• http://lh3.ggpht.com/-BP2aizWrD3g/T0tI5O4FXGI/AAAAAAAAA2k/mmlP-N2168c/s640/%5Bcover%5D.jpg

    Country : Ethiopia
    Style : World Music

     

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    Tracklist :

    01. Bezunèsh Bèkèlè - Meneme Addis Neger Yeleme (2:54)
    02. Bezunèsh Bèkèlè - Hulume Bemegerme (4:23)
    03. Bezunèsh Bèkèlè - Aseberko Demeko (4:05)
    04. Bezunèsh Bèkèlè - Lela Asebe Weye (4:21)
    05. Bezunèsh Bèkèlè - Endih Newe Gabecha (4:10)
    06. Bezunèsh Bèkèlè - Yenate Weletawane (4:05)
    07. Bezunèsh Bèkèlè - Eyekesekesenge Fekerhe (3:02)
    08. Bezunèsh Bèkèlè - Endehe Newe Gedawo (3:45)
    09. Bezunèsh Bèkèlè - Yefeker Wegagane (3:34)
    10. Bezunèsh Bèkèlè - Ezam Ezame Atebele (4:38)
    11. Bezunèsh Bèkèlè - Sewele Yelgale Kere (4:42)
    12. Bezunèsh Bèkèlè - Yesune Yesune (5:18)
    13. Bezunèsh Bèkèlè - Geze Ayelewetgeme (3:17)
    14. Bezunèsh Bèkèlè - Yegebahewen Kale Endet Tafersaleh (4:12)
    15. Bezunèsh Bèkèlè - Lesewe Binagerute (4:07)


  • http://www.israbox.com/uploads/posts/2012-06/1340693350_500.jpg

    http://www.akalewube.com

    https://www.myspace.com/akaleband





    Origine du Groupe : France

    Style : World Music , Ethiopic Music

    Sortie : 2012

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    From Official Site :

    It is an improbable story: one that reunites, a group of young Parisians with the Swingin' Addis sounds of the seventies. In October 2008, five musicians got together on a wild project: to delve into the repertoire of the ethiopian golden age, discovered through “Ethiopiques”, the famous series of reissues. “The idea was to transcribe songs from this period and rearrange them to the sound of our times. First off, it eliminated the need to write songs that risked falling into ethio-jazz clichés. The aim was not to bring about some artistic revolution through our work but simply to give and take pleasure by performing this music!” Through this retro-futuristic alchemy, the Akalé Wubé quintet was born: a curious name borrowed from a song by the saxophonist Getatchew Mekurya, a bit of an old-fashioned expression which can by translated as “my beautiful” in amharic.

    “Since our very first concert in December 2008 we were surprised by the audience’s enthusiasm.” Since then, Akalé Wubé have played a series of concerts, refining a retro sound which resounds perfectly with the contemporary aesthetic of a generation of musicians that juggle genres around. Funk, reggae, jazz, tango... “All of this is found in the vocabulary and aesthetic of the ethiopian productions of the sixties and seventies. It is a cross-bred style of music - so much so, that even by sticking to the repertoire, it can be taken in different directions...” A mix of stripped-down funk soul and smart pop, of garage rock and vintage jazz, this spatiotemporal collision ultimately invites us to a fresh journey in sound, guided by the good sense of groove.


    C’est l’histoire d’une rencontre improbable : celle qui réunit, à quarante ans de distance, de jeunes Parisiens et le son du Swingin’ Addis des années 70. En octobre 2008, cinq musiciens se réunissent autour d'un projet fou : s’attaquer au répertoire de l’âge d’or éthiopien, découvert sur la fameuse série de rééditions « Ethiopiques ». « L’intérêt était de relever des titres de cette période et de les réarranger à l’aune de notre époque. Dans un premier temps, ça nous évitait d’écrire des morceaux qui risquaient de sombrer dans les clichés éthio-jazz. Il n’y avait pas de prétention de révolution artistique dans notre démarche. Juste prendre et donner du plaisir à jouer cette musique ! » C’est ainsi, sur la foi de cette alchimie rétro-futuriste, que naît le quintet Akalé Wubé, un drôle de nom emprunté à un thème du saxophoniste Getatchew Mekurya, une expression un tantinet désuète que l’on peut traduire par « ma jolie » en amharique.


