Amha AE 410 A Essatu Tessema and Seifu Yohannes: Fikir Bekumena Arranged by Tewolde Redda Reissued on 'éthiopiques-25: 1971>1975 Modern Roots' (Buda Musique, France) as "Feqer bèqumèna".
Amha AE 410 B ISSATU TESSEMA: Ayamaru Ishetie
Essatu Tessema: Ayamaru Eshete Arranged by Tewolde Redda Reissued on 'éthiopiques-25: 1971>1975 Modern Roots' (Buda Musique, France) as "Ayamaru eshèté".
Essatu Tessema - Fikir Bekumena [ፍቅር በቁመና]
Year: 1972 Record pressed in Greece Note: "Issatu Tessema" is spelled Essatu Tessema" on the labels. "Fiker Bekumena" is spelled "Fikir Bekumena" on the labels, "Ayamaru Ishetie" is spelled "Ayamaru Eshete"
Teddy Mak has been a composer, arranger, producer, songwriter, and an accomplished performer for over twenty eight years. He is one of the pioneer, performer and major contributor to the development of Ethiopia's innovative 'new age' music. Teddy Mak developed a passion formusic in German school addis abeba at an early age of eight, which was accompanied with hours of rigorous practice on the piano at home. Teddy’s youthful talent was enthusiastically supported by his father, Teddy's family provided an enabling environment that encouraged young Teddy to put in enough hours of practice on the piano which laid a firm foundation for his life’s work in Ethiopian music.
Teddy Mak first studied music at the Yared Music School in Addis Ababa, which was followed by studying music, majoring in American Jazz, at the Northern Virginia Community College. He had his chance playing with great bands, which included, among others, the Shebelles, the Dahlacs and the Ethiostar band in Addis Ababa. This was the time when Teddy Mak got a chance to meet and perform with Bob Marley at the Ghion Hotel in Addis Ababa.
Throughout his career, he has compiled and created numerous melodic sounds and rhythmical beats that have made his musical compositions distinguishable. His masterful compilations have been soothing the ears of a broad range of listeners, for the past 3- decades.
Teddy Mak’s musical accomplishments include over 573 arrangments and musical compositions, a cultural musical presentation, in the presence of delegates from fifty countries, at the World Economic Forum on Africa in Addis Ababa, composed sound tracks for twenty five documentary films and, wrote original soundtrack for a fifty-four segment Ethiopian movie drama series “Gemena” for Ethiopian TV.
Teddy Mak has presented a commissioned musical presentation and album on the occasion of the 50th Anniversary of the African Union.
01 - Teddy Mak - Young At Heart (4:26)
02 - Teddy Mak - Truth (6:11)
03 - Teddy Mak - Joy (4:44)
04 - Teddy Mak - Lanchi (6:49)
05 - Teddy Mak - Pure Ethiopian (5:47)
06 - Teddy Mak - T. Woman (6:31)
07 - Teddy Mak - Mak (5:54)
08 - Teddy Mak - Abogidah (5:19)
09 - Teddy Mak - Wushetenew (5:38)
10 - Teddy Mak - Ethio House (5:10)
11 - Teddy Mak - Teddy's Mood (6:54)
PRESS :
“God must have dedicated more time on your creative and restless visionary mind. Vahag Sakadjian or ( Vaggie ) 06-17-2008 ”
VAGGIE - MUSIC PAD
“Every song you play turn out to be " sparkling , shiny , touchy , groovy. Vahag Sakadjian or ( Vaggie ) 06-17-2008 ”
VAGGIE - MUSIC PAD
“Teddy Mak's Timeout is a direct expression of human emotions that transcend the listener to the beyond â€" it is in a way a form of art and entertainment”
B,T,COSTENTINOS PHD - KOSTE
“The MUSICAL gift upon Teddy Maks talent , I have noticed , tested ,smelled and watched the changes of forms ,and fantasy since we were kids. All I can say is , " he still amazes me."”
