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.
Sheba Sound is the ongoing product of over six years of events, music digging and recordings, originating in Addis Ababa and spanning as many of the areas of the country as is physically possible to reach.
Music drew us to this beautiful, historic country.
Most of the old music is littered across cassettes, reels and vinyl in dusty corners. For new music, contemporary musicians outside Addis Ababa have little opportunity to record and proudly express their unique mesmerising sounds.
We at Sheba Sound are trying to redress this balance. We are committed to recording and introducing diverse music to Ethiopians themselves as well as to foreign communities.
We have our work cut out; there are over 85 separately recognised tribes, all of whom define themselves through their unique language, music, customs, values and clothing.
We bring traditional deep Ethiopian sounds, with a modern twist, to dancefloors and bars all over the world.
Ethio-funk mix of songs that have never been re-issued.
I was asked a while back by a label in the UK if I could compile an album of ethio-funk songs from the 70's that were never re-issued.
Being a Dj in Addis, my immediate inclination was to do a comp on the Amhara, traditional Chichika beat - the one that gets everyone dancing.
I used to play this stuff in Fendika Asmari House in Addis with DJ Mitmitta.
The comp never happened, but here's a little mix of that Chichika magic that got the room all heated up.
One of the most successful musicians of the 1970s and 80s Colonel Lemma Demissew has died at the age of 68 on Saturday, August 24th 2009. A pianist, composer, singer and arranger, Lemma was the leading musician of Armed Forces band, a band that has entertained the army and visiting heads of states for decades. Among his appreciative audiences were Fidel Castro of Cuba, Libya’s Muammar al-Qaddafi and the Egyptian president Hosni Mubarak.
His songs such as “Astawesalehu”“Adrashas Tefabegn” and “Des Balagnalech” are still popular hits. Lemma also maintains reputation for arranging many of Mahmoud Ahmed’s and Alemayehu Eshete anthological vinyl records.
Lemma Demissew - አስታዉሳለሁ ( Astawsalehu )
Born in Welisso in 1940, Lemma studied high school at Hailemaryam Mamo Secondary High School in Debre Birhan town and at the age of 15 joined the music section of the Armed Forces. There among other things he taught himself to play clarinet. Lemma impressed his superiors with his unique vocal style, demonstrating both outstanding range and the influences of western music. During his time in the Armed Forces, he has taken many musical courses, including a six-year-training in conducting in Soviet Union.
Lemma has composed a number of official army songs by frequently abandoning the traditional rules and disciplines. He created new harmonies and pioneered new musical forms in which to present his musical ideas. Part of his success was the result of his mastery of the pleasant, tuneful style of piano. The single “Astawesalehu Mech Eresalehu” was his first hit and his talent for melodious, sentimental ballads became his most distinguishing feature. This music remains Lemma signature work and a favorite hit on local radio stations.
Starting as simple soldier in 1974 he became an army commander and conductor of the roving marshal band. His advancement was rapid. His personal charm and his artistic abilities were partly responsible for his rapid advancement in the army.
When Lemma resigned in 1993 after the army was disbanded, he was colonel. Even after that, he was much sought as a piano teacher by many, and his long list of students was a roster of the young and the old.
In May 2009 when the Alliance Ethio-Francise organized the 8th Ethiopian Music Festival has chosen to honor Lemma and Sahle Dagago, another notable arranger and composer who is at present in poor health. Comparing it with Sahel Degago, Francis Falsetto described Lemma’s music as a feverish modernist, deeply inspired by the electric wave born on the other side of the Atlantic Ocean.
Getachew Debalqe, a renowned stage personality, described Lemma as a hardworking and diligent musician. Getachew told Addis Journal that he was able visit Lemma two days before his demise. “I was lucky to be able to see him on Thursday. He didn’t say much but was able to utter some words.” Lemma had a stroke few years ago that has left him paralyzed.
Bahata Gebrehiwot, a musician of Lemma‘s era, said Lemma was a great musician. “He has had a tremendous musical achievement yet remained very modest and reserved.” Bahta remarked though Lemma was able to lead his family autonomously, he hasn’t much of financial fortunes. “Like many other musicians, he hasn’t made much use of his music and hasn’t got the recognition he deserved,” says Bahta.
