Musicians Girma Yifrashewa and Michael Belayneh released a CD entitled “Meleya Keleme” co-financed through the common support fund for Franco-German cultural projects in third world countries on the occasion of the celebration of the 40th anniversary of the Franco-German “Friendship Treaty”. The lyrics of the new music are written by the well-known Ethiopian playwright, actor and poet Getnet Eneyew.
The CD was officially presented at an Ethiopian music concert at the Hilton Hotel. Girma and Michael recorded three of the eight tracks, with French violinist Patrice Legrand, director and German cellist Markus Lentz who will be in Addis to perform at the concert.
This Ethio-Franco-German musical realization was made possible through the collaboration of the Alliance Ethio-Française and the Goethe Institute in Addis Ababa under the sponsorship of their two embassies.
The CD was also released in France and Germany, and will then be made available in other countries through the international distribution network of BNL Productions based in France.
On January 1963, President Charles de Gaulle and Federal Chancellor Konrad Adenauer signed a treaty of friendship which set the seal on the reconciliation between Germans and French in an historical disputed Europe. The treaty was named “Elysée Treaty” after the place where it was signed in France.
Girma, Michael, Patrice and Markus will soon be on tour in France and Germany.
In the summer of 1972, Lin Lerner and Chet A. Wollner traveled throughout southwestern Ethiopia, recording the songs, chants, and dances of the various people they met. Folk Music and Ceremonies of Ethiopia documents their journey, exploring the music of Ethiopian ritual with analyses of performance practice, summaries of the stories told through song lyrics, and historical backgrounds which imbue each work with tremendous cultural significance for both individual performers and entire communities. The liner notes also include original transcriptions of song melodies with photos of performers and descriptions of pertinent choreography.
Tribal groups from Southern Ethiopia come together to perform and celebrate their traditional songs and dances.
A soundscape of the third festival of music and dance held at Arba Minch, Ethiopia, December 2005. 26 of over 50 distinct communities from Southern Ethiopia came together to celebrate and share their traditional music and dance. Global Music Exchange was asked by the Christensen Fund to help organise and record this third festival. About 9 hours of music was recorded by Martin Cradick, and Colin Powerstepper has edited an hour's worth of it in this CD that conveys the spirit of this fascinating part of the world.
"A decade ago, Martin & Su Cradick set off for the Cameroon rain forest and brought back exquisite recordings of the music of the Baka people (The Heart of the Forest/Hannibal Records). In 2005, they took their remarkable skills in energizing and documenting traditional African cultures to the Rift Valley of Southern Ethiopia. The result is a stunning collection of tribal music, assembled for its excitement and its beauty rather than its documentary value to scholars. The work they do resembles no other; they are fast becoming one of the developing world's great cultural assets."
An utterly fascinating compilation drawn from 1971 field recordings made in various parts of Ethiopia. While a version of the album was originally issued on Lyrichord, this version amounts to a complete restoration and overhaul of the project, with digital equipment used throughout the editing and mastering chain. The material on the album is only a tiny sample of Ethopia's musical treasure -- certainly, because of literacy issues that have resulted in oral transmission of songs from generation to generation, there is a distinct possibility that the roots of much modern Ethiopian music go back thousands of years, a form of living history. The album also provides a strong hint of a different kind of musical sensibility, one that does not deny the formalized Western system but works with and around it; this kind of exposure to alternate musical systems is a valuable educational tool. Whatever way you wish to look at it, this album (and the continuing series) should have a place in any really good music library, if only as a reference point. ~ Steven McDonald, Rovi
Haile Selassie was still Emperor of Ethiopia when these recordings were made during the summer of 1971. They serve as a small sample of both time and place from a region noted for its unique and complex natural setting. Ethiopia absorbed cultural influences from inner Africa (north to the Sahara and south to Kenya) and also from the Red Sea and Arabia. Perhaps most unique for a country from the Horn of Africa, its king in the mid-4th century converted to a Coptic version of Christianity that believed in the monophysite nature of the Christian deity. The rise of Islam isolated Ethiopian Christians, creating an entirely unique body of liturgical music. Latter 19th-century expansion brought in up to a hundred languages and ethnic groups. The consequence is a nation with a music of extraordinary scope and diversity. A simple drum dirge, followed by the song "Wub Allem" ("Beautiful World") that for a moment sounds almost Cajun, provides a hint that this music features some distinct regional flavors. These thirteen tracks demonstrate the sounds of Ethiopian folk instruments like the masenko (a one-string fiddle), the craar (a gut-string lyre), several washint (flutes), kabaros (single- or double-headed drums), and the bagana (a large 8- to 10-stringed plucked lyre. Butterfly-like melodies are produced on "Two Afar Flutes" and similarly on "Galla Song" which features the washint. One track illustrates the use of a toum (thumb piano)-a nod to the mbira's wide influence across the continent. An Afar divination chant represents the nominally Muslim Cushites in a session with an oracle seer. The plucked strings of the Nuer harp and craar captured my ear, and by the time I listened carefully to the Nuer and Konso dances that close out this collection I just wanted more. A very wonderful and brief introduction to the urban and tribal music of Ethiopia, with an emphasis on "tribal"; these are not the "urban" pop music tunes of the '70s. - Richard Dorsett
Comprised of Addis Ababa's greatest acoustic musicians, the Addis Acoustic Renaissance Group brings forth Ethiopia's popular tunes from the 1950's and 1960's in a new light.
