       17. Gocasho (3:17)
09. Rixa (3:55)                                           18. Fikir (2:47)



Mary Armeday / Mary Armede - Habibi [1998]


   R    E    U    P    L    O    A    D   



 Mary Armeday / Mary Armede


        Mary Armeday's love-folk songs and her unique krar playing style have become a classic in the history of ethiopian music and she will forever be remembered for her talent and her love for entertaining.



1. Mary Armeday - Yegu (10:39)
2. Mary Armeday - Zemeday (10:35)
3. Mary Armeday - Habibi (7:04)
4. Mary Armeday - Wey Ene (6:06)
5. Mary Armeday - Ehehe (7:24)
6. Mary Armeday - Endet Neh (7:26)
7. Mary Armeday - Weyo Ene (8:27)


Sleeping In The Market [Ethiopian Music & Sounds From Amhara] [2005]


                           R   E   U   P   L   O   A   D   

         Basically an audio travel scrapbook, Sleeping in the Market takes listeners on a tour of the Ethiopian region of Amhara. 

       Our guides are Mehari Smon and his son Yayehe. The former is making a pilgrimage back to his roots; the latter is pointing a microphone at local musicians, whether they are professionals performing in an Adiss-Abbaba teahouse or children singing and dancing in the streets of poor neighborhoods. 

           The Smons are quiet guides, letting the people and places speak for themselves. Their document presents music caught in the social act, music embedded in everyday life. 


        A young girl greets us first on the street, singing to support her family. Her "Laluyeah" is quite moving. She belongs to a small group of children coming back regularly throughout this short album -- their songs offer a counterpoint to their elders' music, of which "Endaw Mela Mela" is the most significant. Captured in a teahouse and 13 minutes in duration, it features a male/female duo of singers. The man also plays the accordion in a style very typical of that part of Africa, while the vocals hint at Muslim cultures, especially the art of qawwali (both in the vocal inflections and the call-and-response system). 

       The album is slightly short at 39 minutes, but it offers a pleasant listening curve. 




1. Laluyeah (Yearning Song)      (3:38)
2. Bale-Whashinto      (3:20)
3. Berewoo Taha Taha (The Bull, Taha, Taha)      (8:03)
4. Demam Era Dema      (1:36)
5. Aderch Arada (Sleeping In The Market)      (1:47)
6. Bale Ageru      (2:29)
7. Ney, Ney, Ney (Come, Come, Come)      (5:08)
8. Endiaw Mela Mela (Compassion)      (13:03)


     The production/compilation approach is somewhat similar to Sublime Frequencies' line of field recordings (Streets of Lhasa, for instance). ~ François Couture

Tilaye Gebre & Dahlak Band [poor rip]


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01. Tilaye Gebre & Dahlak Band - Albekagnim (6:01)
02. Tilaye Gebre & Dahlak Band - Anchi keto (5:47)
03. Tilaye Gebre & Dahlak Band - Tizita (4:52)
04. Tilaye Gebre & Dahlak Band - Tsegereda (6:32)
05. Tilaye Gebre & Dahlak Band - Alchalkum (7:07)
06. Tilaye Gebre & Dahlak Band - Eyuat setenafikegn (10:45)
07. Tilaye Gebre & Dahlak Band - Gela gela (6:20)
08. Tilaye Gebre & Dahlak Band - Yeayne tesfa (6:16)
09. Tilaye Gebre & Dahlak Band - Tiz alegn yetintu (6:36)


Chachi Tadesse - Africawi Negn


                                           R   E   U   P   L   O   A   D   





       Born and raised in Addis Abab, Ethiopia Chachi Tadesse has used her roots to grow an international music career. At the age of sixteen Chachi joined a well known Ethiopian cover-band, touring extensively while building her musical skills and fan base. In 1982 Chachi moved to the USA, taking classes in Music, acting and modeling and touring extensively with reggae artists. 

       Chachi is most known for her musical career as one of the first Ethiopian artists to blend the sounds of reggae with Amharic. After releasing her first album, in Washington D.C., she traveled extensively and got involved in acting, modeling, voice lessons, and fashion design. Chachi returned to Ethiopia in 1992 with her first album selling over 90,000 copies worldwide, but her focus was honed in on the plight of street children rather than on her musical success.




