New York (TADIAS) – In a beautiful Summer afternoon reminiscent of Addis Ababa weather, Teddy Afro performed at the 2014 SummerStage festival in New York’s Central Park on Saturday, July 5th in front of an energetic audience. Rumsey Playfield was filled to capacity with a large contingent of Ethiopian fans — some of whom had driven from Washington, D.C., Philadelphia and Boston. As Teddy played both old and new tunes, the crowd sang along and chanted their request for ‘Tikur Sew’ during breaks. Teddy promised to perform that song in the evening (at B.B. King’s) and then surprised them by playing their request as the final song.
Below are photos from the event. Stay tuned for video coverage.
New York (TADIAS) — Whether you are into eskista, reggae or breakdance, it can’t get any better than to get your groove on with Debo and Feedel bands performing together in one place. The two bands are scheduled to share the stage (hosted by Grammy nominated Ethiopian-born singer Wayna) at Artisphere in Arlington, Virginia on Friday June 27th.
Boston-based Debo Band, founded by Ethiopian-American Saxophonist Danny Mekonnen, is known for its cross-cultural appeal and popularizing the sounds of “swinging Addis” from the 1960’s and 1970’s among modern-day American audiences. The group is currently working on its second album following their debut self-titled record released in 2012. “We are self-producing our sophomore album, which will feature original songs along with Ethiopian traditional medleys, unique covers, and wild mashups that push the limits of our band’s sound,” states their announcement on the pledgemusic.com campaign website.
Likewise, Feedel Band is also currently working on a new album with producer and Gogol Bordello band member Thomas Gobena soon to be released by Electric Cowbell Records. As OkayAfrica highlights the ethio-jazz group, which hails from the Washington, D.C. area, “have been making waves with their vintage Ethiopique sound” while Apropop Worldwide says the band ”keeps the funky experimentation of 70s Ethiopia alive.”
— If You Go:
Friday June 27 – 8pm
Debo Band + Feedel Band w/ DJ Underdog
Hosted by Wayna Artisphere
1101 Wilson Blvd, Arlington VA 22207
Adv Tix $15 – Day of $18 Click here to RSVP via Facebook
Watch: Debo Band: Ethiopian Funk On A Muggy Afternoon (NPR)
Over the past months, we have been under intense pressures with flooding requests to reveal our positions regarding the relationship that exist between Coca Cola and the widely rumoured involvement of Artist Tewodros Kassahun or “Teddy Afro,” on the Ethiopian Version of the World Cup Anthem. While it came as a big surprise for us to learn how Teddy Afro’s association with Coke could leak out and became almost a public knowledge considering the fact that we have made and upheld a firm contractual commitment to maintain strict confidentiality, we have now come to understand that the disclosure of Teddy’s association with Coke by producers a local FM media entertainment program was ironically, not only confirmed but even the Coke’s TV production was praised by Mr. Misikir Mulugeta, Coca Cola Brand Manager for Ethiopia and Eritrea.
Undoubtedly, on behalf of Coca Cola, the local Brand Manager initiated to bring Teddy Afro with Coke TV Production to take part in the Ethiopian Version of World Cup Anthem. We welcomed the request in absolute good faith since the project brings our lovely motherland to the spot light of world cup spectators around the globe on its positive side and make Ethiopians presence in this major global sporting event, highly anticipated by large number of the world population, visibly felt as part of our contribution to image building efforts to our country and people. In addition to this, we were also mindful that upon its release, the Ethiopian version of the World Cup Anthem will heighten and enhance worldwide recognition and reputation of Teddy Afro’s artistic image and personality.
In response to our unwavering allegiance to our esteemed motherland and fans among humanities at home and abroad, our involvement was appropriate and justified. On his part, Teddy Afro invested his time, energy, and artistic wisdom to his level best in his bid to achieve the best possible TV production on the Ethiopian Version of the World Cup Anthem. He was perfectly aware that his participation in the Coke Studio project had among others, a daunting mission of bringing the image of Ethiopia in to global attention through world class brand and not prompted by a negligible and token advantage acquired from commercial ad to promote certain products.
New York (TADIAS) — Ethiopian pop superstar Teddy Afro and the Addis Ababa-based dance crew, Hahu (winners of 2011 Ethiopian Idol), will perform at this year’s SummerStage in New York on July 5th. The free outdoor concert is part of an annual three-month music festival highlighting “performances spanning World and American music, modern dance, spoken word, electronic music, and family programming.”
The announcement notes that “Over the past ten years, Teddy has emerged as the number one voice in Ethiopia, breaking records for album sales and show attendance. He is known far and wide as the rising star of East Africa. Using Reggae rhythms combined with traditional sounds his songs are sung exclusively in the national language of Ethiopia, Amharic. Influenced by Ethiopian Maestro Tilahun Gessesse and international Reggae superstar Bob Marley, he sings of freedom from tyranny and self-emancipation.”
Hahu Dance Group is a contemporary group that aims to promote Ethiopian culture, art and indigenous knowledge globally. Hahu “represents Ethiopian multiculturalism, by including four traditional dancers each hailing from different ethnic groups, showing a true sense of community. The groups early works were inspired by the poor Addis neighborhoods and performances were focused on community awareness creation and empowerment,” the announcement states.
Also scheduled to share the stage with the Ethiopian artists is Noura Mint Seymali – one of Mauritania’s nationally beloved music stars.
Central Park SummerStage is an open air venue, located at Rumsey Playfield, which is right off the 5th Avenue and 69th Street entrance to Central Park.
— If You Go:
Saturday, July 5 at 3:00 PM
Rumsey Playfield – Central Park
New York, New York
You can learn more at www.facebook.com/SummerStageNYC
New York (TADIAS) — The first time that Rachel Samuel met Asnaketch Worku, she was shocked. The famous artist was “bedridden in her two room house, sick and laying on her bed in the living room,” recalled Rachel, who is the Director of Asni: Courage Passion & Glamor in Ethiopia, featuring the life of one of Ethiopia’s legendary musicians.
“This was not the Asnaketch I remembered from that black and white ETV video when I was little” Rachel added: “But that shock didn’t last more than a few minutes. As she started telling us about her past, the strength of her soul immediately became apparent.” Rachel was mesmerized by “how candid, direct and passionate about life” she found Asnaketch to be. “She seemed to me to be a rare breed. Thinking of her in conservative Ethiopia in the 1950-60’s I wanted to know more,” Rachel added.
Once dubbed The Lady With the Krar for her trademark choice of the traditional Ethiopian music instrument, Asnaketch Worku, who died three years ago at the age of 76, was one of the most popular Ethiopian singers of her time — whose legend Rachel is now trying to revive through the big screen. “I thought her story needed to be told,” Rachel said in a recent interview with Tadias Magazine. “I didn’t want yet another great Ethiopian artist to slip away without honoring their artistic contribution internationally.”
The film took a little over four years to complete as Rachel and her husband worked on the personal project whenever they had the time and chance. “Asnaketch revealed herself slowly as we got to know each other over the years, and once trust was established, to get the best of her took a few interviews,” Rachel shares.
Locating historical footage was a significant challenge. “Ethiopian Television, which is the only source in the country, was difficult to deal with,” Rachel admits. The film was edited and co-produced by filmmaker Yemane Demissie who is also an Associate Professor at NYU’s Maurice Kanbar Institute of Film & Television.
Prior to her latest venture as a documentary filmmaker, Rachel spent many years working for some of the biggest advertising agencies in San Francisco. “But whenever I had to manage photo-shoots, I always wanted to be behind the camera,” she pointed out. “So one day, I talked to my art director asking him if he knew someone I can learn photography from. He said he just might. That incredible man that taught me photography was Mark Leet.”
“I remember walking into his studio on South Market, with its high ceiling, lights, cameras all over the place. He handed me an Olympus OM1 and said ‘here, take this camera, here are bunch of films, go shoot and come back next week and show me your work.’ That’s how it all started,” Rachel recalled.
It was not until she met Asnaketch, however, that Rachel decided to make a full length documentary. “Asnaketch was an incredible person,” she enthused. “In Ethiopian society, we often especially as women, don’t do what we’d like to do because of yilunta, Asknaketch knew herself and lived the way she wanted to. That’s the [film’s] takeaway.”
Below is the trailer for Asni:
— “Asni” will screen in New York on Thursday May 1st at 6:30pm at Tisch School of the Arts, NYU (721 Broadway room 006). Rachel Samuel will be present to discuss her work. Learn more about the film at www.asnithemovie.com.
New York (TADIAS) — Musician Yeshi Demelash has been called “arguably the most talented contemporary female Ethiopian jazz singer.” Yeshi, who was born in 1984 in Gojam, is a former Ethiopian Idol judge and a graduate of Addis Abeba University’s Yared School of Arts where she majored in flute and minored in piano. She established her reputation as an Ethio-jazz singer two years ago with the release of her debut album entitled Qene, an ode to Ethiopia’s ancient literary and oral traditions.
Now Yeshi’s voice has captured the attention of New York-based producer Bill Laswell — the person behind the records of Jano and Gigi — and he is currently remixing one of her songs entitled Fano. Yeshi plans to work on a new album with Laswell when she arrives here this Spring to begin her first American tour.
Organizers say Yeshi will perform at SOB’s in New York on April 26th accompanied by her band, also named ‘Qene.’ Stay tuned for updates.
New York (TADIAS) — Aster Aweke’s upcoming concert in New York, originally set for February 7th at B.B. King Blues Club, has been postponed to Valentines Day weekend at Gramercy Theatre in Manhattan. Organizers say the postponement and venue change is due to a scheduling conflict at B.B. King. Tickets will still be available for advance purchase at all Ethiopian restaurants and Ticketmaster or at the door on the day of the event.
Aster, who has been entertaining audiences across the globe for more than three decades, will be accompanied by Ras Band during her show at Gramercy Theatre. The undisputed ‘Queen of Ethiopian Pop Music’ is currently on a tour promoting her 24th album entitled Ewedihalehu.
If You Go:
Aster Aweke to Rock NYC
Saturday, February 15th, 2014
Gramercy Theatre
127 E 23rd St, New York, NY 10010
(212) 614-6932
Doors Open at 11pm
Entrance: $40
V.I.P sitting $ 50.00
Seating & Bottle Service Available
For more info call: 201.220.3442, 917.821.9213, or 917.664.4607 www.thegramercytheatre.com
New York (TADIAS) — Over the last decade CD sales have plummeted globally giving way to online music services such as Pandora Internet Radio and Spotify. For Ethiopian artists, however, the transition to digital music (still in progress) has been difficult given the lack of legal mechanisms and the proliferation of piracy in both online streaming and sales. But according to the founders of ArifZefen, a multi-channel music streaming service dedicated to the Ethiopian community worldwide, that may be changing soon. ArifZefen says it’s committed to the artists that are behind this wonderful music, and it’s conceived with the purpose of finding ways to compensate the musicians giving them control over their creative work. The California-based venture states: “Our vision is to create an economically sustainable, middle-income artist community in Ethiopia leveraging modern technology. We also assist artists to generate revenue from their work by helping them list their music for sale on some of the most popular music sales sites, like iTunes, and link to those points-of-sale directly from the app.”
Currently, ArifZefen is available as a free app on both iOS and Android and on their website that features both established and up-and-coming singers in various categories: Best Oldies Collection, Timeless Classics, Easy Listening, Contemporary Greatest Hits — including songs by Tilahun Gessese, Mahmoud Ahmed, Aster Aweke, Teddy Afro, Jano, Eyob Mekonen, Kuku Sebsebe, Ephrem Tamiru, Rasselas, Jah Lude, Zeritu Kebede and more. “ArifZefen is committed to bringing a superior listening experience to fans of Ethiopian music, and it strives to capture our diverse musical heritage through a rich selection of music from all corners of Ethiopia,” a representative of the Bay Area company said in an email. “By bringing listeners into our free, ad-supported service, we migrate them away from piracy while offering them a better music experience. Aggregating a large number of listeners allows us to generate revenue and share the profit with the artists that we are committed to support, and sustain the music we love.”
ArifZefen also serves as a social platform by allowing users to share their favorite playlists on Facebook, Twitter, or via SMS and email. The company said it strives to provide a level playing field for all artists regardless of their popularity: “We do not decide what is good music and what isn’t, and we generally leave it to the community to pick and consume its music of choice.”
— Learn more, listen and share your favorite Ethiopian music at ArifZefen.com.
Washington, D.C. (TADIAS) – The following is Tadias Magazine’s exclusive video interview with Ethiopian-born, Grammy-nominated singer and songwriter, Wayna, about her upcoming show in New York at Drom on July 27th featuring her new album and video to be released in September.
I spoke with Wayna last week over lunch at Dukem Ethiopian Restaurant in Washington, D.C. and at her studio in Bowie, Maryland.
Video: Tadias catching up with Wayna at Dukem and at her studio in Maryland (July 2013)
New York (TADIAS) – The summer of Ethiopian music continues this weekend when the London-based Ethiopian trio, Krar Collective, make their U.S. debut appearance in New York at Summer Stage (Central Park) on Sunday July 21st. The event follows the live concert last week by the soulful duet from Ethiopia, Munit and Jorg, who performed to a full-house at Silvana in Harlem (see photos below). And stay tuned for Tadias Magazine’s exclusive video interview with Ethiopian-born, Grammy-nominated singer and songwriter, Wayna, about her upcoming show in New York at Drom on July 27th featuring her new album and video to be released in September.
The new Ethiopian west coast sensation ‘Ethio Jazz Band’ made up of young musicians, ranging in age from 10 to 15, are scheduled to play during the 2013 Ethiopian Heritage Festival at Georgetown University in Washington DC next weekend. Members of the Bay Area-based group include Jacob Sirak (Alto Sax), Yonathan Estifanos (Trumpet), Paulos Thomas (Trumpet), Addis Getahun (Tenor Sax), Christian Tesfaye (Drums), Robel Gizachew (Bass), Semon Yacob (Keyboard and vocal), and Yohannis Dawit (Keyboard).
