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From: Africa > Eritrea, Ethiopia

Genres: Ethiopian Pop, World Jazz

Ethiopiques

The aim of the Ethiopiques series, directed by Françis Falceto, is to highlight two missknown periods of the Ethiopian modern music. The story is starting by a love affair betwen this man and the music of Amha records, the main private label of Ethiopia in the  60's. This label and this treasures had been dislocated by the DERG dictatorial government. Since 1991 and its fall, the ethiopian music rebirth.

The main body of Ethiopian records was produced in less than one decade: All in all, just under 500 45s and around 30 Lp albums. Ahma Eshèté, creator of the Amha Records label , was the driving force behind this brief creative burst and one of the main founders of movement which swept  the Ethiopian scene during the end of the rule of the Emperor Haile Sellassie. In six years (1969-1975), Ahma issued 103 two tittle 45s and a dozen Lps, mostly containing pieces previously released as singles: in all, around 250 titles. Records had of course been distribued in Ethiopia before this period. The first going all the way back to 1908, were recorded on the initiative of Italian occupation (1935-1941), 248 songs were recorded on the initiative of Italian researchers and Saleh Ahmed Kékiya, a weathly Erritrean merchant living in in Addis Ababa. A few years after the liberation , an imperial decree (30 july 1948) granted a monopoly aver the production and records to Agher Feqer Mahber, literraly, "The love of Country association" which was in fact the first Ethiopian National Theatre. Hence 78-rpm records celebrated Haile Sellasie's 1955 jubilee, followed by a few 45s in the mid 1960's. Until then, all these recordings were dedicated exclusively to traditionnal music.
Modern Ethiopian music, however had been emerging since the Liberation, even though all cultural activities tok place under government control. Espacially music, which had no other outlet than the bands of the imperial Body Guard, the Army, the Police, the Municipality or the Haile Sellassie I Theatre. Alongside these institutions' brass bands and other military music groups, jazz and light music ensembles began to spring up , led by foreign instructors like Austrian Franz  Zelwecker and most notably Nersès Nalbandian, an Armenian living in Ethiopia since the 1930's, who became a key figure in modern Ethiopian music.
As in the rest of the world, for Ethiopia the sixties were the years of ultimate postwar modernity. They began in violence with the failled  "coup d'état"of december 1960. The imperial body guard, as weel as many of the musicians who made up its band were heavily imlplicated. After this warning shot had been sounded, the ageing monarch compromised, displaying an increasingly progressive approach. Capital and only metropolis of a very centralised empire , soon to become the internationnal showcase of non-alignment and of African unity, Addis Ababa distilled the very essence of modernist audacity. Music and its enjoyment were part and parcel of the spirit . Armenian merchant Garbis Haygazian had begun to import one of the emblems of modernity , the reel-to-reel tape  recorder . He also struck upon the idea of recording the foremost official band s and their star vocalists and selling the tape. At first a very private affair involving only the high nobility and Ethiopians of considerable wealth, these makeshift juke boxes soon spread to the burgeonings bars and cabarets which drew members of all social classes. As everywhere, a flourishing nightlife marked this period of intense emancipation. Numerousous hotels and nightclubs opened, showcasing their own bands, initially recruited from the official ensembles-landing many musicians in hot water-and went on to found the first independant bands, the logical result of so much rampant liberalisation . For once in tune with the world, Swinging Addis sported the daring uniform of the period: wide leg or bell-vottom trousers, skinny ties, afro or beehive hairdos, miniskirts and even the pill. It was in this heady, end of empire context that Amha Eshèté, amodern and enterprising young man (he was 24 years old in 1969), very logically decided to start his own record company. And in so doing to defy the 1948 imperial edict.

Despite contentions by Captain Atfanu Mèkonnen, administrators of both the Haile Sellassie I Theater and Agher Feqer Mahber, of absolute control over all Ethiopian recording output and even importation of foreign records, this extravangly absurd and anachronic measure could not go on. Thoughout the year 1970, the national press reported the controversies and unrest sown in Ethiopian society by the younger generation. The emperor, who had the last word on everything, probably assessed the seriousness of the conflict ande decided to let those determined youths have their way. All this healthy turmoil was brutally extinguished in 1974 by the fall of the Emperor and the arrival of a particularly brutal military junta. The golden era's days were numbered, and the country would soon wake up to a new regime of repression. Curfews put an end to any nightlife. No one could could have imagined that this would go on uninterrupted for 18 long years until the fall of the dictatorship. Like every sector of social life, Ethiopian music music was almost totally extinguished. Record production plummeted disppearing completely in 1978.

