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  • Music of East Africa

    Music of Ethiopia

    Ethiopia has a very rich and diverse music history. The various tribes and ethnic groups of Ethiopia have their own distinct music culture and tradition. The Tigrayans to the north have this smooth, circular dance routine culminated with shoulder and neck movement. The Amharas at the center have dance style dominated by upper body and neck movement. The Oromos to the center and south have this jumping style and full body dance routine. The Gurages have an acrobatic dance that requires high level of arm, leg and body coordination.

    Traditional Ethiopian music instruments include the masingo, a one-stringed violin like instrument that is played with a bow; the krar, a six-stringed lyre, played with fingers or a plectrum; the washint, a flute made from bamboo; and various drums. There are three types of drums that are used in different occasions: the negarit (kettledrum), played with sticks, the kebero, played with hands, and the atamo, tapped with the fingers or palm. Other instruments include the begena, a huge, multi-stringed lyre often referred to as the Harp of David; the tsinatsil or sistrum, which is used in churches; the meleket, a long trumpet without fingerholes, and the embilta, a large, one-note flute used on ceremonial occasions.

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  • Amharic Collection

    Amhara are an ethnic group in the central highlands of Ethiopia. Numbering about 19.8 million people, they comprise 26 percent of the country's population, according to the 2007 national census. They speak Amharic, the working language of the federal authorities of Ethiopia, and traditionally dominated the country's political and economic life.


    Amharic Music Collections

    Music in Ethiopia

    Ethiopia has known much isolation since its rise from the dust of the Axum kingdom in 500 BC. Already a Christian land when Islam swept through northern Africa, Ethiopia survived a bout with Portuguese colonialism only to descend into civil wars after forcing the conquerors out in the 19th century. The Emperor Haile Selassie came to the throne in 1930, intending to modernize the country. Though his rule survived World War II-era domination by Italy, it ended in failure in 1974, when the repressive, "Marxist" Mengistu regime once again cut Ethiopia off--especially from the west--until 1991. This history of suffering finds expression in achinoy, a melancholy quality treasured in Ethiopian music.

    Though the country hosts 75 ethnic groups, the Amharic-speaking people from the central highlands around Addis Ababa have mostly dominated popular music. Since ancient times, Amharic azmari musicians have recited oral histories accompanied by the krar (lyre), masenqo (one-string fiddle), and washint (flute). In the '20s, the young Selassie brought in Armenian refugees from Jerusalem to form the Bodyguard Orchestra, and well into the '70s, similar military brass bands accompanied the nation's early recording artists--the poetic Tilahoun Gessesse, his successful protégé the "Hindi-styled" Neway Debebe, and the ultimate best seller, Mahmoud Ahmed. From the start, these pioneers diversified, singing both traditional and popular repertoires, working with a variety of bands, and playing the grand halls as well as the tedjbets or beer halls of Addis, where dancers shake shoulders, heave chests and snap their heads back in the customary iskista dance. Fashioning a unique, sensuous pop tradition, these singers honor the old tchik-tchik-ka rhythm--a fast, lopsided triplet beat--but arrange their smooth, quivering voices in call-and-response with trumpets and saxophones, and hike the music's emotional pitch to rock-and-roll levels.

    Tilahoun Gessesse unleashes his powerful, snaking voice over a loping, horn-driven groove, ornamented by the plucked rhythms of the krar. The slinky feel suggests a Latin tinge and a taste of soul. Dark pentatonic scales, unfamiliar even in the palette of North African music, convey desire, remorse and forbidding. When Mengistu came to power in 1974, a 10 p.m. curfew drove musicians into studios, where session bands like Roha Band, Wallias Band and later Ethio Stars developed. Producer and talent scout Ali Tango exploited the dawn of cassettes in 1978 to boost typical sales from 3000 LPs in the old days, to as many as 100,000 tapes. Private parties lasted until five a.m., when the curfew ended. Despite these constraining circumstances, some 50 male and female singers maintained recording careers.

    Mahmoud Ahmed, who started out as a shoeshine boy in Addis, emerged as a top star, fitting his highly melodic approach both with the old-fashioned Imperial Bodyguard Band, and the up-and-coming Roha Band, which, with over 250 releases to its credit, has now dominated Ethiopia's pop scene for over a decade. Singing with Yohannes Tekola's Wallias Band, the soulful Alemayehu Eshete evoked James Brown and Little Richard. Also with the Wallias Nand, Netsanet Mellesse applied her sweet, choirgirl voice to suggestive, electric pop. The era's third great backing band Ethio Stars formed in '81, bringing in rock and reggae, but staying loyal to the old pentatonic scales and the tchik-tchik-ka rhythm, essential to the Ethiopian sound.