And in Los Angeles, the local Ethiopian jazz ensemble, Ethio Cali, led by trumpeter, arranger and composer, Todd Simon, and other musicians from Southern California will be joined by a special guest from Australia, Ethiopian-born vocalist and massinqo player Dereb Desalegn, aka Dereb at the Grand Performances on Friday, July 26th.
— If You Go:
Krar Collective in NYC
July 21st, 2013 | 3:00 pm – 7:00 pm | Central Park
More info and directions at www.cityparksfoundation.org
Young Ethio Jazz Band in D.C.
At 3rd Heritage Festival
July 26 to 28
Georgetown University
3611 Canal Street
Washington, D.C, NW 20007
More info at www.ehsna.org.
Ethio Cali in L.A.
Friday, July 26, 2013 – 8 pm
350 S. Grand Ave. Los Angeles, CA 90071
Free | All ages
More at www.ethiocali.com.
— Photos: Munit and Jorg at Silvana in Harlem, NYC, Friday, July 12, 2013 (Tadias Magazine)
Watch: Video of Young Ethio Jazz Band at Rasselas Jazz Club
Los Angeles (TADIAS) — Ethio Cali — a Los Angeles-based Ethiopian jazz ensemble, led by trumpeter, arranger and composer, Todd Simon, and other musicians from Southern California will play in Los Angeles this weekend. The event is hosted by the Grand Performances, one of the state’s largest presenter of free performing arts programs. Organizers note: “The Ethio Cali ensemble’s sublime sound is inspired by the Golden Age of Ethiopian music of the 1960’s and 70’s, filtered through a lens that is uniquely Los Angeles.”
Acknowledging the diverse musical foundations of Ethio-jazz, the ensemble also draws inspiration from the rhythmic and melodic textures of Sudan, Somalia, Ghana, and Columbia. For their debut performance at Grand Performances, Ethio Cali is joined by special guest Ethiopian-born, Australia-based vocalist and masenqo player Dereb Desalegn aka Dereb The Ambassador for what is sure to be a spirited and majestic night of music.
— If You Go:
Friday, July 26, 2013 – 8 pm
350 S. Grand Ave. Los Angeles, CA 90071
Free | All ages
More at www.ethiocali.com.
— Related: Summer of Ethiopian Music Continues: Krar Collective in NYC, Young Ethio Jazz in D.C. (TADIAS)
Washington, D.C. (TADIAS) – The sound of Ethiopia’s new generation, the rock band Jano, delivered one of the most exciting and highly anticipated live musical performances scheduled during the 2013 Ethiopian soccer tournament festivities held in Washington, D.C. last week.
The following is Tadias Magazine’s exclusive and in-depth video interview with members of the band who played for the first time in the United States on July 4th at the historic Howard Theatre.
Watch: Color and sound updated — JANO Band July 4th – Howard Theatre (TADIAS Interview)
New York (TADIAS) – It is poised to be an exciting summer for Ethiopian music on the East Coast with live concerts that include the highly anticipated U.S. debut of Jano band; the Addis Ababa-based duet, Munit and Jorg; the return of Fendika direct from Ethiopia; a joint performance by Teddy Afro and Mahmoud Ahmed; as well as the first American tour by The London-based trio, Krar Collective.
Jano, which leads the pack in publicity and expectation, was recently featured on CNN in preparation for their upcoming show at the historic Howard Theater in Washington, D.C. on July 4th.
The super-group Fendika that consists of six world class dancers and Azmari artists, once again bring its exhilarating mix of Ethiopian music and dance to audiences in the United States, highlighting the wealth of diversity of Ethiopia’s musical traditions. Fendika is currently in the Midwest, and is scheduled to perform on July 2nd at the Smithsonian Museum of African Art in Washington D.C., followed by a concert at the Lincoln Center Atrium, in NYC on July 4th, as well as in Boston at Hibernian Hall on July 7th.
Living legends Mahmoud Ahmed and Teddy Afro will share the stage on July 5th at Echostage in D.C.
Also in Washington, we are told, Ethiopian and German duet, Munit and Jorg, will launch their U.S. tour with a concert on July 1st at Tropicalia Dance Club. Organizers said the show will open with a performance by Feedel Band and will be hosted by the Seattle-based hip-hop musician Gabriel Teodros.
Below is a slideshow of flyers and photos courtesy of the promoters.
— If You Go:
Jano in DC
Thursday, July 4th, 2013
The Howard Theatre
620 T Street, Northwest,
Washington, D.C.20001
Phone: (202) 803-2899
More info on the show: 201 220 3442 Thehowardtheatre.com
Legend & Superstar
Mahmoud Ahmed | Teddy Afro
Echo Stage in DC, July 5th
2135 QUEENS CHAPEL ROAD NE,
WASHINGTON, DC 20018
PHONE: 202.440.4301
FOR TABLES & GENERAL INFO: www.echostage.com
Munit & Jorg in DC
w/ Feedel Band + Dj set by Tooth Pick
Hosted by Gabriel Teodros
Monday July 1st
Tropicalia (lower level)
2001 14th st NW
Washington, D.C. Click here for ticket info.
Learn more about Munit and Jorg on their Facebook page.
Krar Collective, DJ Sirak in New York
July 21st, 2013 | 3:00 pm – 7:00 pm | Central Park
More info and directions at www.cityparksfoundation.org
Watch: CNN’s Errol Barnett interviews Jano Band in Addis
New York (TADIAS) – CNN’s Errol Barnett recently interviewed members of the new Ethiopian rock band Jano and their manager, Addis Gessesse, in Ethiopia. The group is scheduled to launch its debut tour in the United States at the historic Howard Theatre in Washington, D.C. on July 4th.
“I felt that each generation has its own sound, so I talked to a few people around and I just decided that if I bring the younger generation together, and educated young kids, I felt that I can come up with something very unique and different from Africa,” Addis, who talent-spotted the 20-somethings ensemble, told CNN.
Three of the ten person team were also featured at the band’s group-home in Addis Ababa.
Watch: CNN’s Errol Barnett interviews Jano Band in Addis
Washington, D.C. (TADIAS) – Members of the new Ethiopian rock band, Jano, will make their U.S. debut on July 4th, 2013 at the historic Howard Theatre in Washington, D.C. during this year’s gathering of Ethiopians in the District for the annual soccer tournament and cultural festival.
Organizers told Tadias that the group recently gave an interview to CNN while in Addis Ababa to mark the launch of their highly anticipated international tour.
“They have progressive sounds. It’s very new and very different. Nothing like this ever came out of Ethiopia,” the band’s New York-based producer Bill Laswell told Tadias last summer, speaking about the young ten-member team that fuses Ethiopian sounds with heavy guitar, drum and other instruments. “You hear old songs by singers from the 60′s inside of the rock,” he said. “Another interpretation that might upset some people but carries on the tradition in a modern way.”
Laswell added: “These are modern instruments but it does not overlook the kirar, it does not overlook masinko, it does not overlook the traditional singing, the church music and the power of the tradition. It does not take that for granted. They don’t join the ranks of Ethiopian music, they break the rules.”
Watch: The Ethiopian Rock Band Jano – Interview with Producer Bill Laswell (TADIAS)
— If you go:
Jano: Direct from Ethiopia
Thursday, July 4th, 2013
The Howard Theatre
620 T Street, Northwest,
Washington, D.C.20001
Phone: (202) 803-2899
More info on the show: 201 220 3442 Thehowardtheatre.com
New York (TADIAS) – Classical pianist and composer Girma Yifrashewa performed live to a full house at Issue Project Room in Brooklyn on Saturday, June 8th. The event was Girma’s first solo appearance in the United States since he made his U.S debut four years ago when he was invited to participate in the International Symposium and Festival “Africa meets North America,” which took place in October of 2009 at the University of California, Los Angeles (UCLA). As part of his current tour, the talented pianist will return to the West Coast next month for a performance in Seattle, Washington on July 26th.
In New York, Girma delighted his audience not only with his expert renditions of classics by Chopin, Schumann, Debussy, and Gershwin, but also with his own arrangements based on traditional Ethiopian melodies including “The Shepherd with the Flute” — a short reflective and romantic piece originally composed by the late Professor Ahenafi Kebede.
The second part of Girma’s show was entirely dedicated to his own compositions including Ambassel, Chewata, Sememen, and his favorite Elilta. During his introduction of Elilta, as he concluded the evening, Girma asked the audience what elilta was, and Ethiopian members of the audience vocalized the joyful custom. The concert ended on a celebratory note as the pianist received a standing ovation.
If You Go:
Girma Yifrashewa in Seattle
July 26, 2013
Good Shepherd Center Chapel
4649 Sunnyside Ave. N, 4th floor
Seattle, WA
Learn more at: waywardmusic.blogspot.com
New York (TADIAS) – Ethiopian classical pianist and composer Girma Yifrashewa is scheduled to perform at Issue Project Room in Brooklyn on Saturday, June 8th.
“A highly accomplished performer of the romantic repertoire, Yifrashewa has chosen to remain in Ethiopia— where classical music is far from a dominant practice— forging a classical tradition for his own country,” organizers said in a press release. “Using traditional tunes as a foundation, Yifrashewa’s compositions combine the ecstasy of Ethiopian harmony with the grandeur of virtuoso piano technique into an effortlessly enjoyable, heady mixture. In this solo piano concert, Yifrashewa performs works by Chopin, Schumann, Debussy, and Mozart, as well as a set of his own Ethiopian informed compositions.”
Girma, who was born in Addis Ababa in 1967, is a graduate of the Yared School of Music and the Sofia State Conservatory of Music in Bulgaria.
“It was in Bulgaria that he made an impact as a solo pianist, performing the works of Schumann, Schubert, Chopin and Debussy, throughout the country until his return to East Africa in 1995,” the event announcement said. “He has a preference and well-determined approach to the music of Bach as well as Mozart and Beethoven.”
“Yifrashewa returned to Ethiopia in 1995, teaching piano at the Yared School of Music until 2001. He received scholarships for short-term specialization courses from the British and German Governments, at the Royal Academy of Music in London (1997) and at the Hochschule fur Music Und Theater in Leipzig (1999). Currently Yifrashewa works to promote Ethiopian and Classical Music throughout the continent and beyond.”
—- If You Go:
Sat, June 8, 2013 – 8:00pm
TICKETS | $15 / $12 members + students
ISSUE PROJECT ROOM
22 Boerum Place
Downtown Brooklyn
Phone: 718-330-0313 www.issueprojectroom.org
—
Join the conversation on Twitter and Facebook.
New York (TADIAS) – Ethiopian classical pianist and composer Girma Yifrashewa is scheduled to perform at Issue Project Room in Brooklyn on June 8th.
“A highly accomplished performer of the romantic repertoire, Yifrashewa has chosen to remain in Ethiopia— where classical music is far from a dominant practice— forging a classical tradition for his own country,” organizers said in a press release. “Using traditional tunes as a foundation, Yifrashewa’s compositions combine the ecstasy of Ethiopian harmony with the grandeur of virtuoso piano technique into an effortlessly enjoyable, heady mixture. In this solo piano concert, Yifrashewa performs works by Chopin, Schumann, Debussy, and Mozart, as well as a set of his own Ethiopian informed compositions.”
Girma, who was born in Addis Ababa in 1967, is a graduate of the Yared School of Music and the Sofia State Conservatory of Music in Bulgaria.
“It was in Bulgaria that he made an impact as a solo pianist, performing the works of Schumann, Schubert, Chopin and Debussy, throughout the country until his return to East Africa in 1995,” the event announcement said. “He has a preference and well-determined approach to the music of Bach as well as Mozart and Beethoven.”
“Yifrashewa returned to Ethiopia in 1995, teaching piano at the Yared School of Music until 2001. He received scholarships for short-term specialization courses from the British and German Governments, at the Royal Academy of Music in London (1997) and at the Hochschule fur Music Und Theater in Leipzig (1999). Currently Yifrashewa works to promote Ethiopian and Classical Music throughout the continent and beyond.”
—- If You Go:
Sat, June 8, 2013 – 8:00pm
TICKETS | $15 / $12 members + students
ISSUE PROJECT ROOM
22 Boerum Place
Downtown Brooklyn
Phone: 718-330-0313 www.issueprojectroom.org
—
Join the conversation on Twitter and Facebook.
New York (TADIAS) – Teddy Afro performed live at B.B. King Blues Club in New York last night in continuation of his current Tikur Sew world tour. Teddy was the first Ethiopian artist to perform at the acclaimed Manhattan venue that is renowned for showcasing world-class musical talents.
Brooklyn-based musician Tomás Doncker opened the evening featuring collaborative work with guitar legend Selam Woldemariam.
Teddy’s latest album, Tikur Sew (black person) is on pace to become the number one selling Ethiopian album of all time.”
Video: Tikur Sew – Teddy Afro – HD English version – Ethiopia Music (2012)
New York (TADIAS) – Teddy Afro and Abogida Band will perform live at B.B. King Blues Club & Grill in Manhattan later this month in continuation of their current world tour, which included a concert in support of the Walyas at the 2013 Africa Cup of Nations in South Africa. Organizers said Teddy will be the first Ethiopian to perform at the acclaimed NYC venue that is renowned for showcasing world-class musical talent.
Brooklyn-based musician Tomás Doncker will open the evening highlighting his traveling musical production that pays tribute to Ethiopia’s role during World War II and featuring collaborative work with guitar legend Selam Woldemariam.
The event’s announcement noted that Teddy, who has dominated the Ethiopian music scene for nearly a decade, has garnered a global base of loyal and adoring fans as well as political foes who are opposed to his iconoclastic views expressed in his socially conscious lyrics that cover topics including politics, history, peace, love, justice, and equality.
