Alemayehu Eshete (Amharic: ዓለማየሁ እሸቴ?) (also written Alèmayèhu Eshèté in French) is an Ethiopian Ethio-jazz singer active since the 1960s who primarily sings in Amharic. Eshete's talent was recognized by colonel Rètta Dèmèqè who invited the young singer to perform with Addis Ababa's famous Police Orchestra. Eshete had his first hit ("Seul") in 1961 before moving on to found the orchestra Alèm-Girma Band with Girma Bèyènè. Over the course of 15 years, Eshete released some 30 singles until the arrival of the communist Derg junta, which forced Eshete and many other artists into exile.
Alemayehu Eshete has since gained fame in Europe and the Americas with the release of Buda Musique's Ethiopiques series of compilations on compact disc. Ethiopiques Volume 9 is devoted entirely to recordings of Eshete's earlier music, and Volume 22 covers his career between 1972 and 1974. Other songs have also appeared on Volumes 3, 8, 10, and 13 or the series. In 2008 Eshete toured the United States with fellow Ethiopian singer Mahmoud Ahmed, backed by Boston's 10-piece Either/Orchestra.
Alemayehu Eshete & Badume's Band - Yeweyn Haregitu / Feleqleqe
Alemayehu Eshete is one of the living legends of modern Ethiopian popular culture and one of the outstanding Ethiopian vocalists who emerged during the golden age of Ethiopian popular culture in the turbulent 1960s. Alongside Mahmoud Ahmed (who opened last year's Hullegeb Festival), Tilahun Gessesse and Bizunesh Bekele, he was among the first to adopt elements from rock-n-roll and American soul, including body movements, dance and hair styles, eventually coming to be known as "the James Brown of Addis." In the following years Eshete released over 30 albums that became enormous hits in Ethiopia and led various orchestras, including the famous Police Orchestra and groups that he himself established.
Following the rise of the military junta, like many other artists, Eshete left Ethiopia and established himself in Europe and the US as a vibrant and exciting vocalist, including performances alongside Ahmed. The highly regarded Ethiopiques series devoted two albums to his works, the first focusing upon his earlier works and the second, upon his career during the early 1970s.
Ayalew Mesfin, being seemingly one of the underdogs of his time, he was extremly funky. His tunes from the Ethiopiques series can prove that, listening to‘Feker Aydellem Wey’or‘Hasabe’you might see why. He first started his career in the 70's and is comparable to the style of Alemayehu Eshete. His Fetan BandandThe Black Lion Bandhad definetly an approach to western funk.
Probably the most fuzzed out track on all of Buda Musique‘s sprawling twenty some odd volumes of their Éthiopiques series, has to be Ayaléw Mèsfin & Black Lion Band’s song Hasabé. That song can be found on the eighth volume, but Mèsfin and his band have been featured on the 13th and 24th volumes, as well as a Rough Guide compilation called The Rough Guide to African Blues.
Ayalew Mesfin - Hasabé
Ayaléw Mèsfin got his start playing with a band calledFetan Band – or Speed Band– at the Patrice Lumumba Bar in Addis Ababa. According to his biography, he has released “about twenty singles and a dozen tapes released since 1974. He also opened the Ayaléw Music Shop in Addis Ababa, that he still owns even after moving to America.
In January 2008, he performed with the Dutch band The Ex at the Hager Fekir Theatre in Addis Ababa.
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)
Tamrat Molla was famous Ethiopian artist and singer. He was born in Gondar and began his career in Addis Ababa at young age performing alongside the likes of late Tilahun Gesesse, Mahmoud Ahemed, Bizunesha Bekele, Alemayehu Eshete and Ayalew Mesfin.
Tamrat Molla died in Addis Ababa in february 2013.
