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.
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