The iconic Ethiopian artist was born in the Kuas Meda area of Addis Ababa, on July 14, 1976. “His late father, Kassahun Germamo, was a renowned Ethiopian songwriter, while his mother, Tilaye Arage, was a professional dancer,” the press release said. “Despite his parents being involved in the entertainment industry, they discouraged Teddy from becoming a musician.”
The announcement added: “Since signing with an Ethiopian record label in 2001, the pop star has officially released 6 albums: Abugida (2001), Tarik Tesera (2004), Yasteseryal (2005), Yasteseryal Edition 2 (2005), Best Collection-Nahom Volume 14 (2006), Tikur Sew (2012). His latest album, Tikur Sew (black person), smashed Ethiopian record sales and is on pace to become the number one selling Ethiopian album of all time.”
— If You Go:
Teddy Afro with Abogida Band
February 22, 2013
B.B. King Blues Club
37 West 42 St (212) 997-4144
New York, NY 10036
Showtime @ 11:59PM
Doors Open @ 11:00PM
Tickets $40.00 in advance, $50.00 day of show
Reserved VIP Booth on floor available for 4 & 6 people
$50 adv/$60 Day of Show per ticket – Must buy entire booth
A booth for 4 = $200/$240
A booth for 6 = $300/$360 Click here to learn more.
Video: Teddy Afro – Lambadina
Watch: Teddy Afro New 2012 – Tikur Sew official music video
New York (TADIAS) – You may remember the new Ethiopian rock band Jano from our interview over the summer with their producer Bill Laswell who told us that he is convinced that the ten-member ensemble that fuses distinctly Ethiopian sounds with heavy guitar, will be the next big musical act on the world stage to come out of the country. Laswell had promised an unconventional marketing strategy to introduce the group to outside audiences.
“It will come as a word-of-mouth and not so much as a marketing distribution build up how America does things, but more to do with getting that interest to communities,” Laswell had said. “I think it will start in the Ethiopian community and hopefully it will build into what the world calls the ‘World Music’ genre, which is pretty big internationally.”
Jano recently released a teaser video that is already creating a buzz within the Ethiopian community online and elsewhere.
You can watch the video below and join the conversation on Facebook.
— Watch: The Ethiopian Rock Band Jano – Interview with Producer Bill Laswell (TADIAS)
New York (TADIAS) – Addis Ababa-based musical troupe, Fendika, will return to New York City to launch their first solo U.S. tour at Joe’s Pub on Tuesday, October 2nd. The six-member group consists of two traditional dancers, Melaku Belay and Zenash Tsegaye, krar player Seleshe Damassae, drummer Misale Legesse, masinko player Endris Hassen, and singer Nardos Tesfaw.
While their music relies heavily on the azmari tradition Fendika also gives us a wonderful taste of the diversity of the nation through dance renditions from various cultural groups across Ethiopia.
Last August, Melaku, the group leader and owner of club Fendika in Addis Ababa, was hailed by Alistair Macaulay of The New York Times as “a happily superlative artist” after Fendika’s exhilarating performance at the annual Lincoln Center Out-of-Doors Festival.
Founded by Melaku in 2009 Fendika has since collaboratively worked with both Ethiopian-based groups such as Addis Acoustic Project as well as internationally with Ethio-inspired groups including Debo Band, Akalé Wubé, Ukandanz, and The Ex. Fendika performed at the 35th International Sacred Music Festival as well as the Lowell Folk Festival.
Following their recent tour in Spain, Fendika will be performing in several U.S. cities including Hartford, CT, Boston, MA, Washington D.C., and Smithfield, RI following their opening tour in NYC next week.
—- If You Go:
Tuesday, October 2nd, 2012
Joe’s Pub
425 Lafayette Street, NY, NY 10003
Fendika
7:30pm
Entrance: $18 Click here to purchase advanced tickets.
New York (TADIAS) – A group of filmmakers in Germany are preparing to document the legendary musician Teshome Mitiku’s return to Ethiopia. Teshome, who now lives in the United States, has not been to his home country since his forced departure more than four decades ago. The film entitled Swinging Addis, is a narrative of the artist’s role in the storied music scene of his generation and his remarkable personal story, which spans three continents and several countries, where in between he managed to earn a graduate degree in Sociology and witness his daughter become an international music star hailing from Sweden.
“I am very excited about returning to my country,” Teshome said in a recent interview with TADIAS. He is currently composing new songs for the occasion and he plans to give a homecoming concert in Addis Ababa and other parts of the country.
Teshome will be accompanied by several musicians from the Diaspora, including his daughter Emilia Mitiku and his brother, saxophonist Tewodros Mitiku. “I am also looking forward to jamming with the new generation of musicians in Ethiopia,” he said. “I love their energy.”
Regarding the film Teshome said: “It’s a multi-million-dollar project, we will be traveling to many places including Gondar, Gojam and to all the historical locations.”
— Click here to watch the trailer.
New York (TADIAS) – In its recent, thumbs-up highlight of Debo band’s self-titled first album NPR noted: “The particular beauty of Debo Band is that you don’t have to be an ethnomusicologist to love it: It’s all about the groove. Debo Band transforms the Ethiopian sound through the filter of its members’ collective subconscious as imaginative and plugged-in 21st-century musicians. Klezmer-haunted wails dart in and out between disco thumps. The swooning, hot romance of [Yefikir Wegene] bursts up from the same ground as the funky horns of Ney Ney Weleba. From that hazy shimmer of musical heat from faraway Addis, a thoroughly American sound emerges.”
In an interview with Tadias Magazine, Danny Mekonnen, the group’s Ethiopian-American founder, agreed with NPR’s description, yet also pointed out that even he finds it difficult to explain the music. “It’s funny now that I am talking to the press more and more I am asking myself the same question”, Danny told TADIAS. “What is it?,” he said, admitting that he is not sure how he would categorize Debo’s music genre.
“I don’t think its Ethio-jazz because to me Ethio-jazz is a very specific thing branded by Mulatu Astatke. Its gentle,” he said. “Initially I didn’t want to start an Ethio-jazz band because I was interested in a lot of different things and influenced by unapologetic funk music as well, such as someone like Alemayehu Eshete, which is really about groove, dancing, and strong lyrics. That kind of energy.”
Debo’s debut album features originals, such as DC Flower and Habesha, the latter based on the Diaspora experience where a young man is mesmerized by an attractive East African woman walking down the street that could be either Ethiopian or Eritrean, while the former is an instrumental giving prominence to Embilta flutes and traditional drums. “The two songs are noteworthy because we are carving our space as a Diaspora, Ethiopian-American band,” Danny said.
Danny, who holds a Master’s degree in Ethnomusicology from Harvard University, said he became exposed to Ethiopian music at an early age while growing up in Texas, mostly from his parents cassette-tape collections of old songs from the 1960’s and 70s. “I was just soaking it up like a sponge,” he said. “I was attracted to it because of its horn melodies and its closeness to American jazz.” He continued: “Later, in the early 2000’s I was introduced to the Éthiopiques CD series, which gave me really accessible context including photos. That also led me to meet some great people in the Diaspora. So when I entered Harvard I had already started Debo band and my scholarly focus was on Ethiopian music.”
Even though Debo’s sound is heavily indebted to the classics of the 1960’s and early ’70’s, Danny said he is sympathetic to those who say the overwhelming focus on that era alone undercuts the contributions of subsequent generations of Ethiopian musicians. “Unfortunately the focus on the so called ‘Golden Age of Ethiopian music’ sort of discredits what came after it,” he said. “For example, if you listen to Teddy Tadesse’s Zimita album, that was a pretty heavy record, very progressive, and at least ten years ahead of its time. You can hear its influence in singers that came later like Gossaye and Teddy Afro.” He added: “Zimita was entirely arranged by Abegaz Shiota. Abegaz and bass guitarist Henock Temesgen are two of the many contemporary Ethiopian musicians that I have the highest respect for. They were part of Admas Band that worked with everyone from Aster Aweke to Tilahun Gessesse and Mahmoud Ahmed.”
Danny said his friend Charles Sutton, Jr. – the Peace Corps volunteer who in 1969 arranged for Orchestra Ethiopia, then led by Tesfaye Lemma, to tour the United States under the name “The Blue Nile Group” – was also instrumental in helping him to connect with older Ethiopian musicians in the U.S. “Charlie arranged for me a private lesson with Melaku Gelaw, one of the top washint and kirar players of that generation,” Danny said.
According to Danny, Mr. Sutton was also responsible for suggesting the name “Debo” as the group’s identity. “I told Charlie I was searching for a band name and he spoke to an Ethiopian lady friend of his and she came up with the word,” Danny shared.
“Debo means communal labor or collective effort in Amharic” Danny said. “An easy word to pronounce for non-Ethiopians, short four-letter word and very simple. But it also strikes up a fun conversation among Ethiopians because it’s an old archaic word and not part of their daily usage.”
“Ethiopians tell me that it sounds like Dabo (bread),” Danny said laughing.
— If You Go: Debo Band is getting ready for their CD release tour starting next week and will be performing at The Bell House in Brooklyn, the U Street Music Hall in Washington D.C. as well as at the renowned Philadelphia Folk Festival in Schwenksville, PA. For a detailed listing of their upcoming tour please visit Debo Band’s website. You can learn more about Debo’s new album and pre-order at www.subpop.com.
New York (TADIAS) – When it comes to world music, New York-based producer Bill Laswell is convinced that the next big act coming out of Ethiopia is a young rock band called Jano – a ten member ensemble that fuses distinctly Ethiopian sounds with heavy guitar, drum and other instruments.
“I think they were probably deeply influenced by the great musicians of Ethiopia, the great singers without question,” said Laswell in a recent interview with TADIAS. Laswell, who has put together the band’s forthcoming CD, has an extensive resume including work with Ethiopian vocalist Gigi, among others.
Regarding Jano, he added: They have “progressive sounds. It’s very new and very different. Nothing like this ever came out of Ethiopia.”
Laswell said what makes the young musicians unique is that they manage to keep the traditional Ethiopian vibe while appealing to global music lovers. “You hear old songs by singers from the 60’s inside of the rock,” he said. “Another interpretation that might upset some people but carries on the tradition in a modern way.” He continued: “These are modern instruments but it does not overlook the kirar, it does not overlook masinko, it does not overlook the traditional singing, the church music and the power of the tradition. It does not take that for granted. They don’t join the ranks of Ethiopian music, they break the rules.”
The group consists of four vocalists (two male and two female), two guitarists, two keyboard players, a bassist and a drummer – all in their twenties.
According to Laswell, the band was talent-spotted by Ethiopian entrepreneur Addis Gessesse who is also credited for helping to launch the careers of reggae star Ziggy Marley and Ethiopian pop icon Teddy Afro.
As to the release date for Jano’s album, Laswell said they have an unconventional marketing strategy worked out. “The album is done and the packaging is done and they are in the process of creating it now in Ethiopia, and probably it will come here soon,” he said. “It will come as a word-of-mouth and not so much as a marketing distribution build up how America does things, but more to do with getting that interest to communities.” He added: “I think it will start in the Ethiopian community and hopefully it will build into what the world calls the ‘World Music’ genre, which is pretty big internationally.”
Watch: The Ethiopian Rock Band Jano – Interview with Producer Bill Laswell (TADIAS TV)
New York (TADIAS) – As a young boy growing up in Bahir Dar, Ethiopia where his mother worked at the local movie theater, Tamirat Mekonen Teklu, 31, — the director and cinematographer of Teddy Afro’s latest music video Tikur Sew — dreamed of one day becoming a filmmaker. And judging from early reactions to his newest gig, Tamirat’s directorial debut, only three years after receiving a scholarship to study at New York Film Academy, appears to be a smashing success.
TADIAS caught up with Tamirat shortly after he returned to his home in Washington, D.C., following the launch of the music video in Ethiopia last week.
“For 75 days, we worked 18-19 hours a day, non-stop,” he told us. “This was my first project after graduating from film school, so I was working under a lot of pressure.” He added: “My whole Ethiopian filmmaking family had great expectations about this project. At the end of the day, it was a great experience for the whole team.”
Tikur Sew (Amharic for black person), is Teddy Afro’s tribute to the legacy of Menelik II, the emperor who led Ethiopia during the world-famous Battle of Adwa on March 1, 1896. Scoring a decisive military victory against the invading Italian forces Adwa was an event that changed the course of history not only for Ethiopians, but also for the colonial ambitions of a major European power, forcing Italy to recognize the sovereignty of an African nation.
“I really wanted to make the audience to feel and experience the six-hour historical battle,” Tamirat said. “Honestly, though, I did not expect that people would have such a positive and emotional reaction to the music video.” He added: “There were two main messages, which are found in the Amharic quote at the end of the film: ‘In order to define yourself now, you have to look at your past,'” he said. “If those who fought in the battle did not sacrifice their lives for us, we would have lost our culture and identity. We would not be who we are today.”
Tamirat continued: “There was a price that was paid for us to be the only non-colonized African nation. The last scene I created in color was a fantasy scene of the young people of our generation honoring and acknowledging what Emperor Menelik and Empress Taytu Betul accomplished.”
The behind the screens making of Tikur Sew Music Video Tamirat with the actor playing Emperor Menelik II. (photo by Sabisa Films Production)
Tamirat Mekonen with Tesfaye Wondmagegn and production crew in the making of Tikur Sew music video. (photo by Sabisa Films Production)
According to Tamirat, there were 420 actors who took part in the music video, most hailing from the theatrical arts department at Addis Ababa University. “We shot the film in four days and spent two months in post-production,” he told TADIAS. “We worked in four locations all around Addis, including Teddy Afro’s house.”
