Above:Members of the Armenian Diaspora of Ethiopia (1929)
included the conductor K. Nalbandian – whose nephew Nerses
Nalbandian later became music director at the main Theater.
Tadias Magazine
Events News
Published: Thursday, March 3, 2011
New York (Tadias) – The Either/Orchestra, which in 2004 became the first U.S. big band to appear in Ethiopia since Duke Ellington’s Orchestra in 1973, has launched a Kickstarter.com campaign to raise funds for a return trip to the country. This time, the group hopes to participate in a musical tribute celebrating the work of Nerses Nalbandian, an Armenian musician who found a home as Ethiopia’s maestro from the 1930s to the 1970s.
Seven decades prior to the E/O’s arrival in Ethiopia, Mr. Nalbandian, who had cultivated hundreds of musicians and arranged numerous Ethiopian compositions, had left an imprint on modern Ethiopian music. Nerses Nalbandian, was the nephew of Kevork Nalbandian, the bandleader of Ethiopia’s first official orchestra. The elder Nalbandian moved to Addis from Jerusalem in 1924 as a music instructor for Arba Lijoch, a group of 40 Armenian orphans who had survived the Armenian Genocide in Turkey, and were later adopted by Haile Selassie then Crown Prince Ras Tafari. Wiki notes: “He had met them while visiting the Armenian monastery in Jerusalem. They impressed him so much that he obtained permission from the Armenian Patriarchate of Jerusalem to adopt and bring them to Ethiopia, where he then arranged for them to receive musical instruction.”
Kevork Nalbandian would eventually compose the sound for Marsh Teferi, the Imperial Anthem (words by Yoftehé Negusé), which served as the national hymn from 1930 to 1974. His nephew, Nerses Nalbandian, who was appointed the first music director of Ethiopia’s National Theater in 1956, is also credited for his contribution to modern Ethiopian music through his mentorship of some of the country’s talented musicians.
Photo courtesy of ArmeniansWorld.com
The Either/Orchestra recently celebrated its 25th anniversary, and in a recent press release stated that the band was invited by Alliance Ethio-Francaise to return to Addis Ababa. The upcoming tour will be the second collaboration between the Addis Ababa branch of the French cultural organization and the Either/Orchestra. During their previous trip to Ethiopia the band was introduced to Mr. Nalbandian’s children who suggested that the group, under the leadership of its founder Russ Gershon, help to revive the works of their late father. Per the E/O: “Daughter Mary and her siblings invited the band to their home for a sumptuous Ethio-Armenian feast during the visit, and after dinner began pulling out boxes of their father’s old scores. By the end of the festivities, Mr. Gershon had been convinced that the E/O should play one of Maestro Nalbandian’s arrangements at their concert. A few days later, they performed a song called Eyeye in the ballroom of the Hilton Hotel, the first time this arrangement had been played in a half century. ”
The band hopes to repeat the same experience in May of 2011. The Kickstarter.com campaign aimes to raise $10,000 in 30 days to partially fund the tour. The band is also preparing for two more concerts this month featuring Mahmoud Ahmed. The E/O and Mahmoud have been collaborating for five years, but this is the first time they will perform together in the band’s home state of Massachusetts.
New York (Tadias) – Saxophonist and Composer Russ Gershon is the founder and bandleader of Either/Orchestra (E/O), the large American jazz ensemble also known for its Ethiopian song selections and notable collaborations with musicians such as Mulatu Astatke, Mahmoud Ahmed, Alemayehu Eshete, Teshome Mitiku, Getatchew Mekurya, Tsedenia Markos, Bahta Hewet, Michael Belayneh, and Hana Shenkute.
As Gershon tells it, his first introduction to Ethiopian music came in 1988 when he heard Mahmoud’s Ere Mela Mela. But he did not fall in love with Ethio-jazz until his encounter in 1993 with a compilation album entitled Ethiopian Groove: the Golden 70’s – produced by Francis Falceto as part of the Ethiopiques CD series on the French label Buda Musique.
Later, as a graduate student at Tufts University, Gershon named his masters thesis The Oldest Place, a string quartet inspired by the music and instruments of Ethiopia. His team eventually traveled to the country at Francis Falceto’s invitation to perform at the 2004 Ethiopian Music Festival in Addis Ababa. Either/Orchestra became the first U.S. big band to appear in Ethiopia since Duke Ellington’s Orchestra in 1973. The 2004 concert resulted in a remarkable double-disc set called Ethiopiques 20: The Either/Orchestra Live in Addis, which was described by critics at the time as “the best live album of the year—in any genre—and one of the E/O’s finest albums.”