TAMRAT MOLLA: Ber Ambar Seberelewo / Ene Yewodedquat Amha AE 370 A Tamrat Molla: Ber Ambar Seberelewo Arranged by Teshome Sisay Accompanied by the Venus Band Reissued on 'éthiopiques-24: Golden Years of modern Ethiopian music 1969-1975', (Buda Musique, France) as "Ber anbar sèbèrèlewo".
Amha AE 370 B Tamrat Molla: Ene Yewodedquat Composed by Lemma Demissew Arranged by Teshome Sisay Accompanied by the Venus Band Reissued on 'éthiopiques-24: Golden Years of modern Ethiopian music 1969-1975', (Buda Musique, France) as "Ené yèwèdèdkwat".
Year: 1971 Record pressed in India Note: "Tamrat Molla" is spelled "Tamra Mola" on the picture sleeve. "Ber Ambar Seberelewo" is spelled "Ber Ambar Seberelew" on the picture sleeve. "Ene Yewodedquat" is spelled "Ene Yewededquat" on the picture sleeve.
By now you have probably got used to the irregularities of the blog postings which reflect my personal interests in the different genres of Ethiopian music. Working on this blog gives me immense pleasure. I doubt that I would invest so much effort and care in collecting material for myself only. With you, my followers in mind, I aim to present the material concisely, clearly and informatively.
In the blog posts I have tried to cover, as far as possible, a wide and diverse selection that I have come across. I have been quite busy lately with my everyday commitments, so I have not had enough time to update the blog with new postings, and there are quite a few of those. Their time will come, if you are patient.
With this post I am starting a short series of rare and interesting singles released in Ethiopia during the 60s and 70s. It is very difficult to find information about the music of the time, which is why I would welcome your help. My job is made more difficult by the fact that I do not speak either Amharic, or any other of the Ethiopian languages. Therefore I apologise in advance for my frequent mistaken and sometimes plain incorrect, album titles.
In terms of the next dozen posts or so, I owe a debt of gratitude to my online friend Richard (*Richardpoespoes) from Holland. He obtained, digitalised and cleaned up the cracklings and noise from the records.
All the recordings have been transferred to the highest quality windows audio wave format [wav].
Enjoy and stay in touch.
I would particularly welcome the links for the albums and authors you have that you feel belong on this blog. Some of you have sent me brilliant rare albums and recordings , some of which I have shared, and some are yet to be shared.
My musical adventure is in its fourth year. I did not anticipate such a huge response and number of visits. I am happy that you like the posts and contact me with words of approval and support. I would not have lasted this long without your support.
Contact me and I would welcome your suggestions. Each one of your comments means a lot.
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Alemayehu Eshete - Alteleyeshignim [Live at Jazzamba]
ALEMAYEHU ESHETE: Addis Ababa Bete / Alteleyeshignim Amha AE 320 A Alemayehu Eshete: Addis Ababa Bete Arranged by Girma Beyene Accompanied by the All Star Band Produced by Amaha Eshete Reissued on 'éthiopiques-9: Alèmayèhu Eshèté 1969-1974', (Buda Musique, France) as "Addis Abèba bété".
Amha AE 320 B Alemayehu Eshete: Alteleyeshignim Arranged by Girma Beyene Accompanied by the All Star Band Produced by Amaha Eshete Reissued on 'éthiopiques-10: Ethiopian Blues & Ballads', (Buda Musique, France) as "Altèlèyèshegnem".
Year: 1971 Record pressed in India Note: Addis Ababa Bete is spelled 'Addis Abeba Bete' on the label.
Mulatu Astatke - New York-Addis-London [Full Album]
Ethio jazz. That's what Mulatu Astatke called his style of music when he invented it back in the 1960s, and it means exactly what it implies: Ethiopian melodies played on Western instruments with room for improvisation. Astatke was a pioneer for his country's modern music. His concept of instrumental music as an end in itself was a bit foreign in his homeland, where singers rule the popular music sphere, and he was among the very first musicians from Ethiopia to learn about music while abroad. He started playing as a teenager at school in Wales, and after a stint at London's Trinity School of Music, he jumped the Atlantic for a brief stay at Boston's Berklee College of Music, ultimately winding up in New York City in the mid-60s. There, he was exposed to sounds he simply couldn't have heard back home in Addis Ababa, and his exposure to jazz and Western harmonic concepts led him to formulate Ethio jazz, the perfect hybrid of the traditional and the modern.