Ethiopia’s pop music of this era predominantly featured acoustic instruments such as the mandolin, accordion, clarinet, and double bass, played alongside traditional instruments such as the Kirar, Kebero, Washint and Massinko.
Directed and arranged by guitarist Girum Mezmur, the Addis Acoustic Renaissance Group unfolds Ethiopian music from the past in a modern and jazzy way.
The band, composed of veteran musicians such as Ayele Mamo (Mandolin), Shaleka Melaku Tegegn (Accordion) as well as contemporary musicians such as Girum Mezmur (Guitar/Arrangement), Henock Temesgen (Double Bass), Natnael Tessema (Drums/Percussions), Dawit Ferew (Clarinet), and Mesale Legesse (Kebero/Percussions), produces unique sounds dear to most Ethiopians and that undoubtedly appeal to a greater world music audience.
1. Addis Acoustic Renaissance Group - Ambassel (5:12) 2. Addis Acoustic Renaissance Group - Anchim Endelela (4:34) 3. Addis Acoustic Renaissance Group - Ante Temeta ene (4:37) 4. Addis Acoustic Renaissance Group - Ambassel [Girma Beyene] (7:47) 5. Addis Acoustic Renaissance Group - Feker kegna endayleyen [Girma Beyene] (4:18) 6. Addis Acoustic Renaissance Group - Yefiker Megeb (6:04) 7. Addis Acoustic Renaissance Group - Fiker Ayaregim (4:23)
Helen Meles' biography is the story one of the biggest African stars of the early 21st century. She established herself as a talented singer, song writer and bona fide diva during her two decade long musical career. She has become one of the biggest selling Eritrean artists of all time, and has captured the hearts and minds of Eritreans and neighboring African countries alike.
In her early years, Helen Meles joined the EPLF (Eritrean Peoples Liberation Front) at the age of 13. Like many Eritreans, both her parents were also fighters of the Eritrean liberation struggle. Helen was brought up in ‘Biet tmhrti sewra’ (EPLF’s revolutionary school). Her friends describe her as a free-spirited and rebellious individual who was not afraid to show her ‘other’ sides of her personalities. During those revolutionary years, a fighter who showed other inclinations, including his/her artistic sides, could easily be misunderstood.
Helen has two sisters named Aster and Senait, and an older brother named Mikael (better known as "wedi Meles"). Like Helen, her older brother Mikael was also a fighter and a singer, who was one of the first students of biet tmhrti (shool of) sewra of the EPLF. He would end up being heavily wounded in the pitched battles of the 6th Offensive in 1982, he was almost given up for dead and his comrades were ready to bury him when another comrade insisted that they first take him to the frontline’s hospital, where he was saved and through the excellent medical care fully recovered his wounds and returned to frontline duty after four months. Many of Mikael Meles’s comrades recall his exceptional intelligence and amazing heroic feats and describe him in glowing terms not only as a brave warrior, but also as a gifted and sensitive artist who composed many songs and acted in several skits on stage. One of his memorable songs, “abiet SnAt abiet qoraSnet,” whose lyrics have hidden meanings of the heroism and martyrdom of his comrades on the HalHal Front, was later redone by his younger sister Helen Meles in her first CD release. A few days after meeting his sister Helen in 1990, Mikael, who by this time had risen to be the leader of a bren (heavy) machinegun platoon, was wounded in the battle to liberate Massawa, and martyred from enemy’s aerial bombardment while on his way to the hospital.
