Imperial Tiger Orchestra - remixed [2013] [swiss-ethiopia]

1. Djemeregne (Imperial Tiger Orchestra) remix (4:14)
2. Yedao (Imperial Tiger Orchestra) remix (4:59)
3. Djemeregne (Canblaster Tribal mix) (4:20)

Ejigayehu 'Gigi' Shibabaw - Tsehay [1997] [ethiopia]

   R   E   U   P   L   O   A   D   

       Ejigayehu Shibabaw, Gigi as she is popularly known, is an Ethiopian singer who originates with her music in the ancient tradition of song in the Ethiopian Church. After she moved to the US where she recorded two albums, it was her self-titled album ‘Gigi’ (2001) with Chris Blackwell (Palm Pictures) and producer Bill Laswell that caused her international break-through. The album contains collaborations of musicians such as Herbie Hancock, Wayne Shorter and Pharoah Sanders and harbours a fusion of contemporary and traditional sounds. The album generated controversy in her home country for such a radical break with Ethiopian popular music. 

       With Abyssinia Infinite containing virtuous African musicians such as Senegalese percussionist Aiyb Dieng, tabla-player Karsh Kale, Ethiopian saxophonist Moges Habte and Tony Cedras and Bill Laswell, Gigi released the album ‘Zion Roots’ (2003). To Ethiopians Zion as spoken of in the Bible, is Ethiopia. ‘Zion Roots’ thus implies music rooted deep in Ethiopian culture. The album was a return to a mainly acoustic sound, incorporating instruments such as the krar and the tabla, which where replaced by synthesizers and drum machines during the Derg regime, when musicians where imprisoned. 

        Gigi’s return to her family roots. Its lyrics are in Amharic and the rarely spoken Agewña , the language of Gigi's father's tribe. 

           Gigi also released ‘Illuminated Audio’ (2001), ‘Gold and Wax’ (2006) and ‘Mesgana Ethiopia’ (2010). 

    

       "I grew up singing in the Ethiopian Church, which is actually not allowed for women, but there was a priest at my home who taught me how to sing the songs. And I listen to a lot of West African music, South African music, hip hop, and funk, so you feel all that in the melodies. Even if it's in Amharic, people can appreciate this music." 

          
                             

       Fifth child in a family of ten, Ejigayehu "Gigi" Shibabaw was raised in a far-off hamlet by conscientious parents who'd turned their backs on the squalor of the city. Her family's life was directly dependent on the water from the river Ardi to irrigate their coffee plant crops. "I always knew I wanted to be a singer," she recalls. "We always had a lot of entertainment in my house. When people would come over, my parents would have the kids perform for them." 

        A loyal daughter with a rebellious streak -- some things truly are universal -- Gigi sought her artistic fortunes abroad when her tradition-minded father initially forbade her to make way in the world as an entertainer. Living first in Nairobi, Kenya, and performing with an Ensemble of East African expats, performing with an Ensemble of East African expats, Gigi returned to Addis Ababa, where she quickly established herself as a singer and songwriter to be reckoned with. 

       Cast in a French theatre production of the story of Solomon and the Queen of Sheba, which featured an all-Ethiopian ensemble, Gigi toured East and South Africa, and eventually France, where she was invited to perform at a Paris World Music Festival. Seeing the world stage as her true home, Gigi relocated to San Fransisco at age 24. It wasn't long before her music, released for the local Ethiopian community, caught the attention of Chris Blackwell, Palm Pictures founder.

       Her music derives from celebrations of Genna (Ethiopian Christmas), when men and women used to assemble at her home for two months of feasting, games, and of course, zefen (songs) and chifera (group dancing). Her poetry is inspired by the land, by scripture, the ancient Ethiopian church, and the beauty of the Ethiopian civilization.