Ethiopian music is just one of the many international sounds that E/O is known for. The band members are an eclectic bunch hailing from several countries, including the U.S., the Dominican Republic, Venezuela and Mexico. The ensemble experiments with various grooves, often mixed with Afro-Caribbean and African influences.
Gershon, who was born in New York in 1959 and grew up in Westport, Connecticut, credits his global taste in his youth to the time that he spent summers working for his grandfather in New York’s Garment District, not far from the record stores and concert venues of Manhattan.
Either/Orchestra celebrates its 25th anniversary this year and will mark the event with a reunion show at Le Poisson Rouge in New York City on February 11th, 2011.
We recently interviewed Russ Gershon.
Above: Mahmoud Ahmed, Francis Falceto and Russ Gershon, Paris 2006.
Tadias: Please tell us a bit about how Either/Orchestra was first formed and
what kind of music you wanted to create/play.
Russ Gershon: I started the E/O in 1985 as a rehearsal band, never expecting to tour and make records, to have the fantastic adventure we’ve had. I was coming off of a year at Berklee College of Music, following several years of playing in fairly successful original pop bands, and I was just getting a handle on writing arrangements and understanding the techniques of jazz. I was a big admirer of Sun Ra’s Arkestra, Gil Evans, and other unconventional large jazz groups, and wanted to do something like that. I should also add that I had been a radio DJ for many years, and was used to having all the recorded music in the world at my fingertips, trying to put together interesting combinations of music from all over the map.
So I invited a motley mob of musicians to come to my house and play music I was writing. Everybody had a good time, liked the music, and within a couple of months we had our first gig, in the children’s room of the Cambridge MA public library. We were immediately semi-popular and just went from there, making albums and touring. I think my experience in pop and dance bands made me more aware than most jazz musicians of connecting with audiences.
Tadias: Your music infuses Caribbean, Latin American and East African beats, tunes, and rhythms with the free-flow of jazz. Would you consider yourself an international jazz band?
RG: The E/O is indeed an international jazz band in several ways: we have members from the US, the Dominican Republic, Venezuela, Mexico; we play music with many Afro-Caribbean and African influences, and of course we’ve gotten thoroughly involved with Ethiopian music. All American music has such a huge African component, through [African-Americans], so that the music of three continents flows naturally and easily together. I’ve also been a big fan of African music, starting with Fela Kuti, South African jazz and field recordings of traditional music.
Tadias: Over the years, you have worked with some of the best-known Ethiopian musicians. Who/what was the catalyst? How did you discover Ethiopian music?
RG: In 1988 I heard Mahmoud’s “Ere Mela Mela” LP and it made an impression, and I heard Aster Aweke live in about 1990, but I really fell in love with Ethiopian music in 1993 when a friend brought back the compilation “Ethiopian Groove: the Golden 70’s” from France, where Francis Falceto had assembled it from some of the best tracks recorded in Addis at the end of the imperial period. I loved the horns, the passionate singing, the modes, the way it took American influences and spiced them with musical berbere, making something familiar and new at the same time.
After a couple of years I started arranging Ethiopian songs as instrumentals for the E/O, and both the band and the audiences loved it immediately. Teshome Mitiku heard our recording of his song Yezamed Yebada, and called me up, we became friends. Soon after that, Francis contacted me and began telling me about the history of music in Ethiopia and playing rare recordings for me — material that he has been releasing on the Ethiopiques series. In 2003, he and Heruy Arefe-Aiene invited us to play in the 2004 Ethiopian Music Festival, and we got deeper into the music to prepare for the trip. While we were in Addis in January 2004, we met Mulatu, Alemayehu, Getachew, Tsedenia Markos, Bahta Hewet, Michael Belayneh and others and invited them to play on our concert, which was eventually turned into Ethiopiques #20. This led to collaborations with Mulatu in the States, Mahmoud in Paris in 2006, Hana Shenkute, Setegn Atanaw and Minale Dagnew, and on and on. Most recently we finally started working with Teshome, debuting at the Chicago Jazz Festival. He’ll be featured in our upcoming 25th Anniversary Concert in New York on February 11, and we’ll be playing with Mahmoud in Cambridge, MA on March 24 and Amherst, MA on March 25.
Mulatu Astatke and Vicente Lebron of Either/Orchestra, Addis Ababa, 2004
Teshome Mitiku and Either/Orchestra at the Chicago Jazz Festival, September 2010
Setegn Atanaw, Minale Dagnew, Hana Shenkute, Joel Yennior, Colin Fisher, MA 2006
Tadias: You are also credited for helping to popularizing Ethio–Jazz in the U.S., especially through the Ethiopiques CD release as well as subsequent tours and performances. What would you says is your most memorable concert featuring Ethiopian artists?
