Getatchew Mekuria - Y'Anbessaw Tezeta Disc 1 & 2 [2012]

Original post @ AfroCubanLatinJazz

       Enamored by saxophonist Getatchew Mekuria's Ethiopiques 14 CD "The Negus of Ethiopian Sax", The Ex invited Mekuria to play at their 25th anniversary party in November, 2004 at Paradiso in Amsterdam. Mekuria's career stretches back to 1948, and though in his 70's, this was his first time out of Ethiopia. The results were compelling, so much so that The Ex and Mekuria decided to tour France together. So pleased were both that when Mekuria suggested recording a CD with The Ex they jumped at the chance, each choosing material with distinctive Ethiopian flavor, but which allowed both to remain true to their own music. With an added horn section, and Cor Fuhler on organ for 3 pieces, this magnificent CD is the result, an excellent extension to both The Ex and Mekuria. Includes a 32 page booklet with Mekuria's history, lyrics, and photos.

        Mekuria began his musical studies on traditional Ethiopian instruments such as the krar and the masenqo, and later moved on to the saxophone and clarinet. Upon reaching adolescence, he began his professional career in 1949 as a part of the Municipality Band in Addis Ababa. In 1955 he joined the house band at Addis' Haile Selassie I Theatre, and in 1965 joined the famous Police Orchestra. He was also one of the first musicians to record an instrumental version of shellela, a genre of traditional Ethiopian vocal music sung by warriors before going into battle. 

       Mekuria took the shellela tradition seriously, often appearing onstage in a warrior's animal-skin tunic and lion's mane headdress. He continued to refine his instrumental shellela style, recording an entire album in 1970, Negus of Ethiopian Sax, released on Philips Ethiopia during the heyday of the Ethiojazz movement. Mekuria continued to work alongside many of the biggest orchestras in the Ethiopian capital, accompanying renowned singers Alemayehu Eshete, Hirut Beqele, and Ayalew Mesfin.

         Mekuria reached an international audience when his album Negus of Ethiopian Sax was re-released as part of the Ethiopiques CD series. Mekurya's playing style has been compared to free jazz, but developed in isolation from it during the early 1950s. Mekurya has said he is unfamiliar with either Ornette Coleman or Albert Ayler.

       The album Negus of Ethiopian Sax caught the ears of Dutch avant-garde/punk band The Ex who invited the septuagenarian sax player to perform at their 25th anniversary show in Amsterdam in November 2004. In turn, Mekuria asked the Ex to be the backup band for his 2006 album, Moa Anbessa. The Ex and Mekuria toured The Netherlands, Belgium and France together in 2006 and 2007, and then the United States in 2008 and Canada in 2009.

       Getatchew Mekuria has added his distinctive sound to collaborations with numerous other contemporary artists, including British Tamil singer Susheela Raman and Boston jazz ensemble Either/Orchestra. He still lives in Addis Ababa, and regularly performs at the Sunset Bar at the Sheraton Addis.

    Getatchew Mekuria, The Ex + Friends          

 Y'Anbessaw Tezeta 

Getatchew Mekuria (tenor saxophone),
Arnold de Boer (trumpet),
Terrie Hessels (guitar),
Andy Moor (guitar),
Xavier Charles (clarinet),
Ken Vandermark (baritone saxophone, bass clarinet),
Brodie West (alto saxophone),
Joost Buis (trombone),
Wolter Wierbos (trombone),
Colin McLean (bass)


Recorded December 6/7 2011, February 24/28 2012, April 5/23 2012 in Jottum, Wormerveer, Holland, and May 3 2012 in Fendika, Addis Abeba, Ethiopia.

Woima Collective - Tezeta [germany+ethiopia] [2010]

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       "...The Brass unit from Germany's Poets of Rhythm bring the Ethio-funk on this recent release entitled, Tezeta. Clearly inspired by Mulatu Astatke, the band takes its cue from the golden age of Ethiopian music. Spacey organ, reeds o' plenty, snapping drums, low end bass all create some seriously snaking grooves..."

                                                              Woima Collective - Marz

       "...Infectious album of Ethiopian and Afro-jazz inspired grooves from members of lauded German funk unit Poets Of Rhythm. 'Tezeta' came about after group leader and tenor sax player Johannes Schleiermacher was smitten with the sounds he soaked up on trips to Morocco and the feelings of celebration and healing in Gnawan trance performances. Further meetings with the legendary Ethio-jazz master, Mulatu Astatke, prompted him to set up a ten piece unit and after a three day rehearsal and a pair of two day recording session, this album was created. The result is brilliantly diverse album, ranging from fiery funk arrangements akin to the Heliocentrics, to super-cool and dubby workouts imbued with a skilled freedom and sublime groove which will surely impress any fans of the Ethiopiques series..."

