Ethiopian music in International Music

"Ethiopiques, Vol. 13: Ethiopian Groove" (04/08/2003) International Various Artists, Buda RecordsThe majority of this collection consists of recordings made for the Kaifa Records label between 1976 and 1977. Truth is, you know this groove by now if you've picked up some previous Ethiopiques volumes, but Vol. 13: Ethiopian Groove has enough fresh artists and touches to keep a sucker for the soul-influenced sound of Ethiopian pop interested. Truth is, too, that it's still a pretty damn fine introduction to said sound for those who haven't dipped into this excellent series before. These recordings are almost all from 1976 and 1977, so it's last-gasp-time before the military dictatorship clampdown killed off that golden age. What's the same, aside from most of the usual backing bands laying down plenty of those smoky organ swirls, punchy bass and guitar riffs, and snappy horns with that unmistakable Ethiopian misterioso tone? Let's see: AlŠmayŠhu EshŠt?'s "TashamanalŠtch" hits the groove running with prominent lead guitar before his voice and particularly good horns come in, and his ballad "WŠdŠdku AfqŠrkush" features a dramatic pause ending. "AtraqŠgn" by BzunŠsh BŠqŠlŠ, Aster Aweke's forerunner, is absolutely classic to this series -- so are MulugŠn MŠllŠssŠ's ballads "Djemeregne" and "YŠmendjar ShŠga" -- with horns answering the vocals although MŠllŠssŠ's voice does get a little shrill reaching for high notes on "Tegel NŠw." What's different? Well, the near-reggae skank guitar in Hirut BŠqŠlŠ's poppy "EwnŠtŠgna Feqer," or the way the energetic, high-stepping soul with horns over bubbling funk bass and butt-funky drums on saxophonist Seyoum GŠbrŠyŠs' "Muziqa Muziqa" suggests the Meters and compensates for merely adequate singing. The Wallias Band chips in with the arresting instrumental "Muziqawi Silt," with triumphant horn lines, organ, clattering percussion and a touch of vibes at the end. Try Ayal?w MŠsfin's up-tempo trilogy of "Feqer AydŠlŠm WŠy" (nice horn trills, good singing with involved vocal melodies), "Gud AdŠrŠgŠtchegen" (moving closer to funk beneath an organ blanket), and "GŠdawo" (prominent backing vocals and funky bassline and guitar). Or the contrast between Tamrat FŠrŠndji's "Antchin YagŠgnulŠt," as excellent organ hands off to sax answering powerful vocals over a propulsive, rocking groove, and "Ya DjalŠl?to," where horns and guitar drop out while FŠrŠndji sings and a flute unexpectedly takes the swirling solo. Flute pops up again in the spare, percussion-heavy arrangements to the closing pair of tracks by the female duo of AssŠlŠfŠtch Ashin? & GetenŠsh KebrŠt. Another very solid Ethiopiques compilation that will both satisfy the series' veterans and whet the appetite of newcomers. ~ Don Snowden

"Ethiopiques, Vol. 10: Tezeta - Ethiopian Blues & Ballads" (02/05/2002) International Various Artists, Buda RecordsIncludes liner notes by Francis Falceto. Tezeta, an Ethiopian style with a relatively strict format built on repeated circular riffs, relies on the singer to put his stamp on the form with improvised verses and the up-and-down vocal spirals characteristic of Arabic music. The word itself means something like memory or nostalgia -- in musical terms, it's similar to saudade in Portuguese music, duende in flamenco, or blues and soul in the U.S. music world. It's that indefinable something that separates the great musicians from the merely competent -- you can't exactly say what it is but you know when someone's got it. All ten tracks here date from the early '70s, when versions of the tezeta were an innovative force in Ethiopian pop's golden age. There's a surprising variety: swirling accordion handles the circular riff accompanied only by minimal percussion on Fr?w Haylou's opening "EyŠtŠgnu NŠgu," but an almost '50s rock ballad feel pervades AlŠmayŠhu EshŠt?'s "TŠrŠdtch?walŠhu" and Menelik WŠsnatchŠw's "Tezeta" is tranquil and dreamy. Tezeta is also an excellent launching pad for saxophonists TŠsfa-Maryam Kidan? (featured on his own "HeywŠt?") and TŠwodros Meteku to provide backing fills and solos behind the singers. It's instrumental storytelling and the breathy saxes achieve that smoky, brooding flavor that seems unique to Ethiopian music, shading the music with a deep indigo to purple color. The slow, mournful versions really bring out that smoky trance sensation here. SŠyfu YohannŠs is the first singer to really stand out on his nagging "Tezeta," supported by Meketu's fills and MŠssŠlŠ GŠssŠssŠ's prominent piano. Moges Habt? and Feqadu AmdŠ-MŠsquŠl duel tenor saxes over a mysterious Fender Rhodes lick and Andrew Wilson's sharp wah-wah guitar on Mulatu Astatq?'s instrumental "GubŠly?." And Mahmoud Ahmed's "Tezeta" runs for 12 and a half gripping minutes with swirling organ, muted sax, and bubbling bass runs supplementing the voice of the most expressive singer in Ethiopian pop music. With nearly 75 minutes of music and extensive liner notes, Tezeta is another impeccable release in the outstanding Ethiopiques series. But even more than earlier soul-influenced compilations geared toward dancing, these brooding love blues laments cut to the emotional core essence of the country's music. This music sounds distinctly Ethiopian, like it could be from no other place on the planet. ~ Don Snowden