How did he get involved in the project? “The previous distributor of Tikur Sew before Adika, saw my work and introduced me to Teddy Afro’s former manager Addis Gessese, and then to Teddy Afro, himself,” he said. “After I met him, Teddy let me listen to all of the music that would be on his new CD.” He added: “Teddy and Adika were anticipating producing a DVD with a selection of four music videos from the Tikur Sew album, and I chose the title song Tikur Sew.”
“I grew up watching cinema because my mother was working in the only cinema theater in Bahir Dar.” Tamirat shared. “Every weekend she would let me sit and watch movies. Because of this, I dreamt of one day becoming a filmmaker.”
Tamirat later attended a one year certificate program in filmmaking in Addis Ababa. “I saved the money to pay for the program on my own by walking long hours in order not to have to pay for transportation and sometimes skipping lunch,” he said. “I worked on many films, including: Red Mistake, Ashenge, Albo, and the award winning Siryet. In 2009, he was awarded a Brett Ratner scholarship to attend the New York Film Academy, in New York City, where he studied cinematography. “I was also assisted by my future father-in-law Matt Andrea, who sponsored me to come to the United States,” he said.
Does he have any upcoming projects? “I am working as the director of photography on a feature film entitled Lovers’ Paradise,” he said. “We hope to start shooting around the end of September. Additionally, my company Sabisa Production is set to debut a new feature film, Sons of Sunrise, in the next two months.”
—- Watch: Tikur Sew – Teddy Afro – HD English version – Ethiopia Music (2012)
Tadias Magazine
Events News | Photos by Matt Andrea
Published: Wednesday, May 30, 2012
Washington, D.C (TADIAS) – Mahmoud Ahmed and Gosaye Tesfaye performed at the historic Howard Theatre in Washington, D.C. during a Memorial Day weekend concert on Saturday, May 26th. It was the first time that Ethiopian music was featured at the iconic venue, which reopened in April following a $29 million renovation. The event was organized by Massinko Entertainment, and also included an appearance by guitarist Selam Woldemariam who is part of an upcoming concert with Brooklyn-based musician Tomas Donker at Summer Stage in New York.
New York (TADIAS) – Five decades ago, when the Italian owner of the only record store in Addis Ababa could not keep up with growing local demand for more music variety, an Ethiopian music enthusiast named Amha Eshete opened his own shop. “I ended up opening the first music shop owned by a native Ethiopian, diversified the import and started buying directly from New York, India, Kenya, and West Africa,” Amha recalled in a recent interview with Tadias Magazine. “But there was one very important ingredient missing — I was selling foreign music labels, all kinds of music except Ethiopian records, which was absurd,” he added.
Amha Eshete is the Founder of Amha Records – the pioneering record company whose work from the “golden era” of Ethiopian music is now enshrined in the world-famous éthiopiques CD series.
“There was a government decree that granted music publishing monopoly to the national association Hager Fikir Maheber, but they did not produce a single record of modern Ethiopian music.” He continued: “After many sleepless nights I was determined to take a risk of probable imprisonment and decided to ignore the decree to start producing modern Ethiopian music.”
Referring to his first client on the Amha Records label Amha said, “Alemayehu Eshete was willing to take that risk with me.”
Amha describes the music scene in Ethiopia then as almost similar to that of today — buzzing with the mixture of international sounds, Ethio-jazz, and traditional music. “During the 1960s and ’70s modern Ethiopian music was emerging at an incredible pace even though there was an extensive government control and censorship every step of the way,” he said. “It was the first time that new and modern night clubs were being opened, records players were being installed in cars, and enjoying music was the spirit of the time.”
Professionally, Amha said he had no role models and that he learned through trial and error, often making business decisions based on “just gut feeling.”
“I had no experience, for example, on how to negotiate with the artists,” he said. “I did what I thought was right and fair to me and all the others involved at the time.” He added: “It was a lifetime experience and believe you me it worked because I was able to produce one hundred and three 45s and a dozen LPs in a few years.”
Amha leased the distribution rights of his originals to the French label Buda Musique in the ’90s. “My work is not owned by Buda Musique but it is definitely pressed and distributed under an exclusive license by them,” he noted. “The main credit should be given to Mr. Francis Falceto to bring about this re-birth of the golden age of Ethiopian music into reality in the form of the éthiopiques series.” He continued: “Mr. Francis was the one who was adamantly determined to reproduce this music and introduce it to the outside world. He should get all the credit because this music would have been buried and stayed buried somewhere in the suburbs of Athens, Greece where all the masters were stored until then.”
For Amha, the most dramatic recent change in the Ethiopian music industry has been the size of compensation packages for singers. “The Ethiopian superstar Tilahun Gessesse used to be paid about 200 birr per month,” he said. “I paid Alemayehu Eshete and Mahmoud Ahmed 2,000 birr for a single recording of an album.” He added: “This was all unheard of at the time, and in fact I can say it was the talk of the town.”
“Things have very much changed now,” Amha noted. “Payment of one million birr is no more a topic of conversation. The recent sales and revenue from Teddy Afro’s recording might gross millions of dollars.” he added: “This is definitely progress in the right direction and it is the beginning of good things to come.”
New York (TADIAS) – In November 1987, when Francis Falceto, an editor with the French label Buda Musique, traveled to Washington, D.C. to finalize a licensing deal with Ethiopian producer Amha Eshete, owner of Amha Records who held the rights to the treasure trove of Ethiopian music from the 1960’s and 1970’s – little did he know that it would take another decade for the contract to be completed. But the result has been an astonishing twenty-seven volumes of the éthiopiques CD series, which has propelled Ethiopian music on the world stage in the last ten years and introduced the sounds of Ethio-jazz to audiences and musicians far and wide.
“Unfortunately, Amha was then in exile, and had no documents with him to allow the retrieval of the discs that had been initially manufactured, and where the recordings masters were still kept,” Francis said in a recent interview with Tadias Magazine. “We had to wait for the fall of the Derg and the return of Amha to his motherland to start tracing consistently the ‘holy’ masters.” He added: “After several years of intense tracking down, we finally located most of Amha Records masters in Athens, Greece. The day of February 1997 when I could go to Athens and get back these pieces of Ethiopian heritage has been one of the happiest day in my life, truly. By October 1997, the first éthiopiques CD were released. I had in mind then to produce a dozen, no more. But very quickly, other Ethiopian producers and artists came to me asking ‘I’d like to be part of éthiopiques… Ali Tango of Kaifa Records, whom I had befriended since my first trip to Ethiopia, joined promptly, then Tilahun Gessesse himself – another happy day in my life – and other artists. That’s how I have released 27 volumes up to now, and intend to reach possibly 34 or 35, hopefully, to complete this task.”
Over the years Francis has established enduring friendships in Ethiopia. But he is also aware of rumors and complaints about his motives. “Bizu meqegna alegn”, he said, using the Amharic word for people who wish ill-will on others. “Naturally, the fact that a ferenj takes care of such a marathonian project dealing with Ethiopian music heritage has also generated some suspicions.” He added: “The simple truth is that I did it because I could not see anybody, Ethiopian or foreigner, intending to do so. I would really love to be just a purchaser of ready-made éthiopiques, re-released by anybody else, and in a nicer way if possible. I would avoid then many headaches and complications.”
Francis said his admiration for world music dates back more than thirty years and is not limited to only Ethiopia. “I am basically a music lover, having started by 1977 to work in the frame of a non-profit organization presenting all kinds of concerts, both modern and traditional, but mostly devoted to rare, non-commercial, experimental or innovative music,” he said. “Then I have been a curator, programing for venues and festivals before I became a full time searcher in Ethiopian music history, basically freelance but related to the French Centre of Ethiopian Studies in Addis Ababa.”
As to those who tease him about the name of his employer, Buda Musique, which sounds exactly like the local word for “evil eye,” Francis said: “Let me say that its name “Buda Musique” is just a coincidence and has no reference at all to the buda and zar thing in Ethiopia,” he joked. “The company name used to exist long before I collaborated with this record label.” He added: “Buda Musique is a private record company, a small label mostly devoted to world music. It is not my company, actually, I never had any company. I am just the editor of the éthiopiques and ethioSonic series.”
Francis admits that the success of éthiopiques has been largely limited to media hype and has not translated well for him commercially. “Behind all my research work, full of fun and beauty, there are also a lot of difficulties – like finding the proper lyricists and composers, crediting the real backup musicians, solving the copyright problems, tracing the entitled beneficiaries, etc,” he said. “Curating éthiopiques series requires a lot of perseverance and endurance, and some masochism, probably. And the fact that Ethiopian CDs are available in western music shops doesn’t mean they are hot cakes.”
Francis Falceto in Addis Ababa, 2010. (Photo credit: Maga Bo/flickr)
How about the talk that some artists not being paid royalties? “The most sad and embarrassing remains the maliciousness of a couple of unfair people who have been incredibly benefiting from éthiopiques, in terms of fame but also of royalties and concerts booking, but who give forth endlessly and sick accusations and ignominious lies – almost nothing, so to say, with regard to their dishonor,” he said. “All in all, I have not to complain that much. The work is here to stay, to the satisfaction of a large public, and beyond the inconvenience it provides.”
Francis said there is “a huge gap” between the media coverage of éthiopiques and their market, commercially speaking. “It is just a niche market – which may be hard to believe for Ethiopian nationalist pride,” he continued. “Not to mention the Ethiopian culture of piracy since the invention of the cassette, or the piracy on internet.”
He points out that not all responses from Ethiopians have been negative. “The feedback from Ethiopia and Ethiopians is mostly warm and supportive,” Francis said. “After all, éthiopiques CD series is not only spreading Ethiopian music worldwide, much beyond my own initial expectation, but also reviving a glorious and unforgettable past of Ethiopia and Ethiopians.” He added: “I am especially touched by Ethiopians who e-mail me their remembrance and describe their emotions. It is not only the ones who were teenagers in the Ethiopian ’50’s and ’60’s who write to me, because it was the soundtrack of their generation, it is also their children, often raised abroad, and many of them are amazed by the music of their parents’ generation. I had never anticipated that éthiopiques could also contribute to reset Ethiopian memories and be a kind of funky bridge between the generations.”
Is he working on any upcoming projects? “I am presently working on Ali Birra, Kassa Tessemma and Muluken Melesse for éthiopiques, as well as on Daniel Techane and Trio Kazenchis for ethioSonic,” he said.
The latter is an impressive collection of music from notable musicians including Getachew Mekurya & The Ex, Debo Band, Either/Orchestra, Jazzmaris, Abegaz & Jorg, and Kronos Quartet. “Another phenomenon that I had never anticipated at all is the development that Ethiopian music has met worldwide after éthiopiques,” Francis said.
He said he is not nostalgic of the Empire time, but he does feel concerned by the state of Ethiopian music today. “Seeing its bad present situation, I thought that I should find a way to support and promote the best exceptions, and ethioSonic series is the solution I found,” he said. “As I don’t want to spend another ten years to establish the series through individual CDs, I have decided to release this large collection of 28 bands from 10 countries in order to show massively the evidence of Ethiopian music influence worldwide. I do intend to focus in the future on individual talents based in Ethiopia and the Diaspora, because there is more than one Ethiopian artist of international standard.”
Washington, D.C. (TADIAS) – The iconic Howard Theatre in Washington, D.C. is hosting an Ethiopian concert during Memorial Day weekend. Singers Mahmoud Ahmed and Gosaye Tesfaye are scheduled to perform on Saturday, May 26th. Organizers say the duo will be the first Ethiopian musicians to grace the historic venue.
The Howard Theatre was built in 1910, and has featured almost every major African American entertainer in the country. It closed its doors in 1980 during an economic downturn, but re-opened last month following a $29 million renovation.
— If You Go: The Howard Theatre
Saturday, May 26, 2012
620 T Street, NW,
Washington, DC 20001
Doors Open: 10PM – 3AM
Tickets: $35 in advance
Bottle service in private booth
Call: 202.629.6138 or 571.242.9348
Parking available
General Info: 202-340-1111 or 201-220-3442
New York (TADIAS) – We hear from industry insiders in Ethiopia to expect a wave of new CD releases in the next few months. One such upcoming album is entitled Dimtsepia, led by Los Angeles-based Ethiopian bassist, drummer and keyboard player Kirubel Assefa. The CD features various musicians, including Fitsum Mahadere, Tsedenia Gebremarkos, and Teklish and is being distributed under Kirubel’s own label Taza Records.
“Our plan is to release the album in Ethiopia in early June and in the U.S. and abroad in late June,” Kirubel told Tadias Magazine.
“Dimtsepia is a contraction of the Amharic word Dimtse or sound and Ethiopia,” he said, in response to our inquires regarding the CD’s title. “It means ‘The Sound of Ethiopia’ which is a comprehensive overview of the music contained within.” He added: “The various singers give the songs different vibes. It’s also an excellent format to promote their work, giving them a boost and more visibility.”
As to Taza Records, Kirubel said it is a joint project with an American friend, and that the label is designed to tap into the growing popularity of Ethiopian music outside the country. “The idea behind the label is to create a fair business model for the artists” he said. “While the core audience will be the Ethiopian community, we intend on servicing the music to mainstream outlets. There are many musicians out there who make the music, but the business is left on the table.”
Kirubel Assefa Kebede. (Courtesy photo)
Kirubel grew up in Ethiopia and moved to the States in the late 80’s. He studied music at the Musician’s Institute in Los Angeles. “I began playing at a young age in Ethiopia and was inspired by the many great musicians that dominated the music scene during the early 1970’s,” Kirubel said. “The Roha Band, The Ethio Star and the Walias Band all had significant impact on my playing and sensibilities.” He added: “My neighbor, Gedub Alfred was the drummer for the Wabe Shabelle Band. I saw him on television and from that time onwards I was committed to learning the drums and developing my musical skills.”