Interview with Woima Collective :

               The Woima Collective has produced a remarkable set of Ethiopian-styled grooves with its debut record, Tezeta, released on the Netherlands-based record label Kindred Spirts. Including the brass-section members of the internationally respected German funk outfit Poets of Rhythm, the Collective channels the sweet funk and jazz rhythms of Mulatu Astatke, with a sound that matches his legendary 1960s and '70s recordings.

         Led by tenor saxophonist Johannes Schleiermacher, who was inspired by the African rhythms found during his travels through Morocco, the 10-musician collective has one of the tightest rhythm sections in the contemporary scene. Though originally brought together to record a single at the Lovelite Facility in Berlin, the Collective soon turned the one-time session in a full-blown album, rehearsing and recording Tezeta in only five days.

                                             Woima Collective - Puno

         Creating a cohesive record in five days with disciplined arrangements and complex instrumental dynamics calls for an extremely talented group of musicians, and it’s quite clear the Collective knows its North African music. Tezeta is filled with bottom-heavy percussion brought to life with horn-driven grooves decorated by guitar-plucked rhythms.

                   Ethiopian music takes presence from dark, pentatonic scales, giving the music a hypnotic and smooth nature. The Collective takes this approach and leaves it open-ended, allowing ample room for instrumental spotlights and extended solos. Album opener “Marz” is a fitting introduction to the group, with groovy organ and brass solos that can only be described as snake-like. It is reminiscent of the work of Sun Ra, but with very distinct African horn phrases.

       Tracks such as “Woima” and “Puno” have an intrinsically sinister quality, partly due to the forboding horn lines that threaten to go atonal at a moment’s notice, but also because of the fuzzy drone organ that keeps it all together. Underlying it all, however, is a slight tinge of funk, heard best on "Wayna" and "Illusions," tracks that swing hard with a wide array of reed solos and funky guitar licks.

       Tezeta is an album with an excellent tonal texture that is matched by world-class musicianship. The Woima Collective has combined funk aesthetics with otherworldly melodic modes. The outcome is a beautiful blend of relentless breakbeat rhythms typical of the European funk scene with the unique melodic pulse of North Africa.

Bole 2 Harlem - Bole 2 Harlem [vol 1] [2006]

     
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 “fuses up-to-the-minute flavors of hip hop, reggaeton, global music and the lore of traditional Ethiopian rituals” 

                                           -- David Weiss, Mix Magazine, June 2006

       This upbeat fusion of Ehtiopia world beat and Hip-hop leaves you breathless from the outset and never lets go. The opening track Bole to Harlem sets a wonderful danceable tone. One of the biggest complaints about hip hop are the repetitive and redundant themes. Its hard to not enjoy the blended rhythms of hip hop combined with bole. This is a cd you will play and before you know it, its all you want to listen to.

      

                 Rediscover the revolutionary world/urban record that Songlines Magazine calls "One of the 75 Best World Music Albums ever." 

                Bole is the entry/exit point for Ethiopia, and Harlem is the entry/exit place for African music in America. 

               Bole 2 Harlem, Volume 1 is a party, a celebration, a gift back to Ethiopia. The world can flow as one. Music is the frontier to pave the way. Originally released in 2006, Bole 2 Harlem Volume 1 was immediately hailed as a global/urban music classic. 

01. Bole 2 Harlem  4:12 

02. Hoya Hoye  4:07

03. Ensaralen Gojo  5:26

04. Ametballe  4:59 

05. Hi Loga  4:22

06. Endegena  4:50

07. Home  5:58

08. Ya Selam  3:55

09. Aya Bellew  4:44

10. Harlem 2 Bole  2:30 

11. Quralew  1:46

12. Enseralen Gojo (Remix)  8:58

13. Africaye!  2:28

Neway Debebe - Amen [2002]

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       Neway Debebe has been described as possessing a "voice of silk". A protégé of poet Tilahoun Gessesse, Debebe first attracted attention as the lead vocalist of The Roha Band, a tradition-rooted Ethiopian pop band that has supplied accompaniment on more than two hundred and fifty recordings by such top-ranked Ethiopian vocalists as Aster Aweke, Tilahoun Gessesse and Mahmoud Ahmed. 

