MUSIC

The acclaimed and highly sought-after LP by Hailu Mergia and the Walias, Tche Belew, an album of instrumentals released in 1977, is perhaps the most seminal recording released in the aftermath of the 1974 revolution. The story of the Walias band is a critical chapter in Ethiopian popular music, taking place during a period of music industry flux and political complexity in the country. Hailu Mergia, a keyboardist and arranger diligently working the nightclub scene in Addis Ababa, formed the Walias in the early 1970’s with a core group of musicians assembled from prior working bands. They played Mergia’s funk- and soul-informed tunes, while cutting 45rpm singles with various vocalists. While the Walias performed at top hotels and played the presidential palace twice, their relationship with the Derg regime was complex, evidenced by the removal of one song from the record by government censors. Decades later, Hailu Mergia was surprised to see the album fetching more than $4,000 at online auctions (it helped that the most popular of all Ethiopian tunes “Musicawi Silt” appeared on the record). Now everyone has the chance to listen again―or for the first time―to this timeless pillar of Ethiopian popular music.

Hardly anyone outside Ethiopia seems to know Hailu Mergia & The Walias Band “Tezeta” exists. Within Ethiopia this tape has been impossible to find for decades. That’s about to change with this release, which makes available this epochal recording on LP, CD and Digital formats for the first time. From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others. Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV. This Tezeta album is the band’s second recording, released in 1975. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu’s melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible. Profoundly engaging; it’s an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears. (text by Tessema Tadele)

 

The third in Strut’s Inspiration Information studio collaboration series brings together an intriguing pairing between one of Africa’s great bandleaders, Mulatu Astatke, with the next level musicianship of The Heliocentrics collective from the mighty roster of Stones Throw / Now Again.

Known primarily through the successful ‘Ethiopiques’ album series and the film soundtrack to Jim Jarmusch’s ‘Broken Flowers’, Mulatu Astatke is one of Ethiopia’s foremost musical ambassadors. Informed by spells living and studying in the UK and the USA, his self-styled Ethio-jazz sound flourished during the “Swinging Addis” era of the late ‘60s as he successfully fused Western jazz and funk with traditional Ethiopian folk melodies, five tone scale arrangements and elements from music of the ancient Coptic church.

The Heliocentrics have become known as one of the UK’s foremost free-thinking collectives of musicians, inspired by a wide palette covering Sun Ra, James Brown, David Axelrod and all manner of psych, Afro and Eastern sounds. Now a fixture within the Stones Throw / Now Again roster, they forged their own genre-breaking directions in the astral analogue groove on their 2007 debut album, ‘Out There’.

“ It’s like going back to the feel of the ‘60s, it really feels like that,” explains Mulatu. “There’s a new composition, ‘Cha Cha’, and ‘Dewel’, heavily influenced by an Ethiopian Coptic Church composer called Yard. The band took it and added what they feel. It’s a nice experiment.” 

Strut present the first official reissue of a landmark album in the field of African music, Mulatu Astatke’s ‘Mulatu Of Ethiopia’ from 1972. Recorded in New York, the album arrived at a time when Astatke had begun to master the delicate fusion of styles needed to create Ethio jazz. “I left the UK for America and studied at Berklee College in Boston. I learnt the technical aspects of jazz and gained a beautiful understanding of many different types of music. That’s where I got my tools. Berklee really shook me up.” Journeying regularly to the Big Apple to play and watch live shows at the Cheetah, the Palladium and the Village Gate, Astatke met producer Gil Snapper on the circuit. “Gil was a nice and very interesting guy. He produced music and worked with all kinds of musicians.” The meeting would lead to a series of albums on Snapper’s Worthy label. The first, ‘Afro Latin Soul’, documented Astatke’s new-found directions. “Mulatu has created a new sound,” enthused Snapper on the album jacket. “He has taken the ancient five-tone scales of Asia and Africa and woven them into something unique and exciting; a mixture of three cultures, Ethiopian, Puerto Rican and American.” A second volume of ‘Afro Latin Soul’ followed before Astatke began to hone his sound further, infusing funk and Azmari “chik-chikka” rhythms into the mix. Returning to a downtown Manhattan studio with Snapper and working with some of the city’s top young jazz and latin session players, ‘Mulatu Of Ethiopia’ began to take shape. “We rehearsed for 3-4 weeks,” remembers Astatke. “it took them a while to get the right feeling in the music.” The resultant album represented the first fully formed document of Astatke’s trademark Ethio jazz sound. It features ‘Kulunmanqueleshi’, ‘Dewel’, and ‘Kasalefku-Hulu’, tracks that Mulatu would return to regularly on singles and in live shows, the Ethio-Latin workout ‘Chifara’ and the self-titled groover ‘Mulatu’ (“I wanted to make a track for…. myself!”).

The acclaimed and highly sought-after LP by Hailu Mergia and the Walias, Tche Belew, an album of instrumentals released in 1977, is perhaps the most seminal recording released in the aftermath of the 1974 revolution. The story of the Walias band is a critical chapter in Ethiopian popular music, taking place during a period of music industry flux and political complexity in the country. Hailu Mergia, a keyboardist and arranger diligently working the nightclub scene in Addis Ababa, formed the Walias in the early 1970’s with a core group of musicians assembled from prior working bands. They played Mergia’s funk- and soul-informed tunes, while cutting 45rpm singles with various vocalists. While the Walias performed at top hotels and played the presidential palace twice, their relationship with the Derg regime was complex, evidenced by the removal of one song from the record by government censors. Decades later, Hailu Mergia was surprised to see the album fetching more than $4,000 at online auctions (it helped that the most popular of all Ethiopian tunes “Musicawi Silt” appeared on the record). Now everyone has the chance to listen again―or for the first time―to this timeless pillar of Ethiopian popular music.