In 1998 BBC interview, Helen recalled the reaction of many Eritrean women from traditional communities when they first joined the battlefields. Helen Stated: "It was very difficult for them; even wearing trousers was strange and they were shocked when they had to share a blanket or bed with the men". However, By the end of the war in 1991 the lives of Eritrean women had changed so much they were determined not to go back to their traditional old roles.
In 2007, Helen married an Eritrean saxophonist named Issac Asefaw. Their wedding was held in Asmara, Eritrea and many Eritrean musicians such as Bereket Mengisteab and others performed at her highly anticipated wedding. In early 2008, Helen gave birth to her first child, a boy. The following year, she gave birth to her second child, whom also is a boy. It is generally believed Helen is now in her late thirties or exactly 40 years of age.
Helen is a highly passionate artist who reads and is responsive to her own feelings, a trait which is not clearly exhibited in many artists, especially those from the fighter community. One can feel the throbbing of her soulful voice which sends strong vibes all over. Her beauty is mesmerising and it can be described by her proud and majestic posture and her profile can be sketched by her captivating facial expressions while doing her dance routines. Strangely, if one is not familiar with her history, she does not exhibit any indication of the harsh life she led in the battlefields of Eritrea in her looks. Indeed, she was a combatant with a strong touch of music in her. Although somewhat camouflaged, perhaps carefully depicted, she seems to elegantly include her past experiences in her some of her songs. One can’t help but wonder how she really dealt with the bloody past that miraculously generated a strong sense of love amongst the fighters. That interesting but contradictory personal struggle that took place in the battlefields of Eritrea is demonstrated in the voice and bursting and sensuous movements, not necessarily in her lyrics.
Helen's expertise lies in popular music which encompasses a wide range of styles of both local and international origins. She takes Tigrinya music to a different level by mixing traditional and modern music which is influenced by European, Arabic and African music. For instance, (only junior to the Creator) can be described as one of the most interesting songs from the ‘ResAni’ CD because of its new style which Ms Helen introduces in the song – a mixture of South African beat accompanied by a gospel-like sound.
Helen can easily be compared to the diva of the Eritrean music scene of the sixties and seventies, Mrs Tberh Tesfahunegn, who instilled a strong patriotic feeling in many young Eritreans of the time. Both Mrs Tberh and Mrs Helen sing from the heart and their musical styles, although separated by decades of events and technological developments, are interestingly similar. It is vague how deep Mrs Helen’s knowledge of Mrs Tberh is, as there exists a generational divide between them. But they both share a precious experience in the liberation struggle within the EPLF camp.
One can feel that there is a controversy in her style, as opposed to her lyricists’ and composer/producers’ input in her songs. It is bit confusing to tell whether they compliment each other or simply tear each other apart beautifully. Whether they are at odds or compliment each other, the end product is highly interesting. On the other hand, Mr MuKtar Saleh’s smooth composition and Mr Solomon Drar, Mr Solomon Berhane, and Mr Samuel Almede’s lyrics find an excellent niche in Helen’s remarkable talents. This applies to Mrs Tberh’s songs as well, as many would question whether she was representing the feelings of the great musical master, Mr Asres Tessema, or she was equally powerful in her presentation.
Soul Echos singer Seyfu Yohannes, who died at age 26 recoreded only 6 songs on vinyl.
The Soul Ekos were the first independent band to be recorded in Ethiopia. When Mulatu Astatqe returned from the United States in 1968, the two bands he had an opportunity to work with were the Ras Band and Soul Ekos. It was during this time that Mulatu introduced the Soul Ekos band to Amha Eshete.
Amha Eshete was taken by the bands sound and agreed to record them in 1969. The Soul Ekos arranged and played the music to Seyfu Yohannes’ popular songs, Tizita and Mela Mela.
The band was comprised of Teshome Mitiku (Keyboards/Vocals), later Messele Gesesse took over the Keyboards, Tewodros Mitiku (Saxophone), Tamrat Ferenji (Trumpet), Fekade Amdemesqel later Hailu “Zehon” Kebede (Bass), Tesfaye “Hodo” Mekonnen (Drums), Alula Yohannes later Andrew Wilson (Guitar) and Seyfu Yohannes (Vocals).
