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  • Thewodros Tadesse: From liturgical music to jazz

    When Ethiopia celebrated its millennium in 2008, one of the guests was an artist who was returning home after sixteen years, and his fans flocked to the airport to greet him.

    This passionate welcome is rare among the Ethiopian community, and explains his standing as the foremost leader of the current Ethiopian music generation. Tedros Kassahun, a.k.a Teddy Afro, may even enjoy this kind of reception when he arrives at airports in the Middle East and Europe. Thewodros Tadesse is widely appreciated by fellow singers and adored by fans for his unique and vivacious voice. His influence can be heard when you watch Ethiopian Idol and listen to the contestants. Growing up he was a choir member at the Saint George Church (Arada Giorgis), considered as one of the most ancient in the country. His soft, elegant voice graced the choir and songs first composed by St. Yared, who lived between 505 and 571 A.D.

    In spite of the enjoyable times at the Orthodox Church he sought a career in a music industry dominated by massive talents. The likes of Muluken Mellesse and Alemayehu Eshete were the leaders of that “classical” generation in the history of Ethiopian music. Once, while attending a wedding ceremony, he was scared to jump onto the stage to sing a song by Muluken Mellesse, performing it beautifully. This was said to be the turning point for the cheerful young man, with the attractive look and ox-like eyes. Lubanjaye (the pleasantly aromatic substance used in a coffee ceremony), was the title for his first album, which marked his abrupt and successful introduction to the highly competitive music industry. Playing in the now-defunct Club Sterio in Piazza (old city center), and jamming with bands such as Ethio-Star and Waliyas, he laid his musical foundations.

    His stunning musical journey continued with consecutive albums, and his colorful stage performances distinguished him from his contemporaries. Collaborating with Mulatu Astatke (Honorary Ph.D.), the founder of Ethio-jazz, to play Medina na zelesegna (liturgical genres) also thrust him into the public eye. After producing five albums in Ethiopia influenced by traditional Ethiopian music and church songs, he moved to North America in the early 90s. Joining the expatriated Ethiopian music community he performed all over the country. His most significant musical shift was introduced to fans and Ethiopian music audiences when he released the highly-acclaimed Zimita (Silence). This album was a kind of Afro-jazz fusion with elements of modern Ethiopian beats. As a result it received mixed reaction from audiences and music critics, who found it too different from his previous work and more influenced by jazz. However, they also said that it introduced a new sound to the music industry, while others even dared to place it at the top of the Ethiopian discography list.

    Abegasu Kibrework Shiota, the arranger and producer, said that Zimita was the masterpiece in his musical career. Many also applauded the new elements used in the compositions that were previously rarely used by Ethiopian music arrangers and composers. Henok Temesgen (bass guitar), a graduate of the Berklee Music College in Boston, and other talented musicians expertly showcased their immense experience and talent on the album. For many, it remains the benchmark for high-quality production. After releasing the album in 1997, Thewodros laid low for several years until he returned to his homeland for the millennium grand-musical concerts, which also featured the US group, the Black Eyed Peas. In those sleepy years in the US there were rumors about hurdles in his social life, which even led distraught fans to think he might not sing again. Nevertheless, his return after sixteen years wiped out all the rumors, and proved that he was healthy and back on track.

    Although many fans could not attend the millennium concert in which he was the star attraction, a live transmission made it possible to see him in action. Fans were delighted to see him back on stage, again even if his grey hair and unusual singing style were different from before. “He portrayed himself more as an opera singer, as he stretched his hands and took the microphone away from his mouth,” said fan Misrak Bahiru, who was among those aware of the challenges he faced performing after so many years. But the unexpected death of Telahun Gessese, the Ethiopian music legend, showed again his fine voice as he sang a special song at the funeral ceremony. “His voice was different among the artists who participated in the memorial song,” Misrak recalled. He had also released Anchi Ager Endet Nesh, (How are you my motherland), a single track for the Millennium celebrations that received extensive radio play before his arrival home.