01. Gigi - Ya-batu (6:23)

02. Gigi - Africa (4:15)

03. Gigi - Yafaf'lie-Adey (5:56)

04. Gigi - Arattu-Berehi (4:38)

05. Gigi - Sahara Bereha (6:29)

06. Gigi - Addis-Addisoon (5:33)

07. Gigi - Manew-Lebae (6:11)

08. Gigi - Tsehay (5:20)

09. Gigi - Kemaru-Sitegn (7:11)

10. Gigi - Lebe-Tsenu-new (7:26)

Imperial Tiger Orchestra - Addis Abeba [swiss-ethiopia] [2010]

       The orchestra's repertoire consists of revamped remakes from the Golden Age of Modern Ethiopian music (1969-1978).
      Visiting each of the foremost artists of period in turn, Imperial  Tiger Orchestra blends Ethiopian rhythms with their own influences. Playing music that is usually sung, this entirely instrumental group emphasizes the dark and hypnotic grooves of the rhythmn as well as the polished, ethereal brass themes. Improvisations, a play on texture and dynamics, distorted sounds and "noise" complete the whole.

1. Imperial Tiger Orchestra - Bati (Traditionnel) (4:48)
2. Imperial Tiger Orchestra - Djemeregne (Muluqen Melesse) (4:05)
3. Imperial Tiger Orchestra - Etu Gela (Mahmoud Ahmed) (4:41)
4. Imperial Tiger Orchestra - Harer Dire Dewa (Abonesh Adinew) (5:17)
5. Imperial Tiger Orchestra - Selam Temagwet (Tekle Tesfa-Ezghi) (5:36)
6. Imperial Tiger Orchestra - Aha Gedawo (Getatchew Mekurya) (9:10)
7. Imperial Tiger Orchestra - Emnete (Live - Mulatu Astatqe) (6:32)
8. Imperial Tiger Orchestra - Bati (Live - Traditionnel) (4:41)

Getatchew Mekurya & His Saxophone - Ethiopian Urban Modern Music Vol.5 [2011]

   R   E   U   P   L   O   A   D   

       Utterly enchanting Ethiopiques edition, starring the totally unique saxophonesound of Gétatchew Mekurya. The labelsays "Gétatchew Mkurya is probably themost revered veteran of Ethiopiansaxophone. A real giant,both physicallyand musically. Not only is he at thevery top level of Ethiopian saxophonists, but he is the "inventor"of an extremely distinctive musical"style".

      The album features ten of Gétatchew Mekurya'sarrangements, blowing a snaking, smoky and hypnotic stream of notes over very minimalbacking of shuffled percussion, keys and organ. I should admit, i'm adverse to the saxophone even at the best of times, but this one has genuinely caught us out and transported us to some exclusive club in Addis Ababa circa 1972, suited and booted, sipping cocktails andmoking the finest hash. A really recommended experience.

01. Gétatchèw Mèkurya and His Saxophone - Ambassel (5:42)

02. Gétatchèw Mèkurya and His Saxophone - Almaz Yeharerwa (3:47)

03. Gétatchèw Mèkurya and His Saxophone - Yene Hassab Gwadegna (5:34)

04. Gétatchèw Mèkurya and His Saxophone - Shemonmwanaye (3:25)

05. Gétatchèw Mèkurya and His Saxophone - Yegenet Muziqa (4:32)

06. Gétatchèw Mèkurya and His Saxophone - Gofere Antchi Hoye (7:09)

07. Gétatchèw Mèkurya and His Saxophone - Akale Wube (4:11)

08. Gétatchèw Mèkurya and His Saxophone - Aynotche Terabu (4:36)

09. Gétatchèw Mèkurya and His Saxophone - Muziqa Heywete (3:09)

10. Gétatchèw Mèkurya and His Saxophone - Tezeta (4:41)

L'eglise orthodoxe Ethiopienne de Jerusalem - [1992]

   R   E   U   P   L   O   A   D   

       According to an ancient tradition, the first great evangelizer of the Ethiopians was St. Frumentius, a Roman citizen from Tyre who had been shipwrecked along the African coast of the Red Sea. He gained the confidence of the emperor at Aksum and eventually brought about the conversion of his son, who later became Emperor Ezana. Ezana later introduced Christianity as the state religion around the year 330. Frumentius was ordained a bishop by St. Athanasius of Alexandria and returned to Ethiopia to help with the continued evangelization of the country.