As in many domains, the fall of the dictatoship  "The Derg" in may 1991 sounded the call for a great renewal in Ethiopian music . After 18 years of unremitting glaciation, the curfew was asbolished in 1992. Once again Ethiopians could take back the night, nerve centre of musical life. And they didn't do things half way. The situation reversed immediately during the first heady month after the Derg's fall. Addis  Ababa in particular, was seized with entrepreneurial hysteria. The music merchant werre no exception. A multitude of restaurants, nightclubs and hotel opened, all imitating  western style fun to attract rich Ethiopians and westerners . But the most interisting phenomenon for fans of Ethiopian music remains the incredible flowering of azmaribéts. They sprang up by the dozens (hundreds??) thoughout the capital, but centred in two areas of prelidections: Kazentchis and Yohannès Sefer (also called Datsun sefer because local bars owner were the first to swan about in japonese cars). Simple bars or converted villa dinning rooms, dingy closets at the back of a courtyard or down a back alley , all you nedded was 40 to 250 square feet) a few stools, a counter with wisky and beer, and one two six or seven musicians who took turns playing in and there you had it.
Originally wandering minstrels , sharp tongued peddlers who roamed the old Abyssinian countysyde, many azmaris more or less settled down after founding of Addis Ababa just over a century ago. As weel informed as the next guy, the cleverest of them quickly understood that they should set up their own businesses and take a cut on the drinks, instead of getting by on tips earned singing their way from one bar and tedjbét  (taverns serving tedj the local meal) to another. One can even wonder whether the oxymoron azmaribeh literrally "house of an azmari"  self contradictory since the azmari is fundamentally itinerant-took root during this recent period, with the growing number of cabarets.
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Ethiopiques

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Ethiopiques Vol.01: Golden years of modern Ethiopian Music .

The main body of Ethiopian records was produced in less than one decade: All in all, just under 500 7-inches and around 30 LP albums. Ahma Eshèté, creator of the Amha Records label , was the driving force behind this brief creative burst and one of the main founders of movement which swept  the Ethiopian scene during the end of the rule of the Emperor Haile Sellassie. In six years (1969-1975), Ahma issued 103 two tittle 45s and a dozen LPs. The aim of the first volume of the Ethiopiques "Series", directed by Françis Falceto, is to highlight these golden years of modern Ethiopian music. Released in 1998.

Indicates Most Popular Song

Title

Length

Sample

Muluqen Mellesse - Hédètvh Alu

5:16

Muluqen Mellesse - Wètèriérié Maré

3:36

Muluqen Mellesse - Eté endénesh gèdawo

4:15

Mahmoud Ahmed - Gizié Dègu nègèr

3:42

Mahmoud Ahmed - Yeqer mèmèkatesh

5:14

Mahmoud Ahmed - Aynotché tèrabu    

4:03

Ewnet yèt lagegnesh

2:46

Seyfu Yoannes - Tezeta

5:21

Seyfu Yoannes - Mèla mèla

3:25

Bemgnot alnorem

2:39

Teshomes Meteku - Gara ser nèw bétesh

3:15

Teshomes Meteku - Yèsèmèd yèabed

3:53

Teshomes Meteku - Mot adèladlogn

4:06

Teshomes Meteku - Hasabé

3:59

Heywèté

5:16

Getatchew Kassa - Tezeta Slow/Fast

5:09

Getatchew Kassa - Tezeta Slow/Fast (alternate)

4:00

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Ethiopiques Vol.02: Tetchawet - Urban Azmaris of 90's

Second release from the Ethiopiques series, Tèttachawèt!, is a sort of musical postcard from the 90's Addis Ababa. It can't pretend to capture all the stands of Ethiopia's comtemporary music but if it is a subjective recording it is also an objective reporting. Released in 1998

Indicates Most Popular Song

Title

Length

Sample

Misrak Mammo and Tchista Band - Giziè Biyasayègnem / Nanu Nanu Nèh

4:36

Mèllèssè Bongèr and Tchista Band - Lebé Antchin Alèna / Air Gouragué

9:13

Tigist Assèfa - Toutouyé

5:16

Adanèh Tèka - Bob Marley

4:47

Adanèh Tèka - Medley

2:40

Malèfya Tèka - Indè Iyeruzalèm

4:18

Asfaw Kèbbèbè - Antchi Hoyè Lèné

4:23

Asfaw Kèbbèbè - Tèmèlèsè Baburu

4:11

Zewditou Yohannès - Bolel

4:27

Yèzinna Nègash - Sèqota

5:51

Admassou Abatè and Tigist Assèfa - Ambassel    

7:12

Djemil "Jimmy" Mahmed - Yèheywétè Heywèt

5:17

Mèssèlè Asmamaw and Tigaw Bellètè - Ethopia Hagèré

8:54

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Ethiopiques Vol.03: Golden Years of Modern Ethiopian Music