What’s his perspective on the globalization of Ethiopian music? “Riffs of African music have found their way into many popular mainstream songs for many years,” Kirubel said. “With elements of jazz and African rhythms, it becomes a fusion of various traditions and the outcome can be absolutely marvelous.”
— You can learn more about the new album and hear sample music at www.tazarecords.com.
Washington, D.C. (TADIAS)- Last weekend’s 2nd Annual Dagmawi Tinsae Holiday Bash in Washington DC featured music, comedy, and the latest in Ethiopian traditional fashion. The indoor festival was organized by local promotion and talent management company Minew Shewa Entertainment. The festivities featured musicians Teddy Tadesse, Tsehaye Yohannes, and guitar hero Selam Woldemariam, and included an entourage of over fifteen performers who flew in from Ethiopia. The runway show presented models sporting Abesha clothing by the U.S.-based Hewan Design and others.
Los Angeles (TADIAS) – Lesanu (Sonny) Abegaze, aka DJ Son Zoo, believes this weekend’s St. Patrick’s Day concert featuring Todd Simon’s Ethio Cali Ensemble at the Del Monte Speakeasy in Los Angeles will be a joyful occasion.
“I’ll be dj’ing for this show which is taking place in Venice, California,” Sonny said. “It falls on St. Patrick’s day so it should be a festive time.”
The band leader is Todd Simon, a trumpeter, composer, and arranger, well-versed in the Ethiopian Jazz tradition, having performed with Mulatu Astatke for the inaugural Mochilla Timeless concert series. Ethio-Cali followed up their debut concert last summer at the Hammer Museum/UCLA with a sold out performance opening up for the Budos Band last month at the Echoplex. The group features, among others, Alan Lightner, Dexter Story, Mark de Clive-Lowe, Tracy Wannomae, and Kamasi Washington.
(Sonny, right, with his friend Moises at a Southern California record store – Courtesy photo).
Sonny, whose parents moved from Gonder to California, via Sudan, when he was an infant said he became attracted to Ethiopian music when he visited his ancestral home in his college years. “I was born in Sudan, but moved to the U.S. when only a few months old,” Sonny told us. “I grew up in various parts of Cali, and later had the opportunity to live and study in Ghana during my undergrad years.” He added: “This was when I travelled to Ethiopia for the first time, and really got into Ethiopian music. While abroad, I also started a radio show at the University of Ghana in Legon, which is how I got introduced to the whole world of dj’ing.”
Regarding the Todd Simon’s Ethio Cali Ensemble, Sonny said: “They play music inspired by the golden era of Ethio-Jazz, and also bring some modern elements into the mix through some original compositions. The members of the band come from diverse backgrounds and all have a deep appreciation for Ethiopian music.”
As to growing up in California, Sonny quipped: “I find myself eating way more burritos than I do Injera, kinda comes with the territory when you live in the city of angels.”
— If You Go:
Saturday March 17, 2012
The Del Monte Speakeasy
9:00 pm – 2:00 am
21+
Cover: $5.00
At the Del Monte Speakeasy
Order pre-sale tickets at http://TBCTickets.com/
Venue URL: http://townhousevenice.com
New York (TADIAS) – Tomas Doncker’s new album entitled Power of the Trinity blends Jazz, R&B, Ethiopian beats, reggae and urban sounds, reflecting the diverse borough where he grew up in Brooklyn, New York. The CD, produced in collaboration with some of the best known Ethiopian musicians, is also a traveling musical featuring dance performers from the United States and Africa.
“The CD is what I like to call a global soul meditation and how I feel that we are all connected,” Doncker said in an interview. “I grew up in Brooklyn NY, in Crown Heights and I attended St. Ann’s school from 1st grade until the 12th grade.” He added: “Crown Heights at that time was a very dangerous neighborhood. Lots of gangs and violence, but we still managed to maintain a sense of community, at least among the families on my block.”
Receiving a scholarship to attend St. Ann’s made it possible for Doncker to meet people from diverse backgrounds and learn about other cultures. “It changed my life and helped to mold me into the artist that I am today,” he said. “My mother was my first role model, and she was a musician as well.”
Doncker said his latest album is inspired by a play named for Emperor Haile Selassie. “I was asked to score a play called Power of the Trinity by NYC Playwright Roland Wolf and in my research I realized that collaborations with this particular group of artists would really capture and enhance the feeling that I was looking for,” Doncker said. “The process of producing this CD and working so closely with these artists was one of the most rewarding artistic experiences of my life.”
Among others, the CD features guitarist Selam Woldermariam, whom Doncker dubs “The Jimi Hendrix of Ethiopia.”
“I call him the Jimi Hendrix of Ethiopia because Americans understand what I am talking about that he’s got some unique guitar talent,” Doncker said.
The following interview was taped follwing his CD release and tour launch party last December.
New York (TADIAS) – The latest CD by California-based musician Elias Negash, whose songwriting combines Ethiopian music with international influences, is entitled Jazzed Up. “It is a reflection of the various dynamic genres incorporated into the music,” Elias said in a recent interview with Tadias Magazine. “Ethio-smooth is included along with R&B, Reggae and Salsa.” He added: ” In so doing, the music has been refreshed and jazzed up. On this CD I am using musicians that are very good friends of mine. The five-piece group have played varying styles of music in the past, but currently we are focusing on a fusion of Jazz, Ethio- Jazz, Rhythm & Blues and other world music. These are the musicians I will be traveling with for years to come. We are called the ‘The Retroz Band.'”
Elias, who was born in Ethiopia and moved to the United States in 1971, has a long resume in the music industry. He was one of the pioneering figures in the Reggae and African music scenes in Northern California during the 1970s. He performed with groups such as Obeah, Axum, Caribbean All Stars and the Rastafarians. After a brief stint in Los Angeles working on the Royal Princess Cruise ship in the 1980s, Elias appeared on a sound track for the television movie Glitz and also performed in the TV series Murder She Wrote.
Elias now owns and operates SophEl Recordings, a music studio located in Oakland Hills, California that opened in September 2000. He says he enjoys spending time in this quite, residential neighborhood. “I often work with fellow music producer Gordon Brislawn, who was iTunes’ first call for 42 of iTunes front-page exclusives,” he said. “We have all the latest equipments to make any music project number one.”
Elias Negash at a recording session in Berkeley, CA. (Courtesy photo)
Regarding his childhood in Ethiopia Elias said: “I was born in Addis Ababa and grew up in a very big house in ‘Riche’ on the road to Debre Zeit. The house belonged to my grandfather. A couple of years before St. Joseph school was established I went to German School – Deutsche Schule – kindergarten in Addis Ababa for a year, then to Nativity Catholic Cathedral School for my first grade. And when St. Joseph school opened in 1960, I was transferred to second grade to persue my elementary and high school education.”
After completing high school Elias moved to New York with his uncle who was a student at Rensselaer Polytechnic Institute. “Living in upstate New York for almost two years at a young age was a very cold experience,” he said. “My brother was living in Northern California at the time, and so he would tell me how the weather was so similar to our motherland. That really convinced me to move to California.”
Discussing his favorite musicians, Elias said his musical taste and influences are wide-ranging. “As far as Ethiopian musicians are concerned I like Mulatu Astatke for being the father of Ethio Jazz,” he said. “And Emahoy Tsege Mariam Gebru’s Classic piano solo album. Among male vocalists I listen to Tilahun Gessesse, Mahamoud Ahmed and Girma Beyene.” He continued: “Non-Ethiopians would be Ray Charles, Bob Marley, pianist Ramsey Lewis Ahmad Jamal, Booker T & The MG’s, Bill Evens, Jimmy Smith, Earl Garner and Oscar Peterson.”
Returning to the topic of his latest album “it reflects an experience of dialing up any baseline to a positive atmosphere,” Elias said. “It is my hope that listeners feel jazzed up.”
— You can learn more about the artist at www.eliasnegash.com.
To listen to and order the CD visit: www.cdbaby.com.
New York (TADIAS) – Among youth worldwide, hip hop is a universal language, and so too among Ethiopians.
Two new music videos have been getting a lot of buzz lately: The first is called Bole Bole, which was staged at Studio 21 in New York, is directed by Supermodel Liya Kebede.
The second video is made by the Ethiopian hip-hop group Hahu, who have come out with a single entitled ‘Tadias.’
Both videos have positive lyrics combining Amharic and English words with a fusion of Eastern and Western beats and rhythms.
New York (TADIAS) – Brooklyn based musician Tomas Doncker’s new album entitled Power of the Trinity, which features well-known artists hailing from Ethiopia including Gigi and legendary guitarist Selam Seyoum Woldemariam, is as much a tribute to Ethiopia and its history as it is a soulful blend of R&B, spoken word and global urban sounds, reflecting the culturally eclectic neighborhood where he grew up. The CD also features Grammy award winning producer and bassist Bill Laswell, Pulitzer Prize winning poet Yusef Komunyakaa, and Electro-dub specialist Dr. Israel as well as reggae artist Tsegaye Selassie.
“Musically speaking, being able to work with Bill Laswell and Selam Woldermariam was like taking a journey into the heart and soul of Ethiopian groove, ” Tomas Doncker said in a recent interview with Tadias Magazine. Bill Laswell was the producer of Gigi’s 2001 album, which propelled the vocalist to worldwide acclaim. Selam Woldermariam, also known as Selamino, was a member of the storied Ibex and Roha bands.
According to Tomas, a theater production about Emperor Haile Selassie and his role during World War II, following the Italian invasion of Ethiopia, gave impetus to his new album. The drama was never staged but he said it inspired him to learn more about the Emperor. “I was asked to score a play called Power of the Trinity by New York Playwright Roland Wolf and in my research I realized that collaborations with this particular group of artists would really capture and enhance the feeling that I was looking for,” Tomas said. “It was the most rewarding artistic experience of my life.”
Tomas said he fell in love with Selam Woldermariam’s work long before he met the guitarist, whom he said he discovered through one of the earliest editions of the Ethiopiques series – number seven – which spotlighted the award-winning singer Mahmoud Ahmed and the historical band Ibex.
“Tomas Doncker had this CD and was searching for musicians that played with Ibex in those days,” Selam told Tadias. “A common friend knew where I resided and told Tomas about it, that’s how we connected.”
The name of the album, Power of the Trinity, is the English translation of Emperor Haile Selassie’s name. The CD cover shows a globe embedded with a giant map of Africa filled with a photo collage of the late emperor. Tomas Doncker’s own name is written using a combination of English and Geez alphabets. “Graphic Designer Michael Luciano and I worked very closely on this,” Tomas said. “We wanted to highlight Ethiopia as being one of the most important places in world history, perhaps even the cradle of civilization. You can’t do that without making H.I.M. a focal point.”
Selam, who majored in History at Addis Ababa University and is currently researching “the music history of the Horn of Africa,” says the collaborative project is more than a nod to the former king. “As we all know Ethiopian music is now a fashion throughout the world,” he said. “It is not surprising to see bands whose members are mainly western musicians playing Ethiopian music repertory of the 60s and 70s.” He adds: “This phenomenon was partly the result of the distribution of Ethiopiques CD series, produced by a good friend, Francis Falceto. And, fortunately, I was part of the group known as ‘Ibex’ that performed during the early 70s at Ras Hotel. It included the renowned performer Mahmoud Ahmed and we recorded his Ere Mela Mela on LP which later became Ethiopiques number 7 in 1989.”
For Tomas, it is also about crossing cultural boundaries. “I grew up in Brooklyn NY, in Crown Heights” he said. “I attended St. Ann’s school from 1st grade until the 12th grade. Crown Heights at that time was a very dangerous neighborhood. Lots of gangs and violence, but we still managed to maintain a sense of community, at least among the families on my block. Receiving a scholarship to attend St. Ann’s made it possible for me to meet people and learn about other cultures. It changed my life and helped to mold me into the artist that I am today.”
Tomas Doncker and Selam Woldemariam at the Blue Note in NYC on April 12, 2010. (Photo courtesy of Selam Woldemariam)
Regarding his new album Tomas said: “It is what I like to call a global soul meditation about Ethiopia and how I feel that we are all connected.”
Selam, who also served as a Production Consultant, worked on the Amharic translations for most of the compositions on the album. He described the genre of the new CD saying: “It is mainly a fusion work of Tomas’ compositions with Ethiopian rhythm and sounds. He uses the slow and fast Chik-chika rhythms on most of his compositions. This rhythm is extensively used in most Ethiopian music. Moreover, most horn sections on some of the tunes resemble the unique sound of Ibex Band from the Ethiopiques number seven volume. Therefore, I think we can safely label the new album as ‘global soul,’ a fusion of western R&B and African and Ethiopian music.”
Selam adds: “I would like to thank Tomas for dedicating his song, Seven Sons, in memory of Ibex.”
— Thomas Doncker’s “Power of the Trinity” is now available for purchase on I tunes. You can learn more about the artist at www.tomasdoncker.net.
Watch: Tomas Doncker introduces guitar hero Selam Woldemariam at the Blue Note in NYC
Watch: Inside Tomas Doncker’s “Power of The Trinity Project”
New York (Tadias) – The following is our video coverage of the 2011 Lincoln Center Out of Doors concert at the Damrosch Park Bandshell in New York, which also featured Debo band and special guest Fendika. We had the opportunity to interview the band members, as well as the Director of Public Programming for Lincoln Center. The event was attended by thousands of people. It was described by The New York Times as “generous, warm, high-spirited real entertainment for a big audience. It was a delight to watch them.” The Debo/Fendika collective became only the second Ethiopian music ensemble to perform at the Lincoln Center Out-of-Doors event, following in the footsteps of Ethiopia’s leading musicians Mahmoud Ahmed, Alemayehu Eshete, and legendary saxophonist Getachew Mekuria, who made a historic appearance here in 2008.