The Soul Ekos Band was later renamed the Ibex Band which later became The Roha Band.
Girma Beyene was one of the arrangers who made the Ethiopian music of the Golden Era different than the music of today. He was a lyricist, a music writer, an arranger, a vocalist, an accomplished pianist and finally a bandleader. To most, if any name comes to mind with the word arranger, it is probably that of Mulatu Astatke. Yet, according to Ethiopiques Series producer Francis Falceto*, in the heyday of vinyl records, Girma Beyene is credited to having arranged close to 65 titles, compared to Mulatu's 40.
The 7th edition of the Ethiopian Music Festival held from the 7th to 17 May 2008 in Addis Ababa. Organized by the Alliance Ethio-Francise as a part of its centenary celebration and as a tribute to the Ethiopian pianist, composer and arranger Girma Beyene, the festival bring renowned and young musicians.
Francis Falceto in his book Abyssinia Swing, a pictorial history of modern ethiopian music describes Girma as one of a pioneering generation of artists that has a huge influence on the current ethiopian music. From the very beginning of the 1960’s and for some twenty years, he ranked among the ethiopian musical scene’s most creative and prolific artists. He left precious few recordings behind him as a vocalist: it was above all as a pianist, organist, composer and arranger that Girma made his mark on what is today agreed to be the golden age of ethiopian music. Throughout the heyday of Vinyl record production (1969-1978), the figure of Girma Beyene dominated the recording sessions. The then-privileged partner of Alemayehu Eshete, Girma innovated, through his simple and to-the-point playing, melding the lightness of pop into the ethos of a changing Ethiopia. Admired for his musical elegance, Girma none the less met one of the saddest fates in ethiopian music. Though his countrymen still remember his charming voice and his knack for pop, they have totally forgotten his role and importance as an innovator.
Going into exile in the USA in 1981, Girma departed the ethiopian music scene, sinking into the anonymous “Little Ethiopia’ of America’s East Coast. According the Alliance booklet, there has been a renewed interest of late in the work and personality of Girma Beyene. International groups such as the Either/ Orchestra, The Daktaris, Le Tigre (Platanes), The Ex, Badume's Band and Antibalas have added some of Girma’s major compositions to their repertoires.
Hibist Tiruneh, The Siren of Ethiopia, who stepped to the limelight with her rendering of Bizunesh Bekele's 'Yemiyaslekis Fiqir' a few years ago makes her debut to the forefront of Ethiopian pop music with her almost perfect recent CD release 'Yeqerta!". "Qoy-bicha', 'Befetereh", and "Akkam Akkam" are some of the notable pieces in this well-received CD.
Elias Negash is an accomplished musician who has combined his Native Ethiopian music with his jazz education, and influences from the world music segment. He played through the seventies and became one of the pioneering figures to have brought Reggae and African music to the Bay Area with smash hit groups including Obeah, Axum, Caribbean All Stars and the Rastafarians. After moving to Los Angeles Elias worked on the Royal Princess Cruise ship out of South Hampton England for four months. He has also done sound track for Television Movie in titled Glitz and also preformed on a TV series Murder She Wrote. Elias has also traveled as a Solo pianist and with Magyk Band to Japan.
In addition to his role as a musician, Elias dedicates his time in multiple humanitarian efforts such as fundraising HIV Aids research and treatment, building schools and water-well in the rural areas of Ethiopia. Further, Elias is currently the president of Ethiopian Arts forum that strives to accomplish its objectives through the presentation of Ethiopian Music, Dance, Poetry, Drama and Visual Arts to the community.
Elias' musical journey extends many decades that have taken him across many lands. Inspired by his mother who was also a pianist, Elias formed his first group in the 1960's. Elias has had an eclectic musical background where he has combined his native Ethiopian music, with his Jazz education, and other influences from the world music segment. He played through the seventies and became one of the pioneering figures to have brought Reggae and African music to the bay area with the smash hit group Obeah, Axum, and The Rastafarians.
It wasn't long before he started to work and perform with international stars including Dennis Brown, Linda Ronstadt, Steele Pulse, and Third World. He later made his television music debut with Murder She Wrote and Natalie Cole's Big Break productions. Elias was also the composer for the Soundtrack of the show Glitz starring Jimmy Smith and Markey Post with the Magyk band. In addition to the extensive collaborative work with many musicians, Elias has traveled the globe playing for thousands of people on cruise ships and large stadiums alike. His music has inspired listeners from across the United States, Europe, Africa and Asia.