    « Dès notre première scène, en décembre 2008, on a été surpris par l’emballement du public. » Depuis, Akalé Wubé a enchaîné les concerts sans relâche, affinant un son à l’ancienne qui résonne dans l’esthétique contemporaine d'une génération de musiciens qui fait valser les étiquettes. Funk, reggae, jazz, tango…  « Tout cela se retrouve dans le vocabulaire et l’esthétique des productions éthiopiennes des années 60/70. C'est déjà une musique métissée, si bien qu'en s'attaquant à ce répertoire, on peut l’emmener dans toutes les directions.... ». Mélange de de soul funk désossée et de pop délurée, de rock garage et de jazz vintage, ce télescopage spatio-temporel nous invite au final à un voyage sonore inédit, guidé par le bon sens du groove.



    Band Members :
    PAUL BOUCLIER : trumpet, mélodica, percussions
    ETIENNE DE LA SAYETTE : tenor sax, flutes
    LOIC RECHARD : guitar
    OLIVER DEGABRIELE : electric bass
    DAVID GEORGELET : drums


    Tracklist :
    01. Marye [04:47]
    02. Dodo [04:28]
    03. Mata [03:50]
    04. Jour de Pluie [02:22]
    05. Kasalefkut Hulu [05:24]
    06. Almaz Yeharerwa [04:14]
    07. Asmarina [03:54]
    08. Bazay [05:42]
    09. Besetchet [02:39]
    10. Sabye [04:37]
    11. Tinchel [03:45]

     


  • http://ekladata.com/lnyX4o7KU4Kt4ADxYkWduUu-SUc.jpg

    http://ethiopiques.info

     

    Origine du Groupe : V.A Ethiopia

    Style : World Music , Jazz World , Ethio-Jazz

    Sortie : 2007





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    From Official Site :

    Over the last 10 years, music aficionados across the world have become familiar with Francis Falceto’s remarkable work re-releasing vast quantities of modern Ethiopian music as
    ‘The Ethiopiques series’ on Buda Musique. But now this enthusiasm has spread to infect another top re-issuing label, as Union Square Music have taken it upon themselves to assemble an Ethiopian
    music collection with a different slant. An enormous undertaking, drawing from all 21 volumes of the original ‘Ethiopiques’ series, ‘The Very Best of Ethiopiques’ (2CD) represents a new take on
    Ethiopian Music as compiler and sequencer Iain Scott (assisted by Steve Bunyan and Francis Falceto) has made the first ever compilation of modern Ethiopian music specifically for the contemporary
    western ear.

    CD1 breaks new ground by focusing on modern Ethiopian tracks able to shake dance floors as much as any world music connoisseur’s mp3 headphones. Aimed at all those who were
    dazzled by re-issue releases such as Russ Dewbury’s ‘Africa Funk’ 1998 (exposing Fela Kuti and Manu Dibango to a club audience for the first time), this does the same for ‘Ethiopian Groove’,
    offering a sparkling collection of songs bursting with Ethiopia’s unashamed and open enthusiasm for absorbing the influences of 1960-70s Afro-America. Throw into this mix a few more tunes made
    popular by the soundtrack for Jim Jarmush’s ‘Broken Flowers’ and you have the ultimate Ethiopian cross-over selection.

    CD2 is a little different. A real delight for those slightly more accustomed to the exotic differences of World Music, as here the groove is hidden more deeply within,
    requiring time to grow but then emerging more with each listening. If CD1 is the Ethiopian ‘Master Cuts’, then CD2 is the Ethiopian ‘Buena Vista Social Club’ selection, defining a unique modern
    music scene at its discernible peak.

    With ‘The Very Best of the Ethiopiques’ (2CD) perhaps the last great hidden treasure troves of modern African music has finally been made available to the mainstream
    public.
    A very special occasion indeed.

    Enjoy!

     





    Tracklist :