Until the fall of Haile Sellassie, all Ethiopian star vocalists came from institutions. After starting out with Agher Feqer Mahber, Tlahoun Gèssèssè spent his entire career with the imperial Body Guard Band the same for Bzunesh Bèqèlè, the "first lady" of Ethiopian song or for Mahmoud Ahmed, Tèfèra Kassa, Essatu Tessemma and many others. This third release of th Ethiopiques series spots the essential role of these academic band in the Ethiopian music emancipation. Released in 1998.

Indicates Most Popular Song

Title

Length

Sample

Kulun Mankwalèsh

6:01

Lomiwen Tèqèbèlètch

3:29

Tèy Geryèlèshem

3:21

Tèmèlès

3:22

Alokèrkum Nèbèr    

3:23

Essu Nèw Mèssèlègn

2:47

Yèqondjowotch Mendèr

2:54

Man Yawqal Yèbétén

3:09

Sema

4:18

Yèwnèt Messosso Mètch Yenèqanèqal

4:55

Enafqeshalèhu

2:53

Antchi Qondjo

2:30

Kèlkeyelegn

4:12

Aynamayé

2:15

Tènèsh Kèlbé Lay

4:29

Embwa Bèlèw

3:59

Etè Hoy

3:13

Haméta

3:25

Sèlam Almazeyé

3:34

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Ethiopiques Vol.04: Ethio Jazz & Musique Instrumentale, 1969-1974

In the Ethiopian musical world Mulaté Astatqé is atypical, totally unique, a legend unto himself. First Ethiopian musician educated abroad, object of tribute and admiration, Mulaté is the the inventor and maybe the only musician of Ethio-Jazz: Jazz instrumentals with strong brass rythms and traditionnal elements of Ethiopian music. The fourth volume of the Ethiopiques series make us discover a highly original music which seems to have been dreamed and actually was. Released in 1998.

Indicates Most Popular Song

Title

Length

Sample

Yèkèrmo Sèw (A Man of Experience and Wisdom)

4:15

Mètché Dershé (When Am I Going to Reach There?)

4:00

Kasalèfkut Hulu (From All the Time I Have Passed)

2:46

Tezeta (Nostalgia)

6:16

Yègellé Tezeta (My Own Memory)    

3:17

Munayé (My Muna)

5:02

Gubèlyé (My Gubel)

4:40

Asmarina (My Asmara)

4:59

Yèkatit (February)

3:58

Nètsanèt (Liberty)

5:36

Tezetayé Antchi Lidj (Baby, My Unforgettable Remembrance)

6:03

Sabyé (My Saba)

5:28

Ené Alantchi Alnorem (I Can't Live Without You)

5:01

Dèwèl (Bell)

4:15

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Ethiopiques Vol.05: Tigrigna music

The fifth volume from the Ethiopiques series is dedicated to the music of Tigray and Eritrea. The majorities in each of these territories share the same language: Tigrigna which is an evolution of Ge'ez, as Amharic is. The Eritrea is a part of Tigray. In 1962, Haylè Sellasié anounced the annexation of Eritrea by Ethiopia. 30 years of war later, Erytrea was declared independant by referendum. Tigrina music is of course sung in the Tigrina language, but derives its main originality from its own disctinctive rhythms, radiccaly different from those apparent in other music from this part of Africa. What remains of ancient Abyssinia still harbours an incredibly rich and diverse musical heritage. We may speak of Ethiopian music, but in fact this is a catchworld for many very different musical styles. Released in 1999.