His first attempts to forge his new genre occurred in the U.S., and his band members were mostly Puerto Rican. You can tell by listening, too. The several tracks here lifted from his two Afro Latin Soul LPs bear a strong stamp of boogaloo, Latin jazz, and other Americo-Caribbean forms. When he returned to Ethiopia, he arrived at a time when the country was opening up as never before, and Addis Ababa was as cosmopolitan as cities came, boiling with cultural restlessness that fed a vibrant nightlife. Recording resources were limited, but in 1969, Mulatu began cutting tracks for Amha Eshèté's Amha, the first independent label ever established in the country. He worked primarily as an arranger, but frequently wrote and recorded instrumentals to serve as B-sides for vocal songs, some of which are being issued here for the first time outside Ethiopia.
Astatke brought a unique skill set back to Addis with him, where he was able to employ musicians who'd grown up with the music he was so consciously modernizing. The resulting music is simply brilliant, fresh even decades later. The way Mulatu harmonized horns, combining pentatonic Ethiopian melody with Western chord concepts, sounds like no one else-- the music seems both ancient and modern at once, befitting the mixture of raw ingredients. This compilation is utterly intoxicating from the first note to the last-- preternaturally funky, haunting, complex, memorable, exciting, and unique, Ethio jazz easily transcends the era in which it was made.
"Mulatu", from his 1972 LP Mulatu of Ethiopia, recorded in New York with members of Mongo Santamaria's band during a visit to the States, is a brilliant signature track, a darkly funky tune with a hint of Caribbean shuffle, snaking sax solos, Mulatu's own cloudy vibraphone, and a bit of wah-pedaled Wurlitzer. The stately, smoky "Netsanet" is drawn from 1974's Yekatit: Ethio Jazz LP, the very first Ethiopian LP to be conceived as an album in advance (as opposed to a collection of 45 sides). Like the other songs from that album, it has a weighty solemnity to it that betrays the difficult revolutionary period during which it was recorded. My favorite Mulatu track, "Ené Alantchie Alnorem", was previously featured on Buda Musique's Ethiopiques Volume 4 compilation, and it still kills here. It is a song without a solid core: its fluttering electric piano, flute, and drums spin in an ethereal wash, held together by wind sound effects and a heavy sonority, and the descending piano line that outlines the chords feels like it's falling and catching itself on each beat.
A handful of vocal tracks dot the compilation, and they're all outstanding as well. "Ebo Lala" features Seifu Yohannes putting on his best Bollywood-inspired show, huffing and puffing over a heavy Latin beat and blasting horn section. "Wubit", featuring Muluken Melesse, has a cool, funky crime jazz strut, a sick breakdown, and a quintessentially Ethiopian melismatic vocal-- that this song has remained hidden from all but a few collectors in Ethiopia until now is almost criminal. Even Mulatu's very first foray into recording, the Latin-tinged instrumental "Shagu", bears his unmistakable signature, playing its cycling piano riff two octaves lower than in most Latin music and featuring a dark, mysterious vibraphone lead playing between Ethiopian pentatonics and modal concepts nicked from post-bop jazz.
Mulatu Astatke - Yefikir Tizita
Ethio jazz was never a commercial success in Ethiopia. That Ahma and Philips Ethiopia even saw fit to release any of it is a credit to their commitment to art over commerce, and even today it remains little-heard in its homeland. But Mulatu was a master craftsman and one of the most supremely inventive composers of a time when an awful lot of creative music was being made around the world. He's still going today, guesting on radio shows and teaching in Addis, and he released a great album with London's the Heliocentrics as his backing band earlier this year. But even if he'd disappeared after 1975, his legacy would be sealed.
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