    1. Tesfa Maryam Kidane — Heywete

    2. Mulatu Astatqe — Yekermo Sew

    3. Mulatu Astatqe — Yekatit

    4. Girma Beyene — Enken Yelelebesh

    5. Bahta Gebre Heywet — Ewnet Yet Lagegnesh

    6. Mulatu Astatqe — Gubelye

    7. Mahmoud Ahmed — Ere Mele Mele

    8. Mahmoud Ahmed — Metcha New

    9. Alemayeha Eshete — Tchero Adari Negn

    10. Alemayeha Eshete — Telentena Zare

    11. Wallias Band — Muziqawi Silt Play

    12. Ayalew Mesfin & Black Lion Band — Gedawo

    13. Tlahoun Gessesse — Tchuheten Betsemu

    14. Menelik Wesnatcher — Tezeta

    15. Tsegue Maryam Guebrou — Mother's Love

    16.
    Tlahoun Gessesse — Sema

    17. Tewelde Redda — Milenu

    18. Beyene Habte — Embi Lla

    19. Mulatu Astaqe — Tezeta

    20. Girma Beyene — Set Alamenem Play

    21. Muluqen Mellesse & Dahlak Band — Bene Mote

    22. Getatchew Mekurya — Antichi Hoye

    23. Tlahoun Gessesse — Kulun Mankalesh

    24. Getatchew Mekurya — Shellela

    25. Seyfu Yohannes — Mela Mela

    26. Mahmoud Ahmed — Atawurulegn Lele

    27. Mahmoud Ahmed — Fetsum Denq Ledj Nesh

    28.
    Alemu Aga — Abatatchen Hoy

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  • http://multimedia.fnac.com/multimedia/images_produits/ZoomPE/7/2/6/0730003305627.jpg

    http://www.myspace.com/mulatuastatke

    Origine du Groupe : Ethiopia

    Style : World Music , Ethio-Jazz , Alternative

    Sortie : 2010




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    Depuis sa fructueuse association discographique avec The Heliocentrics pour un Inspiration Information Vol. 3 (Strut) qui lui a valu le prix du meilleur album aux trophées Afro-Caribéens en 2009,
    plus rien n’arrête Mulatu Astatke. Embrayant sur une tournée de salles combles et un best-of, New York-Addis-London, simple mise en bouche destinée à replacer son œuvre, il revient pour un album
    sous son seul et unique nom. Enfin. Ouvert par la somptueuse inspiration mystico-méditative " Radcliffe ", Mulatu Steps Ahead n’est que le reflet de l’idylle que Mulatu Astatke vit depuis
    quarante ans. Une histoire d’amour entre un génial compositeur éthiopien et sa création, complexe assemblage musical qu’il nomme éthio-jazz, un édifice bâti à la force de ses maillets de
    vibraphone. Quatre décennies durant lesquelles le démiurge d’Addis-Abeba n’aura eu de cesse de parcourir le monde à la recherche des nouvelles inspirations qui enrichiront et embelliront sa
    musique, fusionnant des courants qu’on aurait juré incompatibles, développant une incomparable science de l’arrangement. Des plaines verdoyantes au Danakil, des rues brûlantes aux salles
    obscures, des clubs de jazz new-yorkais aux bouges latinos enfumés, la musique de Mulatu est un passeport où toutes les pages sont martelées de tampons et de visas. Aussi à l’aise pour tresser
    des cordes que dompter un groove radical afin qu’une kora s’y ébatte en toute quiétude (écoutez donc " Mulatu’s Mood ! "), capable d’ordonner un cortège de cuivres comme d’hypnotiser un piano,
    Mulatu multiplie les clins d’œil à ses propres œuvres tout en allant de l’avant, laissant dans son sillon des mélodies envoûtantes. Efficace en électrique comme en acoustique, le Négus nous
    confie neuf titres multidirectionnels promis à des écoutes répétées et prolongées.



    par Franck Cochon

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    Tracklist :

    01 - Radcliffe

    02 - Green Africa

    03 - The Way To Nice

    04 - Assosa

    05 - I Faram Gami I Faram

    06 - Mulatu's Mood

    07 - Ethio Blues

    08 - Boogaloo

    09 - Motherland

     

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  • http://ekladata.com/IV9lv0qjaCn5eU8gJmav5GJK6Zg.jpgNote : ++

    Style : World , Music Ethiopia

    Tracklist :
    1 Bezawork Asfew - T'zeta
    2 Mahmoud Ahmed - Tezeta
    3 Mulatu Astatqe - Tezeta
     4 Sèyfou Yohannès - Tezeta
    5 Menelik Wèsnatchèw - Tezeta
    6 Either/Orchestra - Soul Tezeta
    7 Tèsfa-Maryam Kidané - Tezeta
    8 Mahmoud Ahmed - Tezeta, long version
    9 Gétatchèw Kassa - Tezeta, slow
    10 Gétatchèw Kassa - Tezeta, fast