       Around the year 480 the “Nine Saints” arrived in Ethiopia and began missionary activities. According to tradition they were from Rome, Constantinople and Syria. They had left their countries because of their opposition to Chalcedonian christology and had probably resided for a time at St. Pachomius monastery in Egypt. Their influence, along with its traditional links with the Copts in Egypt, probably explains the origin of the Ethiopian Church’s rejection of Chalcedon. The Nine Saints are credited with largely wiping out the remaining paganism in Ethiopia, with introducing the monastic tradition, and with making a substantial contribution to the development of Ge’ez religious literature by translating the Bible and religious works into that classical Ethiopian language. Monasteries quickly sprang up throughout the country and became important intellectual centers.

       The Ethiopian Church reached its zenith in the 15th century when much creative theological and spiritual literature was produced and the church was engaged in extensive missionary activity.

        The very negative experience of contact with Portuguese Roman Catholic missionaries in the 16th century [Ethiopian Catholic Church] was followed by centuries of isolation from which the Ethiopian Church has only recently emerged.

        This church is unique in retaining several Jewish practices such as circumcision and the observance of dietary laws and Saturday as well as Sunday sabbath. This is probably due to the fact that the earliest presence of Christianity in Ethiopia had come directly from Palestine through southern Arabia. But there is a tradition that Judaism was practiced by some Ethiopians even before the arrival of Christianity. There have also been some unusual christological developments, including a school of thought that holds that the union of Christ’s divine and human natures took place only upon his anointing at Baptism. These teachings were never officially adopted and have mostly died out.

       The Ethiopian liturgy is of Alexandrian (Coptic) origin and influenced by the Syriac tradition. The liturgy was always celebrated in the ancient Ge’ez language until very recent times. Today a translation of the liturgy into modern Amharic is being used increasingly in the parishes. A strong monastic tradition continues.

       From ancient times, all bishops in Ethiopia were Egyptian Copts appointed by the Coptic Patriarchate. Indeed, for many centuries the only bishop in Ethiopia was the Coptic Metropolitan. In the early 20th century the Ethiopian Church began to press for greater autonomy and the election of native Ethiopian bishops. In 1929 four native Ethiopian bishops were ordained to assist the Coptic Metropolitan. With the support of Emperor Haile Selassie (reigned 1930-1974), an agreement was reached with the Copts in 1948 which provided for the election of an ethnic Ethiopian Metropolitan upon the death of Metropolitan Qerillos. Thus when he died in 1951, an assembly of clergy and laity elected an Ethiopian, Basilios, as Metropolitan, and the autonomy of the Ethiopian Church was established. In 1959 the Coptic Patriarchate confirmed Metropolitan Basilios as the first Patriarch of the Ethiopian Orthodox Church.

1. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Du chant d’entrée à la doxologie solennelle (8:39)
2. L'Eglise Orthodoxe Ethiopienne de Jérusalem - S’alwota-’at’ân. Doxologie et adoration, au cours de la "Prière de l’Encens" (5:42)
3. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Hymne à la Mère de Dieu et le Tri sagion (5:36)
4. L'Eglise Orthodoxe Ethiopienne de Jérusalem - "Notre Père" (4:21)
5. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Prière de pénitence et les quarante et une invocations "Seigneur prends pitié de nous, ô Christ" (6:51)
6. L'Eglise Orthodoxe Ethiopienne de Jérusalem - "Seigneur prends pitié de nous, ô Christ" (6:28)
7. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Chant de communion et chant d’actions de grâces (4:39)
8. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Extrait de la 5e grande litanie avec tambour et sistres. Veillée du "Felseta Maryam" (Assomption) (15:17)
9. L'Eglise Orthodoxe Ethiopienne de Jérusalem - La première partie des Vêpres (28:44)
10. L'Eglise Orthodoxe Ethiopienne de Jérusalem - Seconde partie des Vêpres du Temps ordinaire (8:39)
11. L'Eglise Orthodoxe Ethiopienne de Jérusalem - 11e jour du carême de l’Assomption. Les deux premiers choeurs litaniques des Vêpres anticipées (31:20)