Tamrat Molla - Astawshegne
Tamrat Molla (ታምራት ሞላ) - 01 - Alat Liyu Wubet (5:00)
Tamrat Molla (ታምራት ሞላ) - 02 - Astawshegne (4:37)
Tamrat Molla (ታምራት ሞላ) - 03 - Sebebu (5:14)
Tamrat Molla (ታምራት ሞላ) - 04 - Alikim Amalaj (3:35)
Tamrat Molla (ታምራት ሞላ) - 05 - Siniwaded (2:54)
Tamrat Molla (ታምራት ሞላ) - 06 - Tamime Tegnche (4:29)
Tamrat Molla (ታምራት ሞላ) - 07 - Ye Shola Fere Nesh (6:42)
Tamrat Molla (ታምራት ሞላ) - 08 - Yih Hulu Wubetish (2:32)
Tamrat Molla (ታምራት ሞላ) - 09 - Ber Ambar Seberelewo (3:26)
Tamrat Molla (ታምራት ሞላ) - 10 - Ene Yewodedquat (4:12)
Tamrat Molla (ታምራት ሞላ) - 11 - Tizitawan Tita (4:36)
Tamrat Molla (ታምራት ሞላ) - 12 - Zer Keleyenima (3:37)
Tamrat Molla (ታምራት ሞላ) - 13 - Hedech Alu (5:09)
Tamrat Molla (ታምራት ሞላ) - 14 - Bewelaju Yesake (3:24)
Tamrat Molla (ታምራት ሞላ) - 15 - Gojam Lay (4:11)
Tamrat Molla (ታምራት ሞላ) - 16 - Anchin Yagegnulet (4:30)
Ethiopian music is primarily based on a five tone scale system. This is known as a pentatonic scale (‘penta’ means five, and ‘tonic’ means note). While most of the music uses a pentatonic scale, some melodies may be based on scales with as few as two or three notes. This is common in Ethiopian folk music, as well as children’s songs. On the other hand, some music in Ethiopia may even be diatonic. Diatonic scales contain 7 notes.
The Ethiopian word for “scale” is “kiñit”. The word “kiñit” describes both the scale being used, and sometimes the tuning of the instrument. This is because some instruments have strings with no frets, so the strings need to be tuned to the scale. These instruments include the krar, begena, and masinko.
There are four main kiñits that are used in Ethiopian music. These are the Tizita, Batti, Ambassel, and Anchihoye kiñits. Some of these have different versions or other modifications.
The Ambassel scale is a pentatonic scale widely used in the Gonder and Wollo regions of Ethiopia.
The notes of the scale (in the key of C) are C, Db, F, G and Ab. The intervals in the scale are a minor second, a major third, a major second, a minor second and a major third.
The scale is used in Ethiopian music for songs with historical themes.
A scale is a related set of pitches (not necessarily exact) that can be used as a compositional unit. It differs from a tuning or temperament since the latter is a system for tuning an instrument.
The chromatic scale can be played in Pythagorean tuning, meantone temperament, or 12-tone equal temperament, or indeed many different types of irregular musical temperament.
Comprised of some of Addis Ababas finest acoustic musicians, the Addis Acoustic Project brings forth Ethiopias popular tunes from the 1950s and 1960s in a new light. Directed and arranged by guitarist Girum Mezmur, the Addis Acoustic Project unfolds vintage Ethiopian music in a fresh and contemporary way. The groups musical style has influences of traditional East-African, Jazz, and Afro-Caribbean rhythms among other styles.
Addis Acoustic Project - Live at Jazzamba
August, 2012 - "Meche Dereshe"
The band, composed of veteran musicians such as Ayele Mamo (Mandolin), as well as contemporary musicians such as Girum Mezmur (Guitars, Accordion), Henock Temesgen (Double Bass), Nathaniel Tesemma (Drums, Percussions), Aklilu Wolde Yohannes (Clarinet, Flute), and Misale Legesse (Kebero, Percussions), produces unique sounds dear to most Ethiopians and that undoubtedly appeal to a greater world music audience.
