CD Review: The Nile Project's 'Aswan'

The Nile Project
Aswan
Self-Release

The Nile Project brings together eighteen musicians from several countries, including Egypt, Eritrea, Sudan, Ethiopia, Uganda, and South Sudan, that present traditional music with contemporary rhythms. The North African instrumentation is rather indigenous and vibrant, which stems from the rustic masinko, traditional drums, some strings, a sax, and numerous voices. This recording is a live album recorded at the Lincoln Center for the Performing Arts that captures the energy and life-force of the music in all its splendor. Heady rhythms, wild vocals, and swirling melodies entrance listeners from around the world throughout the fifteen tracks. Fans of North African, Ethiopian, Egyptian, and Middle Eastern music will love Aswan. It's accessible for young and old listeners alike. Head over to Africa with The Nile Project as your guide. You will definitely not be disappointed. ~ Matthew Forss

CD Review: Akale Wube's 'Sost'

Akale Wube
Sost
Clapson

Akale Wube's third album is aptly-titled Sost, which means 'three' in Amharic--the official language of Ethiopia. The music is highly groove-based and follows the early traditions of Ethiopian jazz, which is not too unlike the popular Ethiopiques series. About half of the music is based on traditional recordings and cassettes found in Ethiopia, while the other half of the songs are original compositions. The emotive vocalist, Genet Asefa, leads a few tracks with her seasoned voice in line with tradition Ethiopia music. The blurt of a trumpet, the beat of a drum, and a jazzy melody with Afro-jazz flavorings rounds out the gist of each song. However, each song brings something new to light--whether it be a hook, a sound, or a rhythm. Akale Wube know how to tease the feet with danceable grooves and lush sounds. This is another acclaimed album. ~ Matthew Forss

CD Review: Zvuloon Dub System's 'Anbessa Dub'

Zvuloon Dub System
Anbessa Dub
Self-Release

The Tel-Aviv-based reggae/Ethiopian jazz group, Zvuloon Dub System, seamlessly merges two unique musical styles together to form a danceable and very likable beat. The group infuses reggae beats on several tracks with a little Amharic to mix it up just a little bit. Roots reggae, jazz, and East African soul explains what is going on here. The moving beats and diverse vocals attract equally-great instrumental portions that are like little morsels of delicious candy. There are traditional reggae instruments, including the piano, organ, guitars, bass, drums, sax, trumpet, and trombone, along with Ethiopian krar (a plucked harp) and a masinko (a type of small fiddle). Mahmoud Ahmed is a featured and well-known performer here, but Zemene Melesse, Yaacov Lilay, and Shay Sattaman Jacovi add vocals, too. Otherwise, Gili Yalo is the lead vocalist. The East African, Middle Eastern, and Caribbean influences are evident and pervasive, but everything is used in moderation. Anyone seeking reggae beats via Israel, Ethiopia, and beyond will have fun with Anbessa Dub. ~ Matthew Forss

CD Review: Atse Tewodros Project's Self-Titled Release

Atse Tewodros Project
Atse Tewodros Project
Self-Release

Envisioned by singer, writer, and performer, Gabriella Ghermandi, the Atse Tewodros Project is a collaboration between Ethiopian and Italian musicians. The music is steeped in Ethiopian traditional modes and scales with a bit of European jazz. The project is named after a prominent Ethiopian emperor: Atse Tewodros. The jaunty music is jazzy, purely Ethiopian, and rich with great rhythms and melodies. Gabriella lends her vocal talent throughout, while others play the washint, masinqo, kirar, kebero, drums, bass, piano, and assorted percussion. Song lyrics are provided by Gabriella Ghermandi, Aklilu Zewdie, Berhanu Gizaw, and Inish Hailu. There are plenty of likable tracks here, including "Atse Tewodros," "Che Belew," "Be Kibir," and "Tew Belew." A few tracks contain some spoken words. However, the majority of the songs contain sung vocals. Anyone with an interest in innovative and traditional, Ethiopian music, will surely find the Atse Tewodros Project high on the list of must-haves. ~ Matthew Forss

CD Review: Akale Wube's 'Mata'