       Debebe has also performed with Three Flowers, a group he shares with Tsegaye Eshetu and Areghagn Wersash.

01. Neway Debebe - Dehena Nat (7:16)

02. Neway Debebe - Ethiopia (7:23)

03. Neway Debebe - Amen (6:09)

04. Neway Debebe - Belay (6:25)

05. Neway Debebe - Terote Leshelemat (5:11)

06. Neway Debebe - Keremela (6:05)

07. Neway Debebe - Alewashem (6:38)

08. Neway Debebe - HoyaHoye (6:30)

09. Neway Debebe - Esua Endefekedech (7:43)

10. Neway Debebe - Alebeltem (6:20)

Gizachew Teshome - Yehuna [2008]

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01. Gizachew Teshome - Abadaghaw (5:19)
02. Gizachew Teshome - Alemeye (6:30)
03. Gizachew Teshome - Neyemela (6:12)
04. Gizachew Teshome - Yehuna (5:50)
05. Gizachew Teshome - Wello (6:21)
06. Gizachew Teshome - Alew Bleshghe (6:01)
07. Gizachew Teshome - Weye Segho Gebeya (6:36)
08. Gizachew Teshome - Gogam Atereshim (6:17)
09. Gizachew Teshome - Merea (7:00)
10. Gizachew Teshome - Seate (5:01)
11. Gizachew Teshome - Sedet (6:04)
12. Gizachew Teshome - Guragega (5:12)

Mohammed Wardi - Greatest Hits [sudan]

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          Mohammed Wardi received several nicknames throughout his career. “Africa’s Pharaoh” was at the same time the “Leftist Artist.” The man who throughout his entire life regarded himself as a crowned king of Sudanese song often focused on those less fortunate than himself in his work. 

               “The Voice of Joy” passed away Saturday in Khartoum at the age of 79.

            The exceptionally talented Wardi turned singing into a medium for seeking justice and beauty. He did not view the “leftist artist” nickname as a demagogic slogan but thought of it as a responsibility. The choices he made in his life and career seemed to revolve around living up to that title. One of these choices was his decision to become a Communist Party member alongside Sudanese Communist heavyweight Muhammad Ibrahim Naqd.

          Wardi began his life as a music teacher at Sudanese schools in the 50s. He was then involved in a union struggle to defend teachers’ rights before joining the radio as a first class singer and composer.

       Wardi began his life as a music teacher at Sudanese schools in the 50s. He was then involved in a union struggle to defend teachers’ rights before joining the radio as a first class singer and composer.

       It is hard to separate between his political beliefs and artistic choices. He built the latter on fine lyrics that succeeded in offering an “alternative song” to counter Sudanese pop songs of the era.

       Wardi’s rise to success was in a big part owed to the work he did with two distinguished poets and songwriters, Ismail Hassan and Mahjoub Sharif. It was then that he went beyond the pentatonic musical scale that was prevalent in Sudan’s music to open up new horizons for Sudanese music.

      There was also Wardi’s love for Egyptian music, which he used to add an oriental flavor to his works. Soon thereafter, he introduced Nubian tunes and instruments, such as mandolins, into Sudanese music.

      Wardi’s political and artistic commitment was tested in a country that suffered several political coups. He supported General Ibrahim Abboud’s coup in 1958. However, he then celebrated its downfall in the 1964 “October revolution.”

      Following Jaafar al-Numairi’s coup in 1969, Wardi sang odes in support of the new regime, when it still had socialist orientations, only to perform other songs calling for the fall of al-Numairi’s regime in April 1985 revolution.

      Wardi left Sudan in 1989 following the rise of Sudanese President Omar Bashir to power. He spent 13 years in voluntary exile mostly in Cairo, where he was famous before his arrival.

     Wardi left behind a reservoir of songs that have become part of the Sudanese daily life. Wardi died, but his fans all along the Nile will continue to sing his songs for years to come.

1. Mohammed Wardi - Armusal (11:33)

2. Mohammed Wardi - Alnas Algyafa (8:54)

3. Mohammed Wardi - Amir Alhusen (6:14)

4. Mohammed Wardi - Ana Arfek Ya Fouady (3:15)

5. Mohammed Wardi - Ashof Fi Shakhsak Ahlami (10:10)

6. Mohammed Wardi - Been Wa Bainak Wa Alayam (6:47)

7. Mohammed Wardi - Ghalta (6:09)

8. Mohammed Wardi - Ma Takhgali (9:14)

9. Mohammed Wardi - Sodfa (8:51)