Los Angeles (Tadias) – The Fowler Museum at University of California, Los Angeles presents Todd Simon and friends for an evening of Ethiopian rhythms and melodies on Sunday, August 14.
Todd Simon is a trumpeter, composer, and arranger, well-versed in the Ethiopian Jazz tradition, having performed with Mulatu Astatke for the inaugural Mochilla Timeless concert series. On this special occasion, Todd Simon’s Ethio Cali Ensemble will pay homage to the golden era of Ethiopian Jazz, along with original compositions from Todd’s forthcoming project.
The group includes Mark De Clive, Kamasi Washington, Kirubel Assefa, Alan Lightner, Woody Jackson, Dexter Story, Kelela Mizanekristos.
DJ Sonny Abegaze starts the set with traditional Ethiopian Jazz.
— If You Go: Summer Sunset Concert: Todd Simon’s Ethio Cali Ensemble
Sunday, August 14, 2011
4 pm
Free concert Learn more at the Fowler Museum’s website.
New York (Tadias) – Debo band and special guest Fendika staged a memorable concert on Thursday, August 11th, in New York at the 41st annual Lincoln center summer music festival — one of the longest-running, free, outdoor festivals in the United States.
The Debo/Fendika collective became only the second Ethiopian music ensemble to perform at the Lincoln Center Out-of-Doors event, following in the footsteps of Ethiopia’s leading musicians Mahmoud Ahmed, Alemayehu Eshete, and legendary saxophonist Getachew Mekuria, who made a historic appearance here in 2008.
“There were an estimated 4,500 people in attendance,” Marian Skokan, the event’s Senior Publicity Manager, told Tadias Magazine.
As The New York Timesput it: “At the end of a day of perfect New York summer weather on Thursday, the mood established by the Lincoln Center Out of Doors two-part event of dance and live music at the Damrosch Park Bandshell was just right: generous, warm, high-spirited real entertainment for a big audience.”
Tadias crew was there and we had the opportunity to interview the band members, as well as the Director of Public Programming for Lincoln Center.
New York (Tadias) – Debo band and Fendika dance group will perform near Los Angeles’s Little Ethiopia at Levitt Pavilion for the Performing Arts at MacArthur Park on Friday August 6.
The group is also expected to make its first appearance in Northern California this coming weekend when they perform live at the “Historic Sweets Ballroom” in Oakland. The Oakland event is being hosted by the Ethiopian Arts Forum of the Bay Area and will take place on Saturday, August 6th.
In the East Coast, “Ethiopian funk invades Washington as Debo welcomes Lounge Lizards to the Kennedy Center’s Atrium on the roof terrace level for an extraordinary happy hour,” reports The Washington Examiner. The D.C. concert is slated for August 8th.
The band will then head to New York for an outdoors performance at the Lincoln Center – Damrosch Park, scheduled for Thursday, August 11th.
Debo, the Boston-based Ethio-groove ensemble, and Fendika, the Addis Ababa-based cultural dance group, have been collaborating on joint international shows since 2009. “U.S. audiences went crazy for the traditional dancing of [Fendika],” said Debo’s band leader Danny Mekonnen in an interview with Tadias Magazine in regards to the group’s recent tour. “I think seeing the dance of a culture immediately creates a greater appreciation and understanding of the music.”
Watch: Debo Band Tour 2011 from Ashley Hodson on Vimeo
Debo is an Ethiopian American band. And its unique instrumentation – including horns, strings and accordion – was inspired by the Golden Age of Ethiopian music in the late 1960s and early 70s, but its accomplished musicians are giving new voice to that sound.
The Ethiopian traditional dance and music troupe, Fendika, includes amazing young Azmari artists led by one of Ethiopia’s leading dancers Melaku Belay. Belay, who is one of the most active arts advocates in the Addis Ababa scene today, is an innovative and virtuoso interpreter of Eskista. Belay performed at the Lincoln outdoors concert in 2008 with legendary saxophonist Gétatchèw Mèkurya and The Ex band.
Regarding the collective’s upcoming NYC show – which will be held at the same venue where the historic concert featuring Mahmoud Ahmed, Alemayehu Eshete, and Getachew Mekuria took place three years ago – Danny said he is eagerly anticipating his New York gig.
“I can’t tell you how I excited I am to present Debo Band with special guests Fendika at Lincoln Center Out of Doors!”, he said. “I was at the historic concert in 2008 with Getachew Mekuria, Mahmoud Ahmed, and Alemayehu Eshete.”
Danny adds: “I loved the collaborations with saxophonist and The Ex and vocalists and The Either/Orchestra. I think that audiences will remember Melaku as the dancer with Getachew and the Ex. I’m honored that my band is the next group to present Ethiopian music to Lincoln Center audiences. Also, I’m thrilled to have Melaku as the project’s co-leader. He is a visionary Ethiopian artist and his work with Fendika is second to none.”
Los Angeles Friday August 6 at 7PM
Levitt Pavilion for the Performing Arts – MacArthur Park
230 West 6th Street Los Angeles, CA 90057
Info: FREE – call 213-384-5701
For more details: http://levittla.org/en/calendar.html
Oakland Saturday August 6th at 9PM
Historic Sweets Ballroom
1933 Broadway, Oakland, CA 94612
Door: $20.00
Venue phone: 510-501-3413
More info at: ethiopianartsforum.org
Washington, D.C. Monday August 8th at 6pm
Where: Kennedy Center Atrium, Millennium Stage
Who: Debo Band / Fendika
When: Lounge opens at 5:30 p.m.
Info: Free, 202-467-4600 or kennedy-center.org
New York City Thursday August 11 at 7:00pm
Lincoln Center – Damrosch Park
Lincoln Center’s Plaza
B/N Broadway & Amsterdam Avenues
West 62nd Street to West 65th Street
Visit LCOutofDoors.org for complete schedule
Call 212-875-5766 to request a brochure.
Direction to Lincoln Center – Damrosch Park:
Take No.1 IRT to 66th Street/Lincoln Center Station)
OR the A, B, C, D and No. 1 trains to 59th St/Columbus Circle.
Video: Addis Ababa Bete – Debo Band with Fendika Dancers at Joe’s Pub, NYC, September 2010
New York (Tadias) – The Boston-based Ethio-groove ensemble, Debo, and the Addis Ababa-based cultural dance group, Fendika, are set to collaborate on another exciting NYC summer concert. This time, the collective will perform on August 11 at The Lincoln Center Out of Doors, the same venue where the historic concert featuring Mahmoud Ahmed, Alemayehu Eshete, and Getachew Mekuria took place in 2008.
Debo is an Ethiopian American band led by Danny Mekonnen. The band’s unique instrumentation – including horns, strings and accordion – was inspired by the Golden Age of Ethiopian music in the late 1960s and early 70s, but its accomplished musicians are giving new voice to that sound.
The Ethiopian traditional dance and music troupe, Fendika, includes amazing young Azmari artists led by one of Ethiopia’s leading dancers Melaku Belay. Belay, who is one of the most active artists and arts advocates on the Addis Ababa scene today, is an innovative and virtuoso interpreter of Eskista. Belay performed at the Lincoln outdoors concert in 2008 with legendary saxophonist Gétatchèw Mèkurya and The Ex band.
Below is our recent interview with Debo’s band leader Danny Mekonnen, standing front-right in the above photograph.
Tadias: The last time your band was in town, we danced all night. The lead singer makes it very easy.
Danny Mekonnen: Bruck is charismatic and humble, but he’s also a very serious musician! I definitely think having him as a front man makes it easy for audiences to get into our music, even if they don’t understand what he’s singing about. One of the things that inspires me is knowing that what we do is unique — there’s not a group anywhere in the world quite like us. Playing a diverse musical set is important to us because we love music from across the country and throughout Ethiopia’s musical history. To only play music from the 1970s would miss out on great contemporary artists like Gossaye and Tsehaye Yohaness; we’ve played and studied several arrangements by Abegaz Shiota, as well. And to play only Amharic music with a chic-chic-ca beat, would miss out get Tigrigna and Oromo music, too. Ethiopia has a reach musical landscape and we try hard to honor that.
Tadias: How was Fendika received by U.S. audiences?
DM: U.S. audiences went crazy for the traditional dancing of Melaku Belay and his partner Zinash Tsegaye. I think seeing the dance of a culture immediately creates a greater appreciation and understanding of the music. And Melaku and Zinash are the best at what they do! We started working with Fendika (Melaku’s group) in May 2009 on our first tour in Ethiopia. It helped that Debo Band’s members hung out at Melaku’s azmari bet – also called Fendika – every night that we weren’t playing! So the friendship and bond grew in a very organic way.
Tadias: How excited are you about your upcoming appearance in New York this summer?
DM: I can’t tell you how I excited I am to present Debo Band with special guests Fendika at Lincoln Center Out of Doors! I was at the historic concert in 2008 with Getachew Mekuria, Mahmoud Ahmed, and Alemayehu Eshete. I loved the collaborations with saxophonist and The Ex and vocalists and The Either/Orchestra. I think that audiences will remember Melaku as the dancer with Getachew and the Ex. I’m honored that my band is the next group to present Ethiopian music to Lincoln Center audiences. Also, I’m thrilled to have Melaku as the project’s co-leader. He is a visionary Ethiopian artist and his work with Fendika is second to none.
Tadias: Any plans to come out with a CD?
DM: I hope to do more touring with Debo — this summer we are going to California for the first time. And hopefully we’ll do our first European tour in 2012. Yes, we are planning to release a CD next year. I’m really excited about all that we have going on right now.
Tadias: On a personal note, we also hear that you recently became a father. Congratulations!
DM: Thanks so much. My daughter is a year and a half now. I’m not sure I have quite learned to balance work and family! It’s always a struggle, but it helps to have a wife who’s supportive of my band. It also helps that she’s an artist and business owner herself!
Tadias: What kind of music do you listen to at home?
DM: I listen to all kinds of music. Lately I’ve been listening to a lot of Fleet Foxes, a great indie-folk band. But I go through phases where I listen to nothing but hip hop or experimental or Ethiopian music. My inspiration comes from all over including from my friends who are great musicians.
Tadias: Is there anything that you would like to add?
DM: I just want to add that this summer’s tour with Fendika wouldn’t be possible without the support of Lincoln Center. New York is lucky to be home to one of the largest and most artist-friendly performing artists institutions in the world. Our heartfelt thanks go out to Bill Bragin, Director of Public Programming at Lincoln Center, who is a big fan and supporter of both Debo and Melaku.
Tadias: Thank you Danny and good luck.
—-
If You Go: All events are free and take place on Lincoln Center’s Plaza between Broadway and Amsterdam Avenues, from West 62nd Street to West 65th Street (except where noted). Debo will perform on August 11th. Take No.1 IRT to 66th Street/Lincoln Center Station) OR the A, B, C, D and No. 1 trains to 59th St/Columbus Circle. Visit LCOutofDoors.org for complete schedule or call 212-875-5766 to request a brochure.
Photos courtesy of Debo band.
Video: Addis Ababa Bete – Debo Band with Fendika Dancers at Joe’s Pub, NYC, September 2010
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.
—
Above:Tadias TV spoke with Fendika’s group leader Melaku
Belay (left) & Debo band’s founder Danny Mekonnen (right).
Tadias TV
Events News – Video
Published: Monday, September 20, 2010
New York (Tadias) – The Boston-based Debo band and the Fendika traditional dance troupe from Addis Ababa performed to a sold-out audience in New York.
The American and Ethiopian musicians, who made their first joint international appearance at the 7th Sauti za Busara music festival in Zanzibar earlier this year, launched their U.S. tour on Friday, September 17, 2010.
The fifteen piece cross-cultural jazz collective is scheduled to make upcoming stops at select American cities, including Philadelphia, Boston, Richmond (VA), Chicago, and Milwaukee with expected highlight concert at the Chicago World Music Festival.
Tadias TV caught up with Debo band’s founder and Harvard graduate student Danny Mekonnen as well as Fendika’s group leader Melaku Belay at Joe’s Pub in Manhattan.
Watch: Backstage With Danny Mekonnen and Melaku Belay
Above:Ethiopian cultural icon Mahmoud Ahmed will perform
in New York City at SOB’s on Saturday, September 18, 2010.
Tadias Magazine
Events News
Published: Wednesday, September 1, 2010
New York (Tadias) – Legendary Ethiopian singer Mahmoud Ahmed will take center-stage in New York City at the Sounds of Brazil (SOB’s) on Saturday, September 18th, 2010.
The event, sponsored by Massinko Entertainment, aims to serve as a post-New Year and pre-Meskel celebration for the Ethiopian-American community in New York and surrounding states. The Ethiopian calendar marks New Year on September 11th and the annual holiday Meskel takes place on 17 Meskerem (September 27).
Mahmoud Ahmed, winner of the 2007 BBC Music Awards for Africa, “is both a living legend and something of a mystery in the West,” wrote Garth Cartwright during the Radio station’s recognition of the artist three years ago. “Undeniably Ethiopia’s most famous singer of its ‘golden era,’ the three albums reissued of his recordings by French label Buda Musique as part of their Ethiopiques series have captured Western listeners.” For Ethiopians everywhere, Mahmoud Ahmed is like family, the writer adds. “It appears Ahmed is so valued by Ethiopians – both at home and the Diaspora – he’s too busy singing for weddings and private events to give much thought to Western audiences.”
The artist’s last appearance in New York occurred two years ago at a Lincoln Center outdoor music event.