Since 2006, Debo Band has thrilled Boston-area audiences with their unique interpretations of classic Ethiopian popular music. Their performances bring together the best of the last forty years of Ethiopian music, with a reverence for the vintage sounds of the 1970s and a commitment to discovering contemporary gems, as well as developing new compositions – they scored the Ethiopian-produced short film, “Lezare,” in 2009. The band paid their dues playing neighborhood bars, church basements, and loft parties, and has emerged as an internationally recognized touring band, with performances at two international festivals in the last year alone.
Up until now, Debo Band has primarily existed as a live band, playing at venues across the Boston/New England region. Last year, however, Debo began taking steps towards actively documenting and releasing recordings and is also working with a documentary filmmaker on a project about the band’s mission to bring Ethiopian music and musicians to the forefront of world music. Additionally, Debo Band is currently producing a CD/DVD set and LP version of live performances recorded in Boston, New York, and East Africa.
In May 2009, Debo traveled to Addis Ababa to perform at the 8th Ethiopian Music Festival and several other locations throughout the Horn and East Africa. These performances affected Debo Band’s creative and professional development in significant ways, particularly in the collaboration they began with several traditional musicians – vocalist Selamnesh Zemene, drummer Asrat Ayalew, and dancers Zinash Tsegaye and Melaku Belay. All accomplished musicians in their own right, these musicians work together at Fendika, a leading azmari bet, or traditional music house, operated by Melaku in Addis Ababa. When working with these four musicians Debo Band grows into a forceful, energetic, and authoritative fourteen-piece ensemble capable of delightful, one-of-a-kind performances. The full ensemble (Debo Band plus Fendika, or “FenDeboKa”) recently performed several concerts in Addis Ababa and at the 7th Sauti za Busara Festival in Zanzibar (February 2010).
1. Debo Band - Akale Wube [trad.] (4:53) 2. Debo Band - Yene Neger [Gossaye Tesfaye] (5:39) 3. Debo Band - Adderech Arada [Menelik Wossenachew] (5:18) 4. Debo Band - Ambassel [trad.] (7:19) 5. Debo Band - Addis Ababa Bete [Alemayehu Eshete] (6:22) 6. Debo Band - Lantchi Biye [Tilahoun Gessesse] (4:03) 7. Debo Band - Musicawi Silt [Walias Band] (5:09) 8. Debo Band - Embwa Belew [Muluken Melesse] (4:43)
Roha Band has influenced the Ethiopian music industry as no other private music band has succeeded in. Perhaps one can safely say that Roha Band means to Ethiopia what “The Beatles” were to Britain.
The establishment of “The Roha Band” draws upon heavily or has a strong relation with the fall outs from the wind down and disintegration of the Ibex and Dahlak bands. Members of these two bands recollect that the reasons for the dissolution of the two bands have to do with the emigration of band members to the Sudan and the US leaving a serious vacuum of skill in the bands.
The Roha Band took it’s name from the historic town of Lalibela. The founding members of the band were Giovanni Rico (Bass guitar), Selam Seyoum (Lead guitar), Fekade Made Meskel (Tenor Sax), all these three hail from Ibex Band and those who joined the Roha Band after the disintegration of the Dahlak Band were Dawit Yifru (Key board and music arranger), Levon Fondachi (vocalist), Tekle Tesfazgi (drummer and vocalist joined the Roha Band leaving their private activities. After the band begun its work, it soon realized that it needed an additional skill and resources. This resulted in the second wave of outsourcing which brought Yonas Degefe (saxophone) and Elias Bekele, Berhanu Yoseph and Ashenafi Awel (both drummers) as well as Yared Teferra (saxophone) in to the fold of the band.
The startup was difficult specially in terms of capital and musical instruments. Thus, the former Ibex Band members brought the musical instruments they got upon the dissolution of the band to use them in their new band assignments. The band also secured a loan of Birr 40,000.00 from Ato Abeselom Yihdego for the purchase of additional instruments. This well known philanthropist thereby left a deep sense of gratitude in the memory of the band member’s to date. In fact, the man is known for a helping hand he extends from time to time to those engaged in the activities of music and sports.