Friday, September 20, 2013

Krar Collective - Ethiopia Super Krar [2012]






         'one of the most rousing, reliable new African bands of the year' 
                                                                                                          The Guardian

         'there’s something about the soulful bluesy sound that has a wide appeal ...  captivating' 4****stars, 
                                                                                       The Evening Standard

         'rousing, driving songs... a no-nonsense set that provides a reminder of the great African music to be found in the UK' 3*** stars 
                                                                                                      The Guardian

         'the fireworks are spectacular' 3***stars
                                                                                           The Financial Times

          'primed to deliver a raw, yet updated blast of Ethiopian Blues' 3***stars 
                                                                                                              Songlines





       THE KRAR COLLECTIVE (aka Geata Krar Collective) are Temesegen Tareken (aka Temesgen Zeleke), a former pupil of veteran Ethiopian vibraphone player Mulatu Astatke, on Krar, Robel Tesfaye on traditional 
Ethiopian Kebero drums, and singer-dancer Genet Asefa. They are sometimes joined by other musicians, singers and full dance show with 4 dancers.

         Krar Collective brings mind-blowing Ethiopian grooves, dazzling Krar and kebero drums, and stunning vocals rooted in tradition and soaked with contemporary attitude. Dubbed “the White Stripes of  Ethiopia’ for its minimalist rocky sound, the unstoppable trio— Temesegen Zeleke on the krar (a five- or six-stringed harp), singer Genet Asefa, and drummer Grum Begashaw—bases its repertoire on traditional Ethiopian songs but creates a unique style with timeless appeal: All Music Guide says it’s “unlike any other music from Africa in recent years. … at once accessible, beautiful, and energetic.” 

        With vocals full of collective cadences and long solo poems, musical stops and starts that create an organic syncopation, and a krar that alternates from lead to rhythm instrument, Krar Collective is rhythmically spellbinding, and uniquely powerful.



Ethiopia Super Krar


       Ethiopia Super Krar is Krar Collective’s dazzling debut release. The unstoppable trio, dubbed ‘the White Stripes of Ethiopia’ for their minimalist rocky sound, are favourites on the London and increasingly on the international live circuit. They are renowned for dynamic performances of their contagious music and equally infectious dance moves. Ethiopia Super Krar was recorded to tape on an original 1960s 24-track reel to reel machine, an approach which helped to capture Krar Collective’s music as close as possible to the live experience– the sound is real and honest, not a manufactured perfection.

        The instrumental line-up features the krar and bass krar lyre, kebero drums, a one stringed masenqo fiddle, and a washint flute accompanying the band’s distinctive vocals. Band leader Temesgen Zeleke and Genet Assefa share lead singer role. Genet is magnetic in performance and recording – her soaring ululations and perfectly delivered melodies fill the spacious sound. Temesgen Zeleke is a revolutionary krar player – standing to strum and pick his electrified instrument, often kneeling to the floor during his killer solos in intense Hendrix fashion, all on just six open strings. As a young student Temesgen was mentored and encouraged by legendary Ethio-jazzman Mulatu Astatke, and an instrumental arrangement by Astatke features on Ethiopia Super Krar. The famous Ethiopian actress Asnakech Worku, who pioneered the krar as an accompaniment to her emotional ballads during the 1960s and 70s, is also paid a tribute via a cover of her spine-tingling song ‘Endye Eyerusalem’.

        Other songs in the repertoire are traditional and represent different Ethiopian tribes. The names of the tracks (‘Ambassel’, Guragigna’, ‘Konso’, ‘Oromigna’, ‘Wello’, ‘Welaita’) are related to the names of ethnic groups or geographical regions. ‘Tizita’ is a ballad form in Ethiopian music associated with remembering loved ones and the ‘King of Tizita’ Mahmoud Ahmed, and ‘Ete-mete’ is a children’s song.



       Krar Collective present their sound and their philosophy – rural music in urban clothes, and a belief  Ethiopian traditions need to be respected, enjoyed and preserved. Influenced by their London home - in 2012 they represent Ethiopia in the London 2012 Cultural Olympiad - their Ethiopian roots and their own abounding creative streak, they are setting the scene alight with 2012 shows in India, Canada, Germany, Finland, The Netherlands, Switzerland, Belgium, Denmark, and Poland even before their first album release– Ethiopia Super Krar looks set to spread their fire even wider and even wilder!


Track List

01.  Guragigna       (6:07)
02.  Oromigna        (7:49)
03.  Ambassel        (5:28)
04.  Wello           (6:01)
05.  Konso           (6:01)
06.  Mr Astatke      (3:12)
07.  Ete-mete        (4:06)
08.  Welaita         (5:02)
09.  Tizita          (7:20)
10. Ende Eyerusalem  (7:23)