If You Go:
Massinko Entertainment Presents Mahmoud Ahmed
Saturday September 18th, 2010
SOB’s (204 Varick Street, @ w. Houston)
Tickets $30 in Advance • Doors open 11pm to 4am
Limited Seating Available
For reservations call
201.220.3442 • 202.340.1111 www.sobs.com
Cover Image:Mahmoud Ahmed at Damrosch’s Park, NYC, on Wednesday, August 20, 2008. (Photo by Trent Wolbe/Tadias File)
Video: extrait du 52′ sur Mahmoud Ahmed & Either/Orchestra
Washington, D.C. (TADIAS)- The last part of our exclusive interview with Ethiopian music legend Teshome Mitiku features his years abroad, his musician daughter Emila, and his plans to return to Ethiopia in the near future.
The artist, who is set to make a historic appearance at the upcoming Chicago Jazz festival, says he is also planning a trip home in connection with a documentary movie being made about him and his daughter by a German production company. The film entitled “Father to Daughter,” is about the transfer of music from one generation to another.
In last week’s segment, Teshome discussed the tense political climate of the late 1960’s that would eventually force him to abruptly leave Ethiopia for Denmark.
What was the first thing you did when you got to Denmark?
I took a cab from Copenhagen airport, and told the cab driver “Take me anywhere where they have music, club, bedroom and food” (Laughter). The cab driver took me to a place called British Pub. It was cold, there was a hotel and I slept for a while, got up and took a shower and dressed sharp in a nice Italian suit, and then went downstairs to get something to eat. I ordered steak and whisky (Laughter). A few minutes later the band started playing and more people started to come in and the mood was getting better and better. I moved to the bar stool and ordered another whisky. Later, I asked the piano player on the stage if I can sing with the group? They were stunned. Who is this guy? Who does he think he is? Then the piano guy said, “I have to ask the manager first.” I replied “go ahead and ask.” The funny thing is my character had apparently convinced them that I was some sort of royal. I was not aware of it at the moment but I was later to learn that it was not very normal in those days for a sharply-dressed black man to show up in a Copenhagen bar, order a steak and whisky and request to play the piano (laughter). They were not used to it. The manager came and immediatly asked, “Where do you come from, are you a Saudi Arabian prince?” (Laughter). They have never seen a black man dressed like that in their life. I was in a nice Italian suit. The manager said “Ok. Let me ask the band leader.” The band leader was named Stefan. He said “Okay, come on,” so I went up there and did some Nat King Cole song, I think it was Monalisa and about three more songs and people liked it and wanted more. Well, I said okay! Then the lady of the house, the boss, the owner, she came and invited me for a drink and asked me all about myself. I told her that I just arrived that morning from Addis Ababa, Ethiopia. And she asked me, “Would like to continue to play with the group?” I said yes. Then she formally introduced me with the band leader Stefan, who to this day is my great friend. There I was offered a job, free lodging, laundry and food. So I started singing there.
Wow, how long did you stay there?
I played at the pub for about three months. Then we had a show at a nursing college in Malmo, an international city in Southern Sweden. We stayed there for a while and I begun to contemplate to move to Sweden because when I was there I discovered that they have a great music academy in Malmo. I also learned that you have to be fluent in Swedish in order to attend the school. So I applied for language school in Sweden and they accepted me, that’s how I moved to Sweden.
How difficult was it to learn the new language?
It wasn’t difficult. People think language is difficult, but if you are a musician you shouldn’t worry about language. After I studied Swedish things became easier. I started reading the newspaper. I could communicate with people. So I went ahead and applied to the music academy. I took the test. My dream was to be a conductor. They accepted me at the music school. But I changed my mind and enrolled at the University to study sociology and history instead.
What led you to change your gear from music to sociology and history?
I did not leave music but I wanted to study more. I was in a state of mind where I was struggling with several personal questions. It was a transformational period for me. In a way, I was still maturing and still growing up. I have done music but I also wanted to fulfill the high hopes my father had for me in education. My father always emphasized the importance of getting an education. He was a lawyer, he knew law and loved academia. He was dissatisfied with the Ethiopian justice system till the day he died. Our house was made of intellectuals, we talked a lot (laughter).
How was school like for you in Sweden?
I lived in the library for so many years. I would get up 6 AM like a soldier and at 7 o’clock I am at the library reading. I would do that until 12 or 1 pm and take short lunch break and get back and read. I was a good reader. I used to read five to six books a week on all subjects including philosophy, psychology, history, you name it. Books eventually became my friends, my house is full of books. I can not go anywhere without a book. So, I wanted education and knowledge. I wanted to learn everything. Whatever it takes. I remember trying to push myself to understand Albert Einstein’s theory, “ if he can understand it, I sure can,” I would say to myself. I was pushing myself. That part of me still exists.
Does that mean you weren’t playing music then?
Oh no, I was still playing music. In fact, I was part of a 12 piece jazz band and we used to play on weekends in Sweden and even travel to different states. In summer I was playing Swedish polka. So I earned money as well. I also had a full scholarship for my education.
How were you able to balance all that – new culture, language, school, music, life?
It was a lot to process. The Music part was easy, it came naturally to me, it was part of me. However, school was a bit unnatural, out of my tempo, so I had to work harder at it.
What drives you?
What drives me? Curiosity, discovering the unknown drives me. I like being surprised through new knowledge. In my university life I was an A student.
Were you ever homesick? Did you miss Ethiopia?
I longed for Ethiopia. For me she is embedded in my heart. I love her. Yes, I was very lonely and always longed for my country. I would wake up in the middle of the night when everybody is sleeping and walk to the dorm where there was a piano. I would improvise until sun break. That’s how I released my homesickness.
I am going to ask you a sensitive question. Does this mean you haven’t seen your mom since you left forty years ago?
I have not seen my mother since I left Ethiopia, yes. I haven’t seen her, we talk on the phone…but I haven’t seen her and she always…her dream is to see me before anything happens. But, God willing we will probably see each other soon.
Do you plan to go back?
Yes
When?
Sometime soon (laughter). I have certain core principals that I cannot compromise. We have to have mutual respect for our cultural diversity. My wish for Ethiopia is peace, stability and prosperity based on just principals. I have confidence in the new generation.
Well, you are going to be very surprised. For example, your Sefer (neighborhood) Qebena is different. Even the river has dried.
(Laughter) Yes I know, Qebena doesn’t exist in the way I knew it, only Mama. But I will go there, hopefully, soon…
Let’s talk about your daughter Emilia, the Swedish pop singer. You must be proud of her.
I am very proud of her. I have no words to express it. I used to call her my pearl, my life, my everything.
Is she the only one?
Yes, she is the only one. She has given me a reason to live ever since she was born. She is very smart. Emilia speaks five languages French, Swedish, English, German and Spanish fluently. She got the linguistic part form her mom and the music part from me. She is my everything. My pride. We text each other all the time, we communicate often. She is based in Sweden but lives in Germany and Hungary. I wanted her to be a musician. I encouraged it very much. Even when she was a baby I used to play Tchaikovsky and Stravinsky for her. When she was just two years old, I put her on the piano and told her “This is what you will be doing all your life” (laughter). So she fulfilled that dream for me. I clearly remember the night when she won the Swedish Award. It is equivalent to the American Grammy. She won for best singer, best video, best composer of the year. I mean, I was excited. She was in Japan and watching it via satellite. I was here that night. I was so proud and happy. I picked up the phone and called Voice of America and declared that my daughter has done it, just as Abebe Bekila did it for Ethiopia (laugher) . I was so proud!
Does Emilia speak Amharic?
A little bit, yes. She used to go to Sunday school to learn Amharic as a child. But she stoped when her teacher moved to another place. She also used to take piano, and ballet. She was a very busy child.
Does she plan to do a show in the U.S?
Yes, she actually has an album coming up that will be released in the U.S. market. We are also planning an album together.
Why did you relocate to US?
Well, everything with me has to do with music. I came to visit my brother Teddy sometime in the early 90s. When I came here I was shocked. I never thought that such a large number of Ethiopians had migrated to this part of the world. I mean everywhere I went there were Ethiopians. I said to myself, “ What am I doing in Sweden? This is where I need to be. Then I went back to Sweden, discussed my idea with Emilia. I said “now that you are grown, it is time now for papa to go discover life” (laughter). I gave my apartment to a friend and I was gone. As soon as I arrived here, I got involved in a lot of Ethiopian activities, including music, fundraising for different causes. I became socially involved with the community. That kept me going. I am currently working on a CD.
When is that coming out?
Perhaps in December. I would like to get involved with a lot of musicians, both legendary and contemporary and mix it with American music.
You are scheduled to collaborate with the American Jazz band the Either/Orchestra at the prestigious Chicago Jazz festival in September. How did that come about?
The Either/Orchestra had re-recorded one of my songs called Yezemed Yebada and one day I was driving in the area and heard the song on WPFW radio. I am like, what is that? This is my song? So, I pulled over to the side and called the DJ at WPFW. I asked him, “who is the composer of the song?” He read the album and said Teshome Mitiku. I said: “You are talking to him now.” They were pleasantly surprised. I asked about the orchestra and they gave me information about them and the DJ said they were located in Boston. I picked up the phone and called the leader Russ, I told him who I was and eventually we became friends. He called me about a month ago and invited me to join the group for preparation in Chicago and Boston. When I rehearsed with them, it was a great feeling. The band is fantastic. Our show in Massachusetts was sold out. I saw a lot of people there that enjoyed Ethiopian music, friends of Ethiopia and Ethiopians. They loved it. We are now getting ready for the Chicago festival. I am honored to join the band; I am actually going to be doing a couple of more shows and we are talking about more future projects, I am excited.
Is there anything else you would like to share with our readers?
Yes, I would like to mention that a German production company is currently filming a documentary based on my life and Emilia’s entitled “Father to Daughter.” It’s about the transition of music from one generation to another. They are half way done. They came and filmed here. They have also been filming in Europe. Now, they want us to go to Ethiopia to complete the shoot. I plan to go. So that will be my first trip back to Ethiopia since I left four decades ago.
Is your daughter going with you?
Oh yes, but that will not be her first time though. Emilia was in Ethiopia last year. She was in the middle of preparing for the 2009 Eurovision Song competition and she was very nervous about it. So one day she calls me and she says: “Papa I have to go to Ethiopia to get a blessing from my grandmother before the contest. Can you come with me?” I said to her, “I want you to do that. I can’t come with you becasue I am working, but I want you to go.” So she did. She went to Addis Ababa straight to her grandmother’s house and stayed there for a week. So the two women call me up. My mother was crying, Emilia was crying. My mother said to me, “ Teshu now my life is fulfilled. Today is the happiest day of my life.” When Emilia was there she took a photo of my old house, the house I grew up in Qebena. When I saw that picture, it brought back so many memories that I had to write a song about it. It will be in my next album. It is called Enen Ayew (I saw myself).
Thank you so much Tehsome for your time and good luck.
Above:Debo band’s upcoming U.S. tour highlights Fendika, a
traditional Azmari group from Ethiopia. (Courtesy photograph)
Tadias Magazine
Events News
Published: Wednesday, August 18, 2010
New York (Tadias) – Debo Band, the Boston-based jazz collective which focuses on Ethiopian grooves, is gearing up for a U.S. debut tour featuring Fendika, a group of traditional Azmari artists from Addis Ababa.
Debo Band’s expanded 14-piece project will tour select American cities, including New York, Philadelphia, Boston, Richmond (VA), Chicago, and Milwaukee with expected highlight stops at the Chicago World Music Festival and NYC’s Joe’s Pub.
The band’s Ethiopian-American founder Danny Mekonnen said the concert has been a long-time coming. “Ever since we first worked with Fendika in Addis, we’ve wanted to share this collaboration with U.S. audiences…they are incredible folk performers who do what few have seen in this part of the world,” Danny said. “We also wanted the chance to host them in our country as they did in theirs.”
Fendika’s group leader Melaku Belay – the traditional dancer who accompanied saxophonist Getatchew Mekurya and the Dutch band the Ex at the historic 2008 outdoors show at NYC’s Damrosch Park – “has established himself as the top dancer in Ethiopia with more than 40 international concerts in the last three years, including performances at Chicago’s Millennium Park and New York City’s Lincoln Center,” the band said in a press release. “One of the most active artists on the Addis Ababa scene today, Melaku is an ardent supporter of Ethiopia’s diverse musical traditions and a savvy cultural entrepreneur who manages his own nightclub and is developing his own institute for the arts.”
This tour is supported by two new releases by Debo Band: Adderech Arada, the group’s first 7-inch vinyl record and Flamingoh (Pink Bird Dawn), their first EP. The live recording featured on Flamingoh documents the brief period around Debo Band’s trip to East Africa in Winter 2010, with performances from Sauti za Busara, Club Alize in Addis Ababa, and the Western Front in Cambridge. They also have a documentary, featuring their escapades with Fendika in Ethiopia and Zanzibar, and a full-length live album on the way.
“Fendika’s arrival marks a new chapter for us. I think our fans are going to get a kick out of the dancing, traditional singing and drumming, and we can’t wait till Fendika get here to begin working with them once more,” Danny said.
Melaku Belay with Getatchew Mekurya (Wednesday, August 20, 2008. Damrosch’s
Park, New York City. Photograph by Trent Wolbe / Tadias magazine events file image)
Video: Sauti za Busara 2010: Debo band
Related from Tadias Archives: Video: Interview with Debo band founder Danny Mekonnen at L’Orange Bleue – NYC (2009)
Washington, D.C. (TADIAS)- Part two of our exclusive interview with Ethiopian music legend Teshome Mitiku highlights his reasons for his abrupt departure from Ethiopia forty years ago, his favorite song from that era and his experience working with Mulatu Astatke, the father of Ethio-jazz. Teshome is scheduled to accompany the Either/Orchestra at the 32nd Annual Chicago Jazz Festival in September.
You were a teenager when you started performing in clubs. How did your parents feel about that?