    After marrying Yodit Shibru in a private ceremony at the Kuriftu Resort in Bishoftu town, he returned to the US yet struggled on his comeback to the industry. Five years later he revealed that he was collaborating with Indian musicians and finalizing a new album, which became true in August 2013 when it was released in America. Tinantina na Zare (Yesterday and Today) has 22 songs, featuring old and new ballads. It has been less than a month since the album entered the Ethiopian market, and the next disc featuring rearranged songs will be available at Ethiopian Christmas, according to the distributor Romareo Records. The new album has been causing a stir among audiences, and it takes time to listen and appreciate the qualities. “It will take me much more time to get it into context,” says fan Dagim Molla. Some fans logged onto Facebook to post cover photos and views. “This is the type of music I really want to listen to calmly,” one wrote on his timeline. On the other hand, some musicians and critics want to leave “no comment”, as they wait for others to speak, and many still have not heard it.

    Yonas Tadesse, a student at the Yared Music School, said that this album is another change in direction from Zimita. He also thinks that he remains one of the best artists, and is more than capable of moving Ethiopian music onto the international stage. “I understand that he wants to sing jazz and afro-jazz, so as to join the likes of some West African singers,” he said. Citing the career shift of Ejigayehu Shibabaw (Gigi), Yonas appreciates the steps that have been taken by some artists to put Ethiopian music on the global scene.  Indeed, the artist himself told his audiences that he wanted to focus on a different type of music, which can be sung in a jazz style rather than the trend he had followed for years. “I just want fans to listen to me in a calm, settled mood,” the 50-year-old artist said during his meeting with Seifu Fantahun, host of the Seifu Show on Ethiopian Broadcast Service (EBS). Thewodros, who was first influenced by his idol Muluken Mellesse, was once believed by many musicians and critics to have transformed the liturgical sound into the more modern Ethiopian style, but he is not happy with this view anymore. Now he is attempting to rediscover his talent and soul by playing jazz. Although the internationally-known Mulatu Astatke is famous for promoting jazz in Ethiopia, by fusing jazz and funk with his country’s folk and church’s melodies, artists such as Alemayehu Eshete and Girma Beyene are not far behind. These musicians have devoted their lives to blending Ethiopia’s traditional five tones-per-octave or pentatonic scale with western chords. Listening to their music shows a variety of influences on their approach to jazz, according to commentators, with rhythms comparable to those of Sam Cooke, Nat King Cole, and James Brown.

    Today’s jazz revival in Ethiopia can be attributed to the success of the Ethiopiques series, and the popularity of the Addis Acoustic Renaissance Group, led by guitarist Girum Mezmur, which focuses on rearranging songs from the 1950s and 60s to invigorate the new generation of Ethiopian club goers with melodies of the past. Perhaps this is why Thewodros wants to become part of this scene, say commentators, and why he chooses to write, play and arrange his music in a jazz-influenced manner. His new songs talk of peace, love and faith, and he sings about Africa in the way that other Africans do, unlike many Ethiopian artists. His songs appear to be an introspective view on his personal ups and downs, commentators add. “This album is a great production from a great musician, and it will demonstrate its difference soon after. The previous album followed the same path,” says Metaferia Bekele, general manager of Romareo Records. According to him, the market is yet to be assessed, and he does not aim to sell millions of copies. “We just wanted to distribute it because of its historic value,” he reiterated. For some it might be a transitional work, differing from the ballads of the past, while others hail him for the change in direction, and may rejoice again after seventeen years of listening to his “greatest-hit”, Zimita.

    Source: thereporterethiopia

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  • Mulatu Astatke: Reviving African Jazz Village

    In the evenings a couple of years ago it was common to hear a deep, soothing voice on FM 97.1, dissecting different jazz elements and saying, “This is African Jazz Village.” This voice was the renowned Mulatu Astatke, the man who invented Ethio-jazz forty years ago. It was his radio program that started African Jazz Village, together with a club and music school.

    Although interrupted as Mulatu held workshops and performed all over the world,

    November 15 witnessed the launch of African Jazz Village inside the Ghion Hotel.At the same historical venue that memorably hosted the world famous singer Bob Marley, Mulatu thinks it will be a platform to bring in creative artists and the local art-loving community.As an honorary doctor of Berkeley Music College and MIT fellow, Mulatu is an inspiration for many musicians, including Damian Marley and Nas who sampled his songs in their album Distant Relatives. His work also featured in the Oscar-nominated film Broken Flowers, and a film “Everlasting Mulatu” was inspired by his life.

    After a busy international schedule, Mulatu is back in his community and ready to contribute.