RG: There have been so many amazing concerts with our Ethiopian friends that I can hardly pick one. The concert in London with Mahmoud, Alemayehu, Getachew and Mulatu was pretty great, one in Milan with Mulatu and Mahmoud was off the charts, Chicago with Teshome….
Tadias: What’s your favorite Ethiopian tune?
RG: More than a favorite Ethiopian tune, I’ll say that anchi hoye is my favorite mode. We jazzers love dissonant harmonies, and we can find them in anchi hoye. I even wrote string quartet – violins, viola, cello – based on it, thinking about masinko and with a section called Azmari. I also arrange Altchalkum (bati minor) for the Boston Pops Orchestra, and they played it beautifully.
Tadias: Regarding your trip to Ethiopia, what was that experience like?
RG: The visit to Ethiopia in 2004 was a wonderful, life-changing experience for me and the band. We were concerned that people wouldn’t approve of how we were playing Ethiopian songs, but instead they were very interested and enthusiastic. Also, hearing Ethiopian music at the source – and seeing the dancing – really helped us to understand the rhythms and melody. And finally, it is an important experience for Americans, with our wasteful, materialistic culture, to have a chance to see an African city, where so many people have so few things and get by on little. It reminds us that the most important things in our lives are our relationships with friends, family, everybody – and that music is a beautiful way to develop and expand these relationships, across borders, languages, generations. In the U.S. it’s easy for people to hide in their own space, to play with their toys, to NOT relate to other people. Of course it’s great to have the comfort, safety, conveniences that we have here – but it’s not nearly enough.
Tadias: In a recent article Boston Globe noted that your “wide-open sensibility” is rooted in your exposure to the New York Music scene in 1970s. Can you describe your time in New York and how it influenced you?
RG: NY in the 70’s was an exciting place to hear jazz. The spirit of Coltrane was still very much alive, Miles and his former sidemen and others were bringing electric instruments and grooves into jazz, the Midwestern avant-garde was arriving in town. There were concerts at Carnegie Hall, traditional clubs, and artists were taking advantage of the decline in the city’s economy to find cheap space and open performance lofts. Every generation of jazz, from Count Basie and Benny Carter to Lester Bowie and Woody Shaw, was alive and playing. I was an avid concert and club goer from about 1975 on, and I feel fortunate to have heard just about every living legend and the rising generations.
The Either/Orchestra at the Yared School of Music in Addis Ababa, Ethiopia. 2004
E/O trombonist Joel Yennior with the Yared School Trombonists, Addis Ababa, 2004
Tadias: Please tell us about your upcoming 25th Anniversary concert in New York.
What should your fans expect?
RG: The 25th Anniversary Concert will be an amazing collection of players who have all contributed to the E/O over the years. We’ll have the ten current members of the band plus 16 former members, plus Teshome. Four drummers, seven saxophones, five trombones, and so many more. The alums include jazz stars like John Medeski, Matt Wilson and Josh Roseman, and great hard working sidemen. We’ll touch on all the eras and styles of our music, and sometimes have 25 musicians on stage. It will be spectacular, Teshome is representing our Ethiopian connection, and we’ll play Yezamed Yebada and a new Ambassel that we wrote together last summer. We may even play an instrumental version of Muluquen Mellesse’s Keset Eswa Bicha.
Tadias: Is there anything else, you would like to share with our readers?
RG:Le Poisson Rouge is not a really big place, so I recommend buying tickets in advance and showing up on time. The show is 7 to 10 pm, very early, then we’re done. We can all go out for injera!
Tadias: Thank you Russ and see you on February 11th.
—
New York (TADIAS) – Either/Orchestra, the Boston-based jazz band that popularized Ethiopian music in the United States through collaboration with legends such as Mulatu Astatke, Mahmoud Ahmed, Alemayehu Eshete, Teshome Mitiku and saxophonist Getatchew Mekurya, will celebrate its 25th anniversary at Le Poisson Rouge in New York City on February 11.
“The show at Le Poisson Rouge will be a special occasion, the spirited union of several generations of musicians, ranging from 20 to 56 in age, from all over the U.S. and Latin America, who collectively make up the ongoing endeavor known as the Either/Orchestra,” the band said in a press release.
“An added bonus will be legendary Ethiopian singer Teshome Mitiku, who began collaborating with the E/O in a headlining performance at last September’s Chicago Jazz Festival. Teshome was a member of the Soul Ekos, one of the most popular band in East Africa in the 1960s, and a pioneer in bringing American styles into Ethiopian music.”