Indicates Most Popular Song

Title

Length

Sample

Aminèy

4:45

Mèdjèmèrya Feqrey

4:11

Hadarèy

4:00

Bazay    

4:03

Mèmona

3:51

Milènu

5:01

Adèy Wèladitèy

4:12

Welladka Hazilè

3:54

AB Teqay Qerèbi

3:34

Nehadar Zèytkèwen

4:01

Furuyti Ayni

4:01

Dèqi Adèy

3:53

Nètsèla May-May

3:39

Embi Ila

4:03

Tèfqerèni Zenèbèrèt

3:58

Abadit

4:36

AB Qètri Berhan

4:24

Sèlam Tèmagwèt

3:53

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Ethiopiques Vol.06: Mahmoud Ahmed: Almaz - 1973

For many years everything we knew about Mahmoud Ahmed and Ethiopian music in general was limited to the cult album "Erè mèla mèla" The first eruption of this brassy, electric urban pop, swinging and hypnotic, hearthrending and funky, so unusual, so different from anything comming out the African continent. Here is the first Lp by Mahmoud Ahmed "Almaz" recorded two years before "Erè mèla mèla". Ethiopiques, volume 6. Recorded in 1973 - Reissued by Buda Musique in 2000.

Indicates Most Popular Song

Title

Length

Sample

Almaz Men Eda Nèw

4:05

Asha Gèdawo

5:25

Tchebo Aymolam

3:04

Feqer Endègèna

6:16

Ambassel

7:50

Zèmèdié

3:43

Kulun Mankwalèsh

6:01

Mèla Mèla    

5:30

Antchiyé

5:55

Nafqot Nèw Yègodagn

3:21

Yasdestal

3:07

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Ethiopiques Vol.07: Mahmoud Ahmed: Erè mèla mèla

Released in Ethiopia in 1975, Erè mèla mèla is one of the last traesure of what must be termed the "golden age" of modern Ethiopian music. This volume 7 of Ethiopiques includes all of Mahmoud Ahmed's recording released by Kaifa records.Two additionnal songs included in the first crammed discs release, masterpieces from an album released in in 1978 under Mahmoud's own label, have also been reproduced here. Released in 1999.

Indicates Most Popular Song

Title

Length

Sample

Ere Mela Mela

4:39

Metche New

3:25

Bemen Sebeb Letlash

4:33

Abbay Mado

3:17

Embwa Bèlèw

3:38

Atawurulegn Lela

4:02

Ohoho Gedama    

4:47

Sedetegnash Negn

2:02

Sameraye

3:28

Endenesh Gedawo

3:47

Fetsum Denq Ledj Nesh

4:45

Ebakesh Tareqign

4:40

Asheweyna

4:34

Belomi Benna

3:54

Tezeta

5:46

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Ethiopiques Vol.08: Swinging Addis

In the 60's there was a Swinging Addis just as there was a swinging London. In Ethiopia as in Europe or the United States, the first generation born after the war made thier noisy, colorfull breakthought onto the scene. A veritable cultural revolution rather than a simple generationnal conflict. With music as its detonator and its common denominator. These volume of Ethiopiques aims to collect the clearest examples of soul, R'n'B and even twist in the recordings of the Ethiopian's sixties. Released in 2000.

Indicates Most Popular Song

Title

Length

Sample

Ené Nègn Bay Manèsh

4:01

Mar Tèb Yelal Kafesh

3:39

Hasabé

3:58

Tchero Adari Nègn

4:28

Betchayén Tègodahu

3:30

Tèssassatègn Eko

4:04

Gizié.mp3

2:37

Astaweslèhu

4:00

Adrashash Tèfabegn

4:04

Lèzèlalèm Nuri

2:52

Yètèsfa Tezeta

2:30

Aynotchesh Yerèfu

2:39

Qèrèsh Endèwaza

3:09

Sét Alamenem

3:19

Yebèqagnal

5:28

Enkèn Yèlélèbesh

3:30

Betchayén Tèkezi

3:21

Afèr Yemègneshal

2:59

Eskègizéw Bèrtchi

3:23

Ayalqem Tèdèngo

3:16

Honey Baby    

3:21

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Ethiopiques Vol.09: Alemayehu Eshete

Alèmayèhu Eshèté boasts one of the largest discographies in Ethiopia with more than 30 45s.He was barely 20 when he was enrolled by the Police Orchestra and scored his first hit in the beguinning 1960's. A star very early on, he was also among the first artist to leave the instutional band and join tward the end o he decade, the young guard of independant such as the Soul ekos or the Alèm Girma band which he founded with Girma Bèyènè. 35 of the 36 tiltles that Alèmayèhu recorded for Amha records have been duly re-released in the Ethiopiques series. So that he will granted his rightfull place in the musical epic of Ethiopia and of the entire African continent. Volume 9. Released in 2001.

Indicates Most Popular Song

Title

Length

Sample

Addis Abèba Bété

4:33

Yèwèyn Harègitu

2:37

Qondjit

3:44

Yèlben Betayiw

3:32

Yèsèw Bét Yèsèw Nèw

2:22