Akale Wube
Mata
Ais

The France-based Afro-beat group, Akale Wube, is named after a song by Ethiopia's Getatchew Mekurya. Mata is alive with Afro-beat rhythms, edgy psych punk, drifting melodies, and funky grooves that are instrumental and memorable. The punchy sax joins the lilting guitar, bubbling bass, scintillating krar, and soaring flutes. The Rhodes, trombone, violin, bugle, and trumpet makes an appearance, too. The music of Ethiopia is rich with psych-funk and Afro-beat jazz that is fairly well-known throughout the world music community. Akale Wube presents five new tracks and additional tracks reinvented with the works of Mulatu Astatke, Feqadu-Amde-Mesqel, Tsehaytu Beraki, and two traditional compositions. The music is quite upbeat and funky with smooth beats and psych-enriched qualities that could jazz-up any night club in Addis Ababa, or your hometown's music hot-spot. ~ Matthew Forss 

CD Review: Samuel Yirga's 'Guzo'

Samuel Yirga
Guzo
Real World

Samuel Yirga's Ethiojazz renderings are thought-provoking, instrumental, and vocally-strong. The musical traditions of Ethiopia--notably, the jazz epicenter of Addis Ababa--is the central focal point for the creative output of Samuel Yirga. The title, which means 'journey' in Amharic, is poignant and fitting for a release with so many influences. The jazzy, downtempo leanings of "Abet Abet," are contemporary and futuristic with a nice dose of improvisation and classic percussion. The piano is a featured instrument on many of the songs, especially on "Tiwista." There are a few guest appearances by the infamous Creole Choir of Cuba on "Nou Se Soleil" and "I Am The Black Gold Of The Sun." The Haitian and Caribbean influences are most pronounced on the aforementioned tracks. Though, an element of American jazz and funk is evident throughout the album, Samuel creates evocative compositions that move in many directions, but all roads lead to something amazing. The cinematic wanderings of  "Ye Bati Koyita" bring to mind the piano compositions of Thomas Newman. Some of the tracks focus more heavily on piano, which may not be as exciting as the other instruments. Nevertheless, Samuel produces a fine recording with multiple influences and styles to keep everyone very happy for a very long time. ~ Matthew Forss

CD Review: Meklit & Quinn's Self-Titled Release

Meklit & Quinn
Meklit & Quinn
Porto Franco Records

Meklit Hadero, a native of Ethiopia, and Quinn Deveaux, from California, showcase their blend of soul, blues, and a little downtempo funk from music by Arcade Fire, Talking Heads, MGMT, Lou Reed, Patti Smith, Stevie Wonder, Kyle Field, Neil Young, and Sam Cooke. Meklit's vocals are a perfect mix of Sade and Leona Naess. Quinn's vocals are slightly bluesy, but there is an element of smooth jazz vocalizations with airy and sultry deliveries. The twelve tracks explore a bit of nostalgic jazz, soul, R&B, and downtempo. Meklit writes "Slow" and "Sent By You," which is composed with Quinn. The music contains a plethora of instrumentation, including guitar, keyboard, bass, piano, mellotron, strings, trumpet, tuba, pedal steel guitar, trombone, sax, organ, washboard, B3, and others. The soft grooves and stirring melodies are modern in composition, but they reflect a sort of classical ambiance from America's early music history. The music is not rock or folk; it's just good music with good instrumentation. It's that simple...and delectable. ~ Matthew Forss 

CD Review: Nazarenes' 'Meditation'

Nazarenes
Meditation
I Grade Records

Steeped in Rastafarian grooves, produced by a St. Croix native, and two brothers as singers, Noah and Medhane Tewolde, come from Addis Ababa, Ethiopia. The European-based brothers incorporate pan-African elements, island grooves, Jamaican jive, and pop-funk creations. The reggae-inspired album contains jazzy influences, funky beats, and vivid vocals with meaningful lyrics and spiritual connotations. The lyrical worldplay and dancehall sound showcases Nazarenes diverse song repertoire with a laid-back, funky feel that is anything but boring. Fourteen Jah-inspired musical tracks showcase the great amount of creativity and soulful inspiration that give Meditation a shining element that succeeds without a doubt. "Mamy Blues" is an album favorite that seems to combine the pop music styles of Ethiopia and West Africa with the sincerity of French blues and a little Caribbean ambiance. Anyone interested in the music of Jamaica will find happiness on Meditation. ~ Matthew Forss  