The event will feature more than two dozen musicians that have collaborated with the band over the years including John Medeski, Matt Wilson, and Josh Roseman, among others. Per the venue’s website: “The concert will survey 25 years of original music, radical reinterpretations of jazz and pop tunes, and include a healthy dose of Ethiopian flavor, represented by the legendary singer Teshome Mitiku.”
If you Go:
Either/Orchestra 25th Anniversary
February 11, from 7 to 10 pm.
New York’s Le Poisson Rouge
Tickets are $20 in advance, $25 at the door.
Video: The Either/Orchestra with Ethiopian Singer Mahmoud Ahmed: Bemin Sebeb Litlash
Washington, D.C. (TADIAS) – Teshome Mitiku has not returned to Ethiopia since his abrupt departure in 1970. In a recent exclusive interview with Tadias Magazine, the legendary artist who is scheduled to make a historic appearance accompanying the Either/Orchestra at the prestigious Chicago Jazz Festival in September, talks about his extensive music career, his memories of Ethiopia and his famous daughter, the Swedish pop star Emilia.
Teshome burst into Ethiopia’s music scene during a period in the 1960’s known as the “Golden Era.” He was the leader of Soul Ekos Band, the first independent musical ensemble to be recorded in the country. The group is credited for popularizing Amharic classics such as Gara Sir New Betesh, Yezemed Yebada, Mot Adeladlogn and Hasabe – all of which were written by the artist.
Prior to settling in the United States in the early 1990’s, Teshome spent over 20 years in Sweden, where he continued to hone his music skills, earn a graduate degree in Sociology, and witness his daughter grow up to become a Swedish ballad and pop music singer.
We spoke with Teshome Mitiku over coffee on U street in Washington, D.C. in what the artist says is his first exclusive interview since his hurried journey out of Ethiopia 40 years ago. The soft-spoken and humorous artist, who sprinkles his answers with sporadic laughter, discussed with us his distinguished career spanning four decades and three continents.
Here is part-one of our 3-part series, which will be published in weekly installments.
Teshome Mitiku, courtesy Photo.
You began your career as a teenager in an era known as “Swinging Addis.” What was
the music scene like in Ethiopia at the time?
It was fantastic. It was an upbeat time. The 60s was an era where things developed from one form of life to another. So it was a transitional period for the whole country. New ways of thinking and doing things were emerging in singing, playing, and producing. The big band era was giving-way to small bands including groups such as the Soul Ekos band, the Ras band, etc. Music instruments were changing as well. Everywhere you went there were groups playing, clubs were packed. I was still in high school at the time, but I was already playing in different clubs with several settings. Then we ended up forming the Soul Ekos band. For the last two years of the late 60’s, I played with this band, which was the most popular band in Ethiopia. Although more such bands have flourished, I don’t think anybody could replace that group.
You were one of the founding members of the band. What are your memories of Soul Ekos?
My memories of Soul Ekos band is just full of love. We were ahead of our time in many ways. We were very organized, disciplined, we had a manager and each guy in the band loved his instrument. There was no question of when to rehearse or how to rehearse it. We were playing in clubs, touring and taping. Our ideas of bringing about modern ways of playing music was getting popular. We did the recordings like Gara Sir New Betish, Hasabe, Yezemed Yebada, Mot Adeladlogn and many many more. Each one of us loved playing together. So what we did was that we rented a big house in Entoto, which had nine bedrooms and a giant living room.
So you guys also lived together?
(Laughs) Yes that is how much we enjoyed each other, we lived together. Each one of us had our own bedroom though (more laughter). We would get up at 7 o’clock and by 9 we were on stage in the living room for rehearsal until 1 o’clock, and we take lunch break until 3 and get back and rehearse until 6 then we go home. But home is where we practice so everybody did whatever they wanted to after 6. We saw too much of each other, but it never felt like that at the time.
Were you making enough money to support yourself?
We were the highest paid band. But we never placed money at the center, the music was our center. But we had income. I mean we were playing on weekends at Kangnew station in Asmara (then part of Ethiopia) and we used to play at hotels, clubs, schools, universities so the income was there. We were booked everywhere. We were flying left and right nationwide and internationally. We went to Sudan, Kenya all kinds of touring. We were a busy band.
Do you still keep in touch with some of the band members?