Eglise orthodoxe ethiopienne de jerusalem: l'Assomption à Däbrä Gännät, monastère du Paradis - Jérusalem, Israël.

Faytinga - Numey [2000] [eritrea]

   R   E   U   P   L   O   A   D   

Dehab Faytinga

         Faytinga comes from the Kunama people, one of Eritrea''s many tribes, where women enjoy equal rights with the men. Her father was war hero Faïïd Tinga, and at the age of fourteen she had already joined her country''s armed struggle for independence from neighbouring Ethiopian rule. Faytinga grew up surrounded by her uncles and aunts singing and playing instruments, in accordance with the Kunama tradition. Her dream was to be a singer, and it came true when she was sent to entertain the troops at the front, using her songs as a message of hope and determination. 

         Faytinga composes her own material as well as performing work from well-known Eritrean poets and composers, playing the krar, a small lyre, in accompaniment to her songs. An accomplished and elegant dancer as well as talented singer, Faytinga is a leading figure and source of inspiration for the men and women of her country. In 1990 she undertook a tour of the United States and Europe as a member of an Eritrean group, touring for the first time as a solo artist in 1995 when she released her first album on cassette. It took until 1999, and an appearance at the Africolor festival, before she recorded her first CD. 

       Unlike many leading female vocalists from Europe, Africa, Asia and yes, even the Americas, Faytinga is her own auteur, not the creation of an ambitious marketing-savvy producer. 

       She adapted the ritualistic songs "Numey" and "Kundura" from traditional lyrics and music, and she also integrates the verse of Eritrean poets Agostino Egidio, Arodi Tulli, and Agostino Petro into fresh and metrically varied music fleshed out by the tastefully sparse arrangements of Joel G., who blends traditional instruments and female chorus. Brought in to the Studio Adamas in the capital city of Asmara in April of 1999 to help arrange and engineer this compelling recording, Joel G. leaves no stamp of external ego upon these smoothly crafted studio sessions.

       Faytinga's aural vision of Eritrea, from ancient to modern manifestations, is well worth making time for. As a battle-hardened ambassador of peace and creative growth, with the artistic intuition to make expressive use of her country's multi-lingual elements, she recalls another young woman at the far end of the Red Sea, Phalestinian poet-diva Aml Murkus. Murkus, whose own debut recording AML/HOPE presents an Arabic canvas of a historically rooted new nation being born, similarly stresses the creative potential of a bio-regional cultural scene that includes all tribes, rather than excluding those on the wrong end of nationalistic, rather than, racial or tribal enmity. Let us hope Faytinga is the harbinger of an Eritrean cultural renaissance.

01. Faytinga - Numey (3:29)

02. Faytinga - Milobe (3:31)

03. Faytinga - Amajo (4:00)

04. Faytinga - Lagala Fala Fesso

05. Faytinga - Kundura (3:24)

06. Faytinga - Aleyda (4:36)

07. Faytinga - Alemuye (4:14)

08. Faytinga - Milomala (4:15)

09. Faytinga - Asamen Gana

10. Faytinga - Salada God (4:27)

Faytinga:  vocals 
Arbisha:  percussion

Hassan:  krar

Wasi:  wata

Kahsai:  krar bass

Arodi:  bengala

Chachi:  krar bass (Track 4 & 5)

Adengo, Ahmed, Jacob:  Backing Vocals (Track 8)