    ETHIOPIA TODAY

    Much has changed since the Mengistu regime fell in 1991. Finally able to travel, established stars tour frequently to play for exiled communities long denied direct contact with their favorite singers. Meanwhile in Addis, a new generation, eager to jettison reminders of a depressing past, turn their ears to Kenyan pop, and to American rap and reggae. A star while still in his teens, Hebiste Tiruneh heads up a new stable of pop singers that now also includes Yihuneh Belaye, Chache Tadesse, and Hamelmal Abate, the country's top female singer at present. The Abyssinia Band, led by Davit Kassa grew popular, even though it radically altered the sound of local music by introducing the seven-note western scale. Though now defunct, Abyssinia's inventive arrangements pioneered the use of international pop formulas previously off-limits, like Zairean soukous guitar. Keyboard player and arranger Abegassu Kibrework Shiota has worked with stars Aster Aweke and Tilihoun Gessesse. Now working and studying in the US, Abegassu plays in the Admas Band.

    Perhaps the biggest change in Ethiopian music is that long-dominant Amharic music now competes with neo-traditional styles from regions like Tigray, Gonder and Oromo. Tigrayan Kiross Alemayehu spent four years in Mengistu's prisons for his songs about democracy accompanied by hand clapping, krar, and masenqo. Now he and fellow Tigrayan musician Zerihun Wedaho enjoy freedom and celebrity. The fast, rootsy gurague style has produced at least two modern stars, Mohammed Awel and Wabi Abdrehman. As a group like the Tukul Band plays successful pop on electrified traditional instruments--krar, masenqo and washint--the more mainstream Abyssinia Band responds by using "camel-walk" rhythms in their pop constructions. This newly invigorated environment suggests that the best of Ethiopian pop may lie ahead.

    Source: http://www.afropop.org/explore/country_info/ID/4/Ethiopia/

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  • The Legends collection 50s 60s

    The Legends collection 50s-60s

    Ethiopiques is a series of compact discs featuring Ethiopian and Eritrean singers and musicians. Many of the Ethiopiques CDs compile various singles and albums that Amha Records, Kaifa Records, and Philips-Ethiopia released during the 1960s and 1970s in Ethiopia. Prominent singers and musicians from this era appearing on Ethiopiques releases include Alemayehu Eshete, Asnaketch Worku, Mahmoud Ahmed, Mulatu Astatke, and Tilahun Gessesse. However, some Ethiopiques releases are new recordings.


    This playlist includes: (120)

    • Bezounesh Bequele
    • Ethiopiques-02
    • Ethiopiques-04
    • Ethiopiques-09
    • Ethiopiques-11
    • Roha-Band-Tour-1990
    • TesfayeGebre-Magabit28
    • The legend in the 50's and 60's

    The Paris-based world music record label Buda Musique began the Ethiopiques series in 1997 and initially compiled Ethiopian popular music releases from the 1960s and 1970s. Some of the subsequent CDs focus on traditional music, while others highlight individual musicians or specific styles. As of September 2007, there have been 23 releases. None of the CDs feature modern-day synthesizer-based Ethiopian pop music. Francis Falceto is the producer of the series.

    Some songs from Ethiopiques Volume 4 were featured in the Jim Jarmusch film Broken Flowers.

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  • Eritrean Music Collection

    Eritrea is a country in the Horn of Africa. Perhaps the most famous Eritrean musicians in history are Eng. Asghedom W.Micheal, Bereket Mengisteab, Yemane Baria, Osman Abderrehim, Alamin Abdeletif & Atowe Birhan Segid, some of whose music were banned by the Ethiopian government in the 1970s. Also of note is Bereket Mengistab, who has had a lengthy career, and 60s legends Haile Ghebru and Tewolde Redda. The latter was one of the first electric guitar players in East Africa, and a singer and writer of the famous 'allegedly' Eritrea's independence song "Shigey habuni" with love theme as coded message for political freedom ( - whether the attribution of a lot of the songs of this period to the desire for political expression/freedom was true or if it was just the wild fancy of a repressed people who zealously wanting expression to their deep secret political desire, were only eagerly extracting secret political meanings from what has to be run-o-the-mill universal love songs/folk ballads and nothing else - is not certain).

    Eritrean Music Collections

    Eritrean music has a unique rhythm that sets it apart from the rest of Africa. Modern popular stars include Bereket Mengistab,Teklé Tesfa-Ezighe Tekele Kifle Mariam (Wedi Tukul), Tesfai Mehari (Fihira), Osman Abderrehim, Abrar Osman, Abraham Afwerki, Yemane Ghebremichael, Idris Mohamed Ali, Alamin Abdeletif, Tsehaytu Beraki, Atewebrhan Segid and Berekhet Mengisteab.

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  • Oromo Music Collection

    The soloist plays an electronic keyboard introduction and then his voice undulates, rising and falling in pitch. One would think the melody is a random improvisation until the notes are repeated, and the Western listener realizes the song has a chorus and verse. This is Oromo music, a tradition which was nearly lost, but it has become popular once more.


    Oromo Music Collections

    The music of Oromia is sung in Afaan Oroma, one of the most widely used Ethiopian languages. The music and the language are important to the culture of the Oromian people as they seek to gain political power in Ethiopia.

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