My father had already passed away. My mother was very supportive. My mother’s only concern was that I continue to go to school, but she never stopped me from playing, just worried about me. She is a great mother. She was a great singer too. She used to sing Bati, Ambasel, Anchi Hoye. Her words and lyrics were poetry and they are very touching. I mean I used to sit and cry as a child when my mother used to sing while she was washing clothes, ironing or cooking. So I guess my mother’s emotional singing had an influence on me. My mother was always my friend. As a teenager when I started working in clubs and begun making money, I used to take her to a hair dresser, to a café, piazza, everywhere and whatever she wants I used to buy. My mom always came first for me. So I have always done that, I still do that. She is a beautiful woman with a heart of gold. My mother loves her life, even today she tells me “as long as you are doing good I am happy.” What I really appreciate about her is she brought me up as a care-free kid. She allowed me the freedom that I needed. And when I left the country, I thanked her for it.
You left the country abruptly. When did you leave Ethiopia and why?
I left the country on January 27, 1970. The last few years of the 1960s was a very critical time in Ethiopia. Even though the music scene was upbeat, there was also an undercurrent of social discontent. We were not political at all, but we were very popular at the time and people used to come from all corners to watch us. I believe the security people had an eye on us. So, at the end what happened was that we did a show at the Haile Selassie University in Addis Ababa. That was, as I recall, the last major show I did in Ethiopia.
Why so?
Because they made it so, they made it the last time, it wasn’t me. When Soul Ekos band was performing at the University, there were about four to five thousand people there. I mean Lideta Adrarash (Hall) was packed; everybody was there. It was a period when students were engaged in open rebellion against the authorities. So the army and the police were there keeping an eye on the kids and the situation. So when we took the stage Seifu Yohannes did the first three songs. And when my turn came and I was warming up to do the usual popular songs, the crowed started to demand that I play Fano Tesemara. I replied “I cannot sing that right now, are you crazy?”
Why? Was it a political song?
Oh yes (laughter), Fano Tesemara was a political song (Fano Tesemara ende Ho Chi Minh ende Che Guevara). Then I said, I can sing it for you but can you handle what’s gonna happen afterwards? The kids shouted “yes Teshe come on.” And I said to them let me first sing Almaz Min Eda New. They would not have any of it. I mean they were demanding that I sing Fano first. Then I had to speak with the police about it. They were vigilantly watching, the army, the Kibur Zebegna (the imperial guard), all of them were there with their AK-47s. The security was literally on the stage. So I asked the army guy, “what do you want me to do now?” By then the students were already singing Fano Tesemara and they were saying Meret larashu (land to the tiler) and so on. I turned to the the army captain again. He said “Go ahead, you can sing it.” The crowd went wild.
You took a chance.
Yes I did, I was allowed to sing it, but that was the end of happy and innocent days for me. I never had any more peace after that. I was continuously harassed, investigated, and was suddenly asked to pay three hundred and fifty thousand Ethiopian Birr in tax. I was shocked. I said what? Then, once I was scheduled to perform at Zula club they came and took me to Sostegna tabia (3rd police station) and kept me for three days with all sorts of fabricated accusations. I had the sense that they were planning to put me away for good. That’s when I left Ethiopia.
Where did you go?
I had a visa for Sweden and Denmark, and I went to Copenhagen for a while.
Before we talk about your years abroad, what is your favorite Soul Ekos song from those days?
Woooooooow, wow wow, very hard question…they all hold special place in my life but I think Mot Adeladlogn I love the poetry. It is almost like Romeo and Juliet. It is romantic.
During your brief but illustrious career in Ethiopia, you also worked with several Ethiopian greats, including Mulatu Astatke. What was that experience like?
Working with Mulatu is like having a buffet of music. Mulatu is music himself. I have collaborated with him on many occasions. I worked with him way back in the 60s and later in the 90s here. We did Wolo songs together. I love working with Mulatu. He gives the singer or the artist a chance to express himself. He never competes with you or tries to push you. He always tries to understand the music first. Once he gets it, then he lets you express it. When you work with him it is you who is working. I wish I could work with him more often than I did.
This photo was taken at Bingo Club in Asmara in 1969. Shown third from left is Theodros ( Teddy )
Mitiku, the 9th person is Alula Yohannes and next to him is Teshome Mitiku. (Courtesy photo)
The band members and friends vacationing in Asmara, where they used to play on weekends at
Kangawe Station, an American Military base. Teshome is almost seated. (Courtesy photo.)
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.
Tadias Magazine
Events News – Photos by Kidane Mariam
Published: Monday, July 19, 2010
New York (Tadias) – Teddy Afro celebrated his 34th birthday during his sold-out show in New York this past weekend.
The artist, who treated the audience to a spectacular show on Saturday night, was greeted by his adoring fans with a chorus of “Happy Birthday” as he kicked-off his concert after midnight. Organizers say between 800 – 1,000 people attended the event. A number of people also stood outside unable to find tickets.
Teddy Afro kept his audience rocking for over three hours with powerful renditions of his iconic songs and his trademark message of love and unity: Fiqir Yashenifal – Amharic for “love wins.”
Ethiopia’s biggest pop-star also took the opportunity to introduce the founders of Color Heritage Apparel, which specializes in Reggae and Ethiopian wear, and announced a possible collaboration to develop a Teddy Afro clothing line down the road. Winston Jack, the head of the fashion company tells TADIAS that they are exploring the idea but nothing is finalized yet. “It is still in the early stages of discussion,” he said. “We will announce it through a press release when it happens.”
Here are a few images from Teddy Afro’s concert in Manhattan, which took place at 630 Second Ave. on July 17, 2010.
Above:Members of the former Ekos Band: from the left Alula
Yohannes, Tesfaye Mekonnen, Tamrat Ferenji, Amha Eshete,
Teshome Mitiku, Feqade Amdemesqel & Tewodros Mitiku.- CP
Tadias Magazine
Events News
Published: Saturday, July 17, 2010
New York (Tadias) – Either/Orchestra, the American jazz band that popularized Ethiopian classics in the United States through collaboration with legends such as Mulatu Astatke, Mahmoud Ahmed, Alemayehu Eshete and saxophonist Getatchew Mekurya, has an upcoming show at the prestigious Chicago Jazz Festival on September 4th featuring Teshome Mitiku.
In the late 60’s, Teshome, along with his brother and alto saxophonist Theodros “Teddy” Mitiku, trumpeter Tamrat Ferendji, bassist Fekade Amde-Meskel, drummer Tesfaye Mekonnen, guitarist Alula Yohannes and singer Seifu Yohannes, joined to form the influential Soul Ekos Band – the first independent band to be recorded in Ethiopia. According to the artist’s website: “The band released numerous songs, including four hits written by Teshome: Gara Ser New Betesh, Yezemed Yebada, Mot Adeladlogn and Hasabe.”
Yezemed Yebada was later included on the first of the Ethiopiques CD series where it was discovered by the Either/Orchestra band leader Russ Gershon, who re-arranged it as an instrumental for his band. The song has since been re-recorded and released two more times including for the double CD Ethiopiques 20: Live in Addis (2005).
The Either/Orchestra band recently held a prelude gig at Liliy Pad in Cambridge, Massachusetts, at an event dubbed “A secret concert with Teshome Mitiku, a great Ethiopian voice.” As the leader tells it, this was a show that has been a long time coming. “In 1969, in Addis Ababa, Ethiopia, a young singer named Teshome Mitiku wrote a song called Yezemed Yebada and recorded it under the aegis of the legendary Amha Records,” Gershon said in an email explaining the connection between Either/Orchestra and the Ethiopian musician. “Three years later Teshome left Ethiopia for Sweden, where he developed a music career, fathered a little girl who became the Swedish pop star Emilia, and eventually moved to the U.S.”
Teshome Mitiku will perform Yezemed – and several other songs – with the Either/Orchestra at the 32nd Annual Chicago Jazz Festival. Gershon tells Tadias Magazine that Getatchew Mekurya will also make an appearance at the longest running of the city’s lake-front musical events.
If You Go: The 2010 Chicago Jazz Festival will take place from September 2nd to the 5th in Grant Park. Learn more.
Above:Teddy Afro is scheduled to perform in New York City on
Saturday, July 17th, 2010 at 630 Second ave, b/n 34th & 35th.
Tadias Magazine
Events News
Published: Thursday, July 15, 2010
New York (Tadias) – Teddy Afro’s upcoming show promises to be the city’s biggest Ethiopian music event in two years.
Teddy Afro, who is renowned as Ethiopia’s Bob Marley for his socially conscious lyrics, will stage a show in Manhattan on Saturday.
The last such big gathering in New York took place in the summer of 2008 when Ethiopiques enthusiasts and curious New Yorkers were treated to an astonishing fusion rock, jazz and eskista featuring singers Mahmoud Ahmed and Alemayehu Eshete accompanied by the Either Orchestra. The legendary duo were followed by saxophonist Getatchew Mekurya along with the Dutch band the Ex.
This weekend’s concert by Teddy Afro is part of the artist’s 2010 American tour, which was kicked off in Washington, D.C. earlier this year.
If You GO:
Teddy Afro in NYC
Sat, July 17th, 2010
630 Second ave, bet 34th and 35th Sts.
Advance tickets are $35, $40 @ the door.
VIP Package For A Group of 5 is Also Available
VIP = No waiting in line and includes bottle & table service.
VIP TIX: $350 in advance ($70 per person) or $400 @ the door.
If you’re interested in buying tickets or ordering the VIP package, please call 646-436-3022.
Related photos and videos from past events: Slideshow: Photo Journal From the historic 2008 Ethiopian concert in New York (Tadias)– Alèmayèhu Eshèté with The Either Orchestra at Damrosch Park, New York, Aug 20…
Slideshow: Teddy Afro concert at the DC Armory (Saturday, January 2, 2010) Video: Teddy Afro Pays Tribute to Legendary Singer Tilahun Gessesse in DC (2010)
Video: Teddy Afro Concert 2010 in DC (Posted by Milliano Promo)
Above:From left, alto saxophonist Abye Osman, Debo Band
founder Danny Mekonnen, and vocalist Bruck Tesfaye. (Photo
credit: H. Asrat)
Tadias Magazine
By Tadias Staff
Published: Wednesday, January 6, 2010
New York (Tadias) – The Ethio groove ensemble known as Debo Band, whose signature music explores the unique sounds that filled the dance floors of “Swinging Addis” in the ‘60s and ‘70s, has won the Boston Music Awards’ under the category of “International Music Act of the Year.”
The Boston Music Awards, having recently celebrated its 22nd year, is the most prestigious annual music event in Boston. The BMA website points out that the program pays “tribute to the region’s finest musicians.”
For jazz saxophonist Danny Mekonnen, a PhD candidate in Ethnomusicology at Harvard University and founder of Debo Band, the coveted recognition has garnered excitement.
“It was a huge surprise for us. We really didn’t expect the recognition because there were several great local bands in the category, ‘International Music Act of the Year,’” Danny said. “But somehow we got the attention of the judges (who are Boston-area promoters and music critics) and were also able to garner votes from our fans. I think it will mean more widespread attention for our band throughout Boston, which we’ve already seen at our last few concerts. They have been well attended even in blizzard-like weather!”
The group surfaced from Boston’s underground after playing in major festivals in 2009, including making an appearance at the Ethiopian Music Festival in Addis Ababa. Danny told Tadias Magazine that the band is gearing up to make a return trip to Africa in 2010.
“Yes, we’ve been given the incredible opportunity to bring Ethiopian music for the first time to East Africa’s largest music festival: “Sauti za Busara” on the island of Zanzibar, February 11th-16th, 2010,” he said. “For our performance at the festival we’ll be joined by four brilliant musicians and dancers from Fendika, an azmari bet in the Kazanchis area of Addis Ababa: Selamnesh Zemene (vocalist), Melaku Belay (dancer), Zenash Tsegaye (dancer), and Asrat Ayalew (drummer). Your readers may know Melaku, who was the dancer at the incredible Getachew Mekuria/The Ex concert at the Lincoln Center in August 2008.”
The Debo Band is currently raising funds to cover travel expenses for 15 musicians to attend the Sauti za Busara festival.
Danny also shares one more bit of good news: “My wife and I have a beautiful newborn girl. Life has been very hectic these days, but we feel blessed.”
We congratulate Danny and look forward to Debo Band’s first album.
New York (Tadias) — Among some of the most exciting out-door music events scheduled in New York this summer, is a concert on August 20th, featuring Ethiopia’s most noted musical artists: Mahmoud Ahmed, Alemayehu Eshete and the legendary saxophonist Getatchew Mekurya.
The artists burst forth into the Ethiopian music scence in the 1960s, during a time of prolific music recording in Addis Ababa, where the nightlife and club scene was buzzing with live Afro-pop, Swing and Blues riviling those in Paris and New York.
But the fun was short lived. In the mid 1970’s the rise to power of Lieutenant-Colonel Mengistu Haile-Mariam ushered in a dark age, which halted Addis Ababa’s flourishing music scene and severly curtailed the record music industry.
“Mengistu was well-versed in the Ethiopian tradition of song lyrics that are double entendres speaking to romantic and political themes, so he set about silencing the Ethiopian Swing”, penned writer Michael A. Edwards in an article entiltled Nubian Sunrise in Jazz Times Magazine, the world’s leading Jazz publication. “Curfew brought the Capital to a viritual stand still…jailed, discredited and otherwise harrased, many of the musicians went into exile and the sun set on swinging Addis.”
The Swinging Sixties:The Police Band strut their stuff in 1965/6. (Time.com)
The sun has risen again for Ethiopian music and it has re-emerged in the international scene under a new name: Ethiopiques, which refres to a stunning CD series containing a treasure trove of Ethipian sounds from the 1960’s and ’70s.
And on August 20th, beginning at 6 p.m, at the 38th season of the Lincoln Center’s out of
doors concert, one of the longest-running free summer festivals in the U.S, New Yorkers will
be treated to the groove of “Nubian Sunrise”.