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    Do you know that 1989 BBC double CD, 'Under African Skies'? When it first came to my ears I was blown away by one song specially. It is the last track on the album but it made an incredible impression. The voice of Bezawork Asfew is the most extraordinary, first time I heard it, it sent shivers down my spine, spontaneous goosebumps, tears, words can't express how that felt, ever since I've been looking around to find her music. All paths seem to lead to the CD this track comes from. If anyone can help us to find something, anything she made, that would be super. With the help of the great series on Buda Musique, 'éthiopiques', I made a compilation of different versions of 'T'zeta' or 'Tezeta', a traditional that practically all Ethiopian musicians seem to have played, listen. After receiving all your tips, it seemed appropriate to post this fantastic Youtube movie, thank you very very much for enlightening me !!!
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    Thanks : http://globalgroovers.blogspot.com

  • http://i25.tinypic.com/10r8nqf.jpgNote :

    Sortie : 2006
    Style : Jazz World , Piano

    Tracklist :
    01 The Homeless Wanderer
    02 The Last Tears of a Deceased
    03 A Young Girl’s Complaint
    04 The Mad Man’s Laughter
    05 Presentiment
    06 Mother’s Love
    07 Ballad of the Spirits
    08 The Song of the Sea
    09 Homesickness
    10 Golgotha
    11 The Jordan River Song
    12 The Garden of Gethesemanie
    13 The Song of Abayi
    14 The Story of the Wind
    15 Evening Breeze
    16 Tenkou! Why Feel Sorry?
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    Découvrez la playlist Ethiopiques, Vol. 21

    Une pianiste éthiopienne qui a enregistré des disques dans les années 60, ça vous dit quelque chose ? Si oui, bravo ! Moi, je ne connaissais pas, mais je me réjouis de combler cette ignorance. En 1963, Tsegue Maryam Guebrou avait 40 ans. Elle était issue de la haute société d’Addis-Abeba... La suite de l’histoire est à reconstituer via internet, si vous le souhaitez. Mais vous pouvez aussi laisser votre imagination inventer les choses. Ecoutez le morceau ci-joint, une composition personnelle, “The homeless wonderer”, une petite merveille qui ne ressemble à rien d’autre pour moi. Et dieu sait que je suis fan de piano solo ! Elle a le genre de phrasé qui vous enveloppe les jours où il fait trop gris et trop froid pour faire autre chose que de se draper dans une couverture avec un thé à portée de main. Bien aussi quand le soleil tape si dur que l’on se sent anesthésié. Bref. À écouter sous toutes les latitudes.
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    The 21st volume in the grand Ethiopiques series (that reflects how deeply the country's popular music traditions are steeped in American and European colonial sources) is dedicated to the solo piano works of the outstanding composer and performer Emahoy Tsegué-Maryam Guèbrou, a daughter of Ethiopian high society who chucked it all to become a nun in the nation's Orthodox Church. Tsegué-Maryam Guèbrou was educated in Europe. She played violin (under the tutelage of Polish émigré Alexander Kontorowicz). She took up her piano studies while in the convent and teaching at an orphanage. Her first recordings -- two LPs -- were issued in 1963, when she was 40. The first nine cuts here come from these two albums. Guèbrou showcased her classical training on much of the first offering. But the opening cut also displays her incredible ability to play an extremely melodic blues piano as read through the great jazz masters of the instrument. One can hear a bit of Albert Ammons, a bit of Count Basie and Oscar Peterson, and even a trace of Art Tatum in "The Homeless Wanderer." She sticks to her wonderfully haunting classical compositions until "Presentiment" (track five), where she returns to the deep blues, which are nonetheless played light and airy in the middle and upper registers of the piano. Jazz injects itself deeply into her playing on the second recording, beginning with "Mother's Love." There is a spaciousness in her playing that is remarkable, and it is very much like song. "Ballad of the Spirits" may be an obvious example, but it is far from the only one. Her sense of phrasing is rhythmically complex; she shape-shifts, straying from standard time signatures into something more mercurial without losing form. On this tune one can hear Beethoven and Teddy Wilson. "The Song of the Sea" is the longest composition here. Clocking in at just under nine and a half minutes, it is complex yet utterly engaging. Here, scalar forms and ostinati assert themselves in the theme, which returns over and over again throughout. But the improvisation on the original changes is remarkable; it feels as if the piece is in three movements, and a different kind of improvisation is featured in each. The harmonic invention and the melodic interplay between her hands are seductive. There are three other tracks here from an album Guèbrou recorded in 1970 while in Jerusalem on pilgrimage. These, "Golgatha," "The Jordan River Song," and "The Garden of Gethesemanie," are among the strongest works here. Even as they engage classical themes, especially on "Golgatha," the early jazz of Fats Waller and Jelly Roll Morton is whispered into the body of these compositions. The final four cuts here come from an album issued in 1996 while she was living in the convent. These four pieces are evidence of the complete realization of her craft. Guèbrou's meld of blues, classical, and gospel music filtered through a jazz pianist's sense of time and voicings is unlike anything anyone has ever heard. It's ethereal yet rooted in the Ethiopian Orthodox sung tradition; it's gauzy and fluid, yet worldly in its command of the musical languages she has chosen to display. It's precise and ordered, yet unfettered and free to drift. It feels like songs of praise, prayer, charming conversation, and partying all rolled into a single exquisite voice that contains many. Fans of Abdullah Ibrahim's township-informed solo work will find this set intoxicating and irresistible, yet she sounds nothing like him, or anyone else. The Ethiopiques series has unearthed other soloists, but this volume stands out for its lyricism, its mysterious emotional depth, and its utter musical mastery.
    Thom Jurek, All Music Guide
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  • http://jazzatelier.files.wordpress.com/2009/10/ethiopiquesv4.jpgNote :