Yes, Teddy (Tewodros Mitiku) the saxophonist, is my brother, so we keep in touch. He lives in Maryland and I live in Virginia, so we meet and we call every now and then. I also keep in touch with Alula Yohannes, the guitarist we call each other on the phone we are even thinking of performing together. There was sort of a small reunion way back in 1995 but that reunion wasn’t really a soul Ekos reunion it was a reunion of guys playing in the 60s. So we got together and played at the Hilton here, it was the relaunch of my carrier in music. So, we might do that again. But some of our guys have passed away: the singer Seifu, the trumpeter Tamrat, the drummer Tesfaye. Among the original Soul Ekos band, only four are still living: Teddy, Fekade, Alula and I.
Members of the former Ekos Band: from the left Alula Yohannes, Tesfaye Mekonnen, Tamrat,
Amha Eshete (band manager), Teshome Mitiku, Feqade Amdemesqel & Tewodros Mitiku. (CP).
When did you start playing music?
I started playing music in zero grade. At the time they actually had zero grade (laughter). When you pass zero grade then you go to first grade. Zero grade was where you learned your ABC’s and after you master the basics then you pass to first grade. Otherwise, you can stay in zero grade for a long time. It is after completing Kes temhirtbet, fidel and Dawit that I landed at Haile Selassie day school (Kokebe Tsiba) in Kebena, where they put me in zero grade. When I got there, I already loved singing. I loved music. I remember while getting ready to pack for school I would listen to songs on the radio, and I would just stand there and listen to the music and be late for school. I had that much love. I especially loved begena and kirar instruments. I used to stand there and listen. I also remember some of the zebegnas (guards) in Aswogag Sefer area where they used to play accordions, flutes, washint and stuff so I used to sit there with the zebegnas while the class was waiting for me.
You have made up your mind then?
Yes, early on– and I used to drum around the village. So, when I came to first grade I had a chance to study under a Danish music teacher named Paul Bank Hansen at the Haile Selassie day school music class. They gave me an entrance exam on singing, rhythm, and the concept of music and I passed it. And Mr. Hanson, who was my teacher then, said to me he would like me to become a member of a group he was building. So, there were about 40 to 50 students selected for music education. My brother Teddy Mitiku was one of them, and some of the guys from our band Tamrat Ferendji and Tesfaye Mekonnen, etc, most of them are from there. So, my teacher’s wife, Margret Hanson, started teaching me piano. I went to her once and asked: “Mrs. Hanson, can you please teach me how to play this thing.” I was referring to the piano, the grand piano in her house. She was shocked by my question and said: “Oh I will do that but you also have to promise me something. You have to keep time and come everyday from 4pm to 5 pm and I will teach you piano.” So she used to buy me candy, cookies, there was a Coca Cola and other some soft drinks. I sat beside her and started playing. That’s how I started playing the piano and went on to learn trumpet, violin, and drums. But the trumpet, my father didn’t like it. He said it will probably hurt your lungs. But I used to get up at 6 o’clock and go to school at 7 to raise the flag, so the entire neighborhood will hear my trumpet. Then in the afternoon I will blow my trumpet again and put down the flag and return it to the director’s office and go home. I used to do that on a regular basis.
You are also a song-writer. What is the writing process like for you?
The writing process for me is based on happenings, what happens in your life. All these songs didn’t come out of the blue, each one of the songs got their own history and their own rhythm. Even right now too, writing is based on situations and conditions. It is the state of mind I am in. Most of the songs that I wrote are really a reflection of the condition that I was in at the time. Like Gara sir new betish, for example, is about our house in Kebena where I grew up. When I wrote it the title was kebena new betish, that was the idea. And the house where I was born in and grew up in Ethiopia was just right under the hill (gara) and Kebena river is right under the bridge very close to the water. So I was in a state of mind where I was unemployed at the time because of a disagreement I had with the owner of the clubs. So I used to stay home, sit at home on the balcony and drink Saris Vino. My mother used to say, “Teshu what are you doing? “and I would say “just thinking” my mother would respond “don’t worry everything will be alright.” That’s when I sat down and started writing about our home, school and the girls at school and everybody that I know around me. So I wrote kebena new betish and after I wrote that song I went to the band and said lets hook this up. The band loved it. Then I started working at a club again, when we started playing the song and everybody at the club loved it. I mean the whole setting was different, the orchestration was different, the beat was different and the singing style was different. And it just became tremendously popular, even today. A legendary song. I don’t think they can replace that song.
It’s been re-recorded so many times by different artists. How do you feel about that?
I love it. I love the young generation. You know, that is the reason we recorded it so the next generation can pick it up and change the style and play it in different modes. I really appreciate them. Other radios talk shows have asking me about it and I said it is good. I wish all Ethiopians were like that. We should renew the style and do it again. The song is very open and you can add anything you want to it. One just needs to invest a little time on it.