Elias' first instrumental CD entitled "Fikir" (Love) can be found in the collection of every Ethiopian music lover. Elias took classical love songs and applied Jazz and Reggae sounds to create a contemporary fusion. He followed that extraordinary work by extending to the World Music category by releasing "Harrambe" (Let's Pull Together).
Harrambe symbolized the trajectory that Elias had taken in his musical journey evidenced by the title song which is influenced by his experience in Kenya, his formal training in Jazz Improvisation, and his penchant for combining American Jazz with African Melodies. Critics have raved about his ability to retain the melodic integrity of Ethiopian music and add contemporary arrangements to create new sounds.
His latest CD Peace is regarded as his best work to date because he incorporates the many musical forms that he has developed over the years, including his Ethiopian roots to join the discourse on Peace through his musical domain. Peace is a topic that is near and dear to his heart and is in line with the themes of his previous work that have encouraged unity through love.
Elias wants to share his firm belief that solutions to world struggles can be devised with peace as the instrument that people can bring to bear on the majority of issues that plague human kind. Elias concludes the vibrant CD that encourages people to unite, and join forces in friendship and harmony through the calming piano solo classical rendition of the Ethiopian song "Peace."
Elias has put out four solo CDs titled : "Love", "Harrambe" (lets pull together), "Peace" and "Feel Like Dancin’.
His new CD titled “JAZZED UP” was released at the end of 2011.
Invisible System is the pseudonym for the UK & Africa producer Dan Harper whose music is an eclectic fusion of Ethiopian, dub, reggae, techno, trance, drum and bass, jungle, acid, psychedelic, folk, post-punk, goth and rock.
Traditional vocals & instruments meet the modern, electronic and brass. Recorded in Ethiopia. Live Europeans meet live Ethiopians!
The songs were improvised, from scratch - all instruments and vocals. Improvisation was a largely new concept to most of the Ethiopian counterparts (previously told what or how to play or sing). Dan just went from go with your feelings and express them as Dan had done. The results were stunning both for them and for us. We are not into using Ethiopian (or Malian) samples or trying to quickly learn and imitate Ethiopian musicians who have their sounds, modes, scales, feelings and soul from their culture and country else we would be the neo-colonialists. We are into sharing, learning and exchange over time.
Dan spent 3 years in Addis Ababa not 3 weeks, living, working and existing there. Aid working all around the country, producing music based in Addis. He Met people from all walks of life. The music is based on real life experience not from reading. It is played from the heart and soul of everyone involved. Their own interpretation thus tapping the ebbs and flows of our lives.
Hear What the Critics Have to Say!
---‘sturdy Ethiopian vocals are matched against backing that veers from wailing psychedelic rock to trance, trip-hop and dub, it's an impressive achievement.’ - The Guardian, Robin Denselow
'New rave goes global. The rave crowd may love such deranged energy.' - Uncut, Nigel Williamson
---‘you can imagine this becoming a mind blowing rave classic, pushing the envelope
beyond Ethiopqiues nostalgia.’ - MOJO, David Hutchenson
---’there's a pleasing headiness to its rough charm’ - The Independent, Andy Gill
---‘a startlingly original combination of Ethiopian roots and pop with dub, electronica and psychedelic rock’ - fRoots, Jamie Renton
---‘this wonderfully strange and slightly otherworldly album’ refuses resolutely to be pigeon holed. One of the most startlingly original musical adventures of the year giving a whole new meaning to the term ‘fusion music’. - R2 / rock N Reel, Dave Haslam
---‘like an exotic mythology flung into outer space‘ - World Music Network, TJ Nelson
---‘It’s an album that, to its credit, solidly defies easy description. It needs to be heard several times and each reveals a new delight’ - AllMusic.com, Chris Nickson
---‘Each time you hear the songs, you hear something different as this will be the longevity of this world class fusion CD’ - LAsThePlace.com, Los Angeles
---'I encourage everyone to check it out, but not try to capture it..just feel it.' - Max Benkole Jarrett, BBC World Service
---‘Brings together a fine mix of musicians to create a festive-sounding album recorded in Ethiopia’ – New Internationalist