Song Reviews: Hailee Araya

Hailee Araya
Self-Release

This is a review of three new songs from Sweden's Ethiopian (and now Miami-based) singer, Hailee Araya. The first song available as a download is "Diaspora." This is an English-lyric song with a nod to the African continent. The contemporary dance elements are evident, but the music is relatively relaxed and R&B-focused. A piano melody, ululating background vocals, and light percussion marks the song's most poignant moments. Hailee's young voice breathes life into the song without sounding weak or overwhelming. "Show You Love" contains a reggae beat with keyboards, funky percussion, and Hailee's sweet voice that echoes with love and delight throughout. The music sounds a bit like modern Ethiopian tunes, but it is still uniquely Araya-esque. The ambulating percussion and melody is good overall. The final track, which is unnamed, contains Beniton the Menace and Hailee on vocals. The urban beat is more North American in delivery, but it still retains a degree of reggae and Ethiopan ambiance. It will be exciting to hear more from Hailee in the future. Keep your ears tuned! ~ Matthew Forss

CD Review: Temesgen's 'Traditional Favorites'

Temesgen
Traditional Favorites
Self-Release

Born in Addis Ababa, Ethiopia, Temesgen has since relocated to Michigan, USA. Temesgen plays a krar--a five-or-six-string bowl-shaped lyre from Ethiopia. The harp-like and meditative quality of the krar is a soothing accompaniment to Temesgen's low, gruff voice. The music is relatively rudimentary with no electric accompaniment. In other words, Traditional Favorites is a traditional romp through the folk music of northeast Africa. The thirteen tracks are calming, memorable, and easy to listen to with some light backup vocals, too. Whatever the occasion--relaxing, studying, dining, cleaning, or reading--Temesgen is a perfect addition to your household. Fans of harps, Ethiopian folk music, and African music in general, will love the vocals and sounds. This is my traditional favorite. ~ Matthew Forss

CD Review: Dub Colossus' 'Addis Through The Looking Glass'

Dub Colossus

Addis Through The Looking Glass

Real World

Ethiopian dub 'n' jazz is showcased on Dub Colossus' most recent effort, Addis Through The Looking Glass. The inclusion of Ethiopian singers, Sintayehu 'Mimi' Zenebe, Teremage Woretaw, and Tsedenia Gebremarkos, sets the stage for a brilliant work on several tracks. The opening, title-track starts the mood with a jazzy, funky, and classic instrumental tone with minimal dub and electronica. Fourteen tracks of traditional and contemporary arrangements and instrumentation provide the listener with a high-quality and memorable recording experience. The more traditional "Yeh Shimbraw Tir Tir" is a perfect track for experiencing roots music, while the reggae-dubbed "Satta Massagana" displays the far-reaching and diverse characteristics of Ethiopian jazz. The more orchestral "Feqer Aydelem Wey" is a rousing track oozing with Ethiopian jazz and nostalgia. All in all, Dub Colossus presents a solid release that rivals anything they've done before. ~ Matthew Forss

CD Review: Mathieu Sourisseau & Etenesh Wassie

Mathieu Sourisseau & Etenesh Wassie

Belo Belo

Buda Musique

Ethiopia's Etenesh Wassie and France's Mathieu Sourisseau form a collaboration of mostly Ethiopian-derived songs and traditional musical structures. Mathieu's contribution is on acoustic bass, while Etenesh's contribution is her voice. Of course, guest musicians provide additional musical accompaniment on trumpet, guitar, bass, and cello. This is not a rock or modern recording. Instead, the traditional vocal tunes of Ethiopia are explored with various avant-garde instrumental accompaniment. The fusion, or avant-garde feel of the album rests on the vocal outbursts of Etenesh and the gritty or choppy guitar playing. In effect, Belo Belo is almost an Ethiopian grunge recording with some throat-singing thrown in on "Ende Matew Style." The mix of soft and heavy tones accurately displays the wide vocal and instrumental range. At any rate, the music encapsulates the charm of a French cafe with the charisma of an innovative performer transcending both time and generations. Liner notes are in French and English. ~ Matthew Forss