    Although he performs all over the world, back home he rarely plays concerts, with the exception of a couple of guest appearances, but he hopes this will change. The young generation who only know him through textbooks will get the chance to see why they learned about him.He has been experimenting with Ethiopian musical instruments for many years, and he says this will be a place to reintroduce these instruments.His work is not accessible in this country because production companies do not distribute his albums, so he says performing among the community will give them a chance to hear his music.Coming from a festival in Japan, Mulatu says he performed in front of more than 140,000 people, and played live on the BBC with an audience of millions. He has lectured in many places, but what gives him the deepest satisfaction is being acknowledged by his people and performing for his community.He chose the Ghion Hotel for different reasons, such as the ambience and centrality, but also for its distinct history, the place where Bob Marley jammed, “No woman No cry.”Mulatu has plans to turn the club into an East African jazz centre, where renowned artists can come and perform. Apart from his Express band, Jorga Mesfin, Bibisha and Mesele Asmamaw have also performed at the venue.According to him it will not just be a place for African Jazz Village, but also for experimental artists, reggae, azmari (traditional Ethiopian singers) among others. Mulatu says this is just the start, and they hope to hold huge international festivals at the venue.“We want this place to entertain and also educate the community,” Mulatu says.

    Source: thereporterethiopia

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  • Folk singer FETSUM on music and his Eritrean roots

     

    Urban folk singer FETSUM was born in Egypt to Eritrean parents and grew up in Italy and Germany, where he currently lives.

    His songs - which combine traditional African rhythms with soul, reggae, folk and rock - bear testimony to that mix of experiences.

    He sang one of them, Waitin' for You, from his album The Colors of Hope, accompanied by guitarist Leon Schurz, for the BBC's Focus on Africa.

    And he told presenter Komla Dumor more about his life and music.

    VIDEO: FETSUM on music and his Eritrean roots

    Source: BBC

     

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  • On Sketches of Ethiopia, Mulatu Astatke draws a map larger than his homeland

    Ethio-jazz pioneer Mulatu Astatke returned to action recently with the release of Sketches of Ethiopia (Jazz Village), an impressive outing—cut with some of London's best improvisers—that embraces "jazz" as more than just flavoring. It's his first album with international distribution. His backing band here is dubbed the Steps Ahead Band, which thankfully has nothing to do with Michael Brecker's fusion band of the same name—this one includes folks like bassist John Edwards, trumpeter Byron Wallen, and pianist Alexander Hawkins. The record opens with one of its most traditional-sounding tracks, "Azmari," which was written by Astatke's longtime colleague and collaborator, Boston reedist Russ Gershon of Either/Orchestra fame. The knotty track is graced by the leader's crystalline vibraphone and the brittle twang of traditional Ethiopian string instruments like the krar and masinko (played, respectively, by Messale Asmamow and Idris Hassun). From there on out the album stretches stylistically, liberally borrowing this and that.

    "Gamo" is one of several songs featuring the gruff singing of Tesfaye, but the sweet-toned kora licks of Kandia Kora lend it a pan-African air. "Hager Fiker," which is a traditional tune from Astatke's homeland, gets a heavy jazz treatment, with a deep upright-bass groove from Edwards, percolating hand percussion, and a lyric, halting vibe solo from the leader, as well as dueling improvisations between James Arben on flute and Yohanes Afwork on end-blown wood instrument the washint, regularly prodded by sleek, swerving horn arrangements. You can check it out below.

    "Gambella," another song with Tesfaye, pushes toward a spiritual jazz vibe, while "Assosa Derache" is decidedly moody and subdued, reaching toward a brief post-Miles Davis spaciness in its final minutes before resuming a head-nodding groove. (I don't think the album title's closeness to the Davis/Gil Evans collaboration Sketches of Spain is accidental.) The album stumbles on "Gumuz," which gives a glossy contemporary treatment to another traditional pieces from the titular Ethiopian tribe—the treacly electric keyboards and the George Benson-styled guitar interjections of guest Jean-Baptiste Saint-Martin sap all the life out of the performance. The limpid cello that opens "Motherland Abay" amid cascading piano, oboe, and kora gives the piece an almost Chinese-sounding serenity (partly due to the pentatonic scale), but then a soulful bass ostinato opens up and Wallen takes a lovely Harmon-muted solo to clearly summon the spirit of Davis. The album closes with a collaboration with the great Malian singer Fatoumata Diawara, and her presence—she cowrote the song "Surma" with Astatke—pulls the song toward West Africa.

    Source: chicagoreader

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