Addis Acoustic Project presents its performance with an attempt to stay true and authentic to the styles as well as instrumentations of the 1950s Ethiopian popular music, yet introducing fresh and contemporary musical elements with ample room for spontaneity and improvisation.
Addis Acoustic Projects founder/ musical director, Girum Mezmur, has performed with the whos who of Ethiopian music including Aster Awoke, Ali Birra, Mahmoud Ahmed, Alemayehu Eshete, and Teddy Afro. His musical relationship with Mahmoud Ahmed has provided him the opportunity to tour several countries worldwide including Africa, Europe, and Canada, playing at major international music festivals such as the WOMAD, the Montreal Jazz Festival, Roskilde Festival, etc. Girum has also had the honor of participating in U.Ks 2007 BBC Radio World Music Award, appearing as Mahmoud Ahmeds guitarist. It was here where Mahmoud Ahmed won the nomination for Best Artist under the category Africa. Girum has also performed / recorded with other renown African artists such as Angelique Kidjo, Ray Lema, and Ali Keita. Girum Mezmur is also a co-founder of Jazzamba Music School and Jazzamba Lounge, as well as the yearly Acacia Jazz & World Music Festival in Addis Ababa.
Since its premiere at the 7th Ethiopian Music Festival (May 2008), the Addis Acoustic Project has been enjoying great success. The group currently performs on a weekly basis at one of Addis Ababas hip jazz spots..."Jazzamba Lounge".
The band has also performed internationally at renowned festivals and venues such as WOMEX09 in Copenhagen, Selam Festival in Stockholm, TFF Rudolstadt Festival in Germany, Tree House in Nairobi, Sauti za Busara Festival in Zanzibar, and MASA in Ivory Coast among others.
The band released its debut album "Tewesta"- Remembrance" on the world music label, Harmonia Mundi/World Village in August 2011.
Addis Acoustic Project - Live at Jazzamba 01 [Ethiopia](Addis Abeba) (4:57)
Addis Acoustic Project - Live at Jazzamba 02 [Ethiopia](Addis Abeba) (3:58)
Addis Acoustic Project - Live at Jazzamba 03 [Ethiopia](Addis Abeba) (0:35)
Addis Acoustic Project - Live at Jazzamba 04 [Ethiopia](Addis Abeba) (3:24)
Addis Acoustic Project - Live at Jazzamba 05 [Ethiopia](Addis Abeba) (4:54)
Addis Acoustic Project - Live at Jazzamba 06 [Ethiopia](Addis Abeba) (5:42)
Addis Acoustic Project - Live at Jazzamba 07 [Ethiopia](Addis Abeba) (4:13)
Addis Acoustic Project - Live at Jazzamba 08 [Ethiopia](Addis Abeba) (5:57)
Addis Acoustic Project - Live at Jazzamba 09 [Ethiopia](Addis Abeba) (6:31)
Addis Acoustic Project - Live at Jazzamba 10 [Ethiopia](Addis Abeba) (5:11)
Addis Acoustic Project - Live at Jazzamba 11 [Ethiopia](Addis Abeba) (9:53)
Addis Acoustic Project - Live at Jazzamba 12 [Ethiopia](Addis Abeba) (4:41)
Addis Acoustic Project - Live at Jazzamba 13 [Ethiopia](Addis Abeba) (11:29)
Addis Acoustic Project - Live at Jazzamba 14 [Ethiopia](Addis Abeba) (4:25)
Addis Acoustic Project - Live at Jazzamba 15 [Ethiopia](Addis Abeba) (9:01)
Addis Acoustic Project - Live at Jazzamba 16 [Ethiopia](Addis Abeba) (6:50)
Addis Acoustic Project - Live at Jazzamba 17 [Ethiopia](Addis Abeba) (7:57)
Addis Acoustic Project - Live at Jazzamba 18 [Ethiopia](Addis Abeba) (7:23)