    http://www.myspace.com/mulatuastatke


    Sortie : 1998
    Style : Jazz World , Music Ethiopienne

    Tracklist :
    1 Yèkèrmo Sèw (A Man of Experience and Wisdom) (4:15)
    2 Mètché Dershé (When Am I Going to Reach There?) (4:00)
    3 Kasalèfkut Hulu (From All the Time I Have Passed) (2:45)
    4 Tezeta (Nostalgia) (6:16)
    5 Yègellé Tezeta (My Own Memory) (3:18)
    6 Munayé (My Muna) (5:03)
    7 Gubèlyé (My Gubel) (4:40)
    8 Asmarina (My Asmara) (4:58) by Fèqadu Amdè-Mesqel 9 Yèkatit (February) (3:57)
    10 Nètsanèt (Liberty) (5:36)
    11 Tezetayé Antchi Lidj (Baby, My Unforgettable Remembrance) (6:04)
    12 Sabyé (My Saba) (5:28)
    13 Ené Alantchi Alnorem (I Can't Live Without You) (5:02) by Girma Hadgu
    14 Dèwèl (Bell) (4:16)

    Line Up :


    * Mulatu Astatke - Arranger, Keyboards
    * Fedadu Made-Mesqel - Flute, Tenor Sax
    * Mogus Habte - Tenor Sax
    * Yohannes Tekolla - Trumpet
    * Felleque Kindane - Guitar
    * Andrew Wilson - Guitar
    * Tekle “Huket” Adhanom - Guitar
    * Giovanni Rico - Bass
    * Tesfaye “Hodo” Mekonnen - Drums
    * Girma Zemaryam - Drums
    * Temare Haregu - Drums

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    Découvrez la playlist Ethiopiques Vol. 04
    Musically trained in London and schooled in the club scene of mid-’60s New York, Mulatu Astatke stands as the exceptional musical innovator of the Ethiopian groove. Starting in 1969, he created the first bands independent of the military, which had previously dominated the country’s music scene. Having immersed himself in Caribbean music, funk, jazz and Latin grooves during his lengthy stint abroad, Mulatu returned to his native land to give rise to a brand new sound. An album of instrumentals, Ethiopiques Volume 4 is a case study in the inventive blending of influences that comprised the Ethiopian groove. Strains of funk and reggae timings permeate the thick and chunky bass lines, which are pushed prominently forward in the mix. Multiple saxophones swirl with the hypnotic, snake-charming sounds of the East, while at the same time resonating with jazzy tones reminiscent of John Coltrane and Lester Young. Guitar is a main ingredient here, growling with funky distorted wah-pedaled fuzz riffs that sound like they were lifted straight out of an early ’70s black-exploitation flick. Drums and percussion combine the punchy funk of James Brown and the Meters with the heavy Latin rhythms of Mongo Santamaria and Willie Bobo. Fusing all of these elements together, Mulatu unleashes a potent brew of afro-jazz grooves that pull you in and leave you in a mystical trance-like state. Whew! Even when the record stops, these mood-inspiring sounds linger on like a drug. Get your head on right, light a candle, sit back, and you too will understand… Tropical in its roots, funky and intoxicating in its impact, Mulatu Astatke’s distinct brand of Ethiopian music features some of the most soulful hip-grinding instrumentals ever recorded in Mother Africa.





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