CD Review: Debo Band's 'Flamingoh (Pink Bird Dawn)'

Debo Band

Flamingoh (Pink Bird Dawn)

Self-Released

Debo Band is an Ethiopian tribute band for the sounds of Ethiopia's 1970's golden era of musical creativity. With a new album of live material, the number of songs on this album only ring in at four. Despite this, Debo Band proves superiority with minimalism. The four songs are "Musicawi Silt" by Girma Beyene, "Belomi Benna" by Abrar Abde/Mahmoud Ahmed, "Mignoten Man Yawkal" by Seyfu H. Mariam/Tezera H. Michael, and "Lantchi Biye" by Menelik Wossenachew. The first track, "Musicawi Silt", is a groovy, guitar and horn-driven masterpiece that is entirely instrumental. "Belomi Benna" is led by vocalist Bruck Tesfaye with another fine horn section and driving melodies and rhythms. "Mignoten Man Yawkal" is led by vocalist Selamnesh Zemene and she matches the beats with a small degree of earthiness and attitude in all the right proportions. The final song, "Lantchi Biye", is the other song led by vocalist Bruck Tesfaye. This song almost borders on a Gypsy/Klezmer rhythm with a characteristic Ethiopian beat and tropical guitar stylings. Named after the peculiar and showy birds of the region, Flamingoh... is poised to make everyone dance around...including those creatures that are perched on one leg. ~ Matthew Forss

CD Review: Akale Wube Reinvents Ethiopia's Golden Era

Akale Wube

Akale Wube

Mosaic Music

After borrowing the name of the group from a song by saxophonist Getatchew Mekurya, the France-based quintet Akale Wube reinvents the golden age of Ethiopia's musical legends. Inspired by the Ethiopiques Series from Buda Musique, Akale Wube puts a modernized spin on songs by Alemayehu Eshete, Mulatu Astatqe, Tsehaytu Beraki, Shewalul Menguistu, and Teshome Sissay. The opening track "Ayalqem Tedengo [Intro]" includes a short flute solo before diving into a four-minute instrumental groove on the next track with the same name. One of the few tracks composed by the group, "Jawa Jawa" is a psychedelic-funk journey that sounds amazingly reminiscent of any song from the US/Cambodia group, Dengue Fever. The reggae-groove of "Kokob/Metche Dershe", funky-groove of "Nestanet", psych-chill of "Nebyat", to the sunnier "Bazay", and the fusion of "Ragale" display only a small fraction of the music produced in the 1970's throughout the horn of Africa. Akale Wube's efforts are well-received and they do the music justice without reverting to super-dubbed dance beats. Vocals are absent throughout. ~ Matthew Forss

CD Review: Ethiopia's Meklit Hadero

Meklit Hadero

On A Day Like This...

Porto Franco Records

San Francisco-resident and Ethiopian-native, Meklit (pron. muh-kleet) Hadero, is a groovy, sultry, and poetic vocalist that transcends traditional genre borders. The entire album is poignant, laid-back, and inspirational. Meklit composes eight original songs on this album. One cover song, "Feeling Good", by Anthony Newley and Bricusse is included. The only other cover song is a traditional Ethiopian song, and the only song sung in Amharic, celebrates the rural life. It is originally written by Ethiopia's legendary musician, Mahmoud Ahmed. Meklit's voice and acoustic guitar playing are joined by upright bass, oboe, clarinet, sax, piano, viola, ney flute, cello, and other assorted instruments. The music is perfect for lounging and takes on an almost Brazilian/samba sound in parts. A Sade-like vocalist, Meklit creates a new form of music that borrows classic big band elements, R&B, jazz, folk, and easy listening influences. On A Day Like This... is highly recommended any day of the year. ~ Matthew Forss