Ethiopiques, Vol. 4: Ethio Jazz & Musique Instrumentale,...



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Music CD's / Music / Ethiopiques, Vol. 4: Ethio Jazz & Musique Instrumentale, 1969-1974

Ethiopiques, Vol. 4: Ethio Jazz & Musique Instrumentale, 1969-1974

 

Ethiopiques, Vol. 4: Ethio Jazz and Musique Instrumentale, 1969-1974

Ethiopiques, Vol. 4: Ethio Jazz & Musique Instrumentale, 1969-1974
by: Mulatu Astatke

Released: 1998-10-06


Posters / Framed CD's:


Tracks:

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


Review:

Sub-titled 'Ethiopian Jazz and Instrumental Music (1969-74)'. UK compilation drawn from the catalogs of Amha Records an d Kaifa Records. The Artists may be unfamiliar but the musical heritage contained within is hugely rewarding. Vibrant and sassy urban pop, Arabic elements mixing sinuously with low down funk 'n' roll. Standard jewel case.

Largely the work of formidable musician-arranger Mulatu Astatqe, the 14 instrumentals here were originally issued on two LPs in 1972 and 1974 in Ethiopia, and represent a curious blend of soul-jazz and R&B with just a smattering of Ethiopian roots breaking up the stabbing horn lines, wah-wah guitars, and simmering electric piano. Curious, because at the time jazz was not very popular in Ethiopia, but that is no reflection on the quality of these primitively recorded sides of idiosyncratic Afro-funk. The grooves are long and laconic, the sound reminiscent of Miles Davis's "In a Silent Way" paired with Cannonball Adderly and Roy Ayers. But, as with all things Ethiopian, the music retains its own unique and unmistakable identity, one somewhere between a late-night jazz hole-in-the-wall group and a supper club belly-dancing combo. There are some very inventive arrangements and vigorous soloing, rendering a highly articulate and listenable music that was, at the time, doomed to go nowhere. Such is the retrospective value of reissues. --Derek Rath


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