Roha Band reunion
The beginnings of the Roha Band were pretty humble and it remains a relative unknown for some time. It was affiliated to the Hilton and Ghion hotels, not a great way to reach the wider public other than the small number of customers of these hotels.
The band’s introduction to the public rather came through its involvement in the recording industry where it accompanied and engaged in music arrangement. It benefited nearly all of the best known vocalists of the country both veteran and emerging talents. With this the fame of the band sky rocketed. The skill of the members was phenomenal, their rythems and arrangements were electrifying. The name Roha Band became synonymous with an paralled musical talent and it was the number one preference for a singer who contemplates an album release.
Its excellence is such that music lovers never mind to buy cassettes even those released complete stranger if it is accompanied by the Roha Band and produced by the Ambassel Recordings. The two brands offer a guarantee through quality. The legacy of the Roha Band has influenced the music industry in some other ways. For instance, usually it is the singer or the vocalist that takes the lion’s share of the admiration and fame after a successful release. The public never asks about the band accompanying the singer. There is no doubt the Roha Band’s influence changed this in drawing the attention of the public to the bands behind the fame and glory of singers.
Among the focalists in whose releases the Roha Band took part (both in accompanying and music arrangement) were Mahmoud Ahmed, Tehome Wolde, Muluken Melesse, Alemayehu Eshete, Melkamu Tebeje, Kuku Sebsbie, Hamelmal Abate, Neway Debebe, Tsehate Yohannes and many many others.
Roha Band - Oromigna
Besides its regular engagement at the Hilton and Ghion hotels, the band also took part in several musical tours with the vocalists it accompanied. It’s tours took it to towns like Asmara, Assab, Massawa, Mekele, Bahar Dar, Jimma, Dire Dawa, Awassa, Nazareth e.t.c.The instrumental it released was an instant hit and exhibited the individual and collective skills of the band members. The cassette is still highly sought after, a limited release as it was.
In the cassette Aster Aweke’s “Hode Mela”, Mahmoud Ahmed’s “Shegule ya lelawo”, Tekle Tesfazgi’s “Fikere telemeni” went instrumental showing how best the band can play both fast and slow music. Among the several music tours the band did the one that requires a special mention was the band’s tour to the areas of Metekel and Gambells where students and instructors of higher education institutions were on duty of building houses for a grand resettlement programme. The band toured these remote border areas and gave live shows free of charge. It has to be noted here that the government sent the band to these areas at the request of the students. The shows it gave were successful both in entertaining the tens of thousands of students who were in hostile and most basic of conditions ans in securing a good reputation to the band.
The Roha Band further developed its resources and brought better musical instruments some of which were new to the domestic music industry. Having strengthened itself, the band toured even further, this time to voluntaries in Africa, the Middle East, Europe and several states in America.
The fact that the band members were, besides their musical talent, versed in various individual skills and had different trainings, gave the band the opportunity of making use of this resource and be able to have a very good financial administration and resource management. For instance, the band’s music arranger and key board player Dawit Yifru is a professional accountant, Giovanni Rico studied management. In fact the band was a well managed one.
In a band setting, working together for 13 years is a rare thing. The Roha Band did this until it finally dissolved in 1993.
Factors such as members desire to earn a living by engagements and businesses other than music, the hardship the entertainment industry faced with and the unfavorable and a business centered competition from second rate bands offering their service cheap e.t.c. all pushed the Roha Band out of the lime light and into oblivion. Out of the band members Dawit Yifru, Yonas Degefe (Simon Libanos), Yared Teferra and Ashenefi Awel are still in the music industry. Dawit Yifru is the current president of Ethiopian Musicians Association. The other band members gave up music for good and are leading their lives in other engagements. Apart from Tekle Tesfazghi who died in a car accident in 1987, the others are not only alive but also had a serious plan in mind. Following an over whelming request from the public ina recent radio programme on one of the FMs, the band members confirmed that they have a well thought over plan to regroup one again and give a show as a fare well bid to their fans wheather of not an age factong on musical talent is something to be seen.
Roha Band - 01 - Ambassel - Instrumental (6:24)
Roha Band - 02 - Kememot Aldenem (6:48)
Roha Band - 03 - Fikrey Telemeni [Tegregna] (4:58)