By 1978, Addis Ababa’s nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6am. But that didn’t stop some people from dancing and partying thorough the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning.
One key denizen of Addis’ musical golden age, Hailu Mergia, was preparing a follow up to his seminal Tche Belew LP with the famed Walias Band. It was the band’s only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band’s afternoon rehearsal meetings, with sessions lasting three days.
“My instrumental music was very in-demand and I could have waited,” Mergia recalls. “But I wanted to have a different kind of sound. I had done several recordings with Walias so this time I needed a different sound.”
Dahlak Band catered to a slightly more youthful, local audiences, while Mergia’s main gig with the Walias at Addis swankiest hotel had a mixed audience that included foreign diplomats and older folks from abroad. Therefore their sets varied included lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd.
When Mergia entered the Ghion hotel nightclub to record this tape he was teaming up with a seasoned band who were particularly suited to his instrumental sound. Ethiopian popular music at the time combined elements of music from abroad and Dahlak balanced Mergia’s traditional song selection with the modern approach of a seasoned soul band.
Crucial to the resulting collaboration were Mergia’s arrangements which replaced distinctively use vocals for melodies normally played by instruments. His arrangements conjured memorable new flavors out of existing songs already popular with listeners.
Before Walias Band’s successful gig as house band at the Hilton, Mergia was a young musician hustling from one place to another around Addis. After finishing gigs at the Hilton or on nights off, he would go to good bar where azmari—roving musicians who play traditional songs for tips—and he’d pick up ideas and inspiration. Late night azmari performances revealed for Mergia which songs were moving people in the city. He regularly attended clubs, bars and special private after-hours venues called zigubgn where azmari perform. For Mergia, it was crucial to feature songs he knew people would recognize.
Amharic music has a large repertoire of standard songs everyone knows, the original composers and lyricists of which are often unknown or forgotten. Many of the songs Dahlak, Walias and other bands of that era (including Ibex and Shebele) were playing came from the treasury of shared music, which helped ensure a good vibe in the air.
Mergia released Wede Harer Guzo (“Travel to Harer,”with Sheba Music Shop, which was located in the Piazza district but has long since shut down. Recalling the audience’s positive reaction to Wede Harer Guzo’s novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there’s no indication as to why the cassette appears largely forgotten until now. 

One of the most stunning and unique albums of the Ethiopian golden age of jazz, never re-issued in full until now! This album was the only LP released by the mysterious Aselefech Ashine and Getenesh Kebret, two young women backed by one of the hardest-charging jazz and funk bands of the Ethiopian scene. The record was a huge hit in Ethiopia in 1976, but the artists never released another album. We managed to track them down and bring this amazing record back to the world. Dizzying close harmonies and indestructible grooves on this lost classic from Ethiopia's Golden Age. Aselefech Ashine and Getenesh Kebret, two young women raised in the bustling cosmopolitan milieu of late-empire Addis Ababa, released one single and a full-length LP in 1976 before disappearing from the music business entirely. Originally released on Kaifa, the label responsible for some of the heaviest and funkiest Ethiopian records of all time, Beauties was a hit, selling out in a few days. But it came out at the beginning of two decades of darkness and oppression in Ethiopia, and this is the first full reissue of this overlooked classic. Beauties is at once totally unique and an amalgamation of all that came before it during Ethiopia's explosive two decades of creativity in the 60s and 70s. Fans of Ethio-jazz will hear Mulatu in the dark, minor-key piano runs, turning in on themselves on songs like "Amlak Abet Abet" and "Metche Neow." Interlocking percussion and rock steady basslines are a signature of the Army Band, which also backed greats like Tlahoun Gesesse and Mahmoud Ahmed. Arranger Teshome Sisay is also an incredible flutist, playing with both sensitivity and swagger on tracks like the majestic "Ayinouma." But the vocals are the most stunning part. Aselefech and Getenesh met at the legendary Hager Fikir Theatre in Addis, where centuries-old Ethiopian culture combined with the modern music of the capital's elite. Trained in traditional music, their dual vocals lead in extremely close harmony, intertwined and infinitely creative in their phrasing. By the time this record was released, the Derg Regime was imposing strict crackdowns on music and artistic expression. Targeted as allies of the deposed Emperor Haille Selassie, the artists (and most musicians) had to keep a low profile. This is one of the last great releases of the Ethiopian Golden Era. Though she was never able to release a second record, Aselefech Ashine is proud of her work. From her home in Addis she says: "I have full confidence that this album will be popular and a hit when it is released again now!" We are proud to release this album in collaboration with Domino Sound in New Orleans and through direct license from the artists. Old-school "tip-on" jacket faithfully recreates the amazing original artwork, lyric translations, photos, and an interview with Ashine accompany.

オリジナルは$4,000で取引されたエチオピア産ジャズの77年金字塔的傑作『Tche Belew』を残したことでも知られるレジェンド中のレジェンドによる最新作！エチオピークの重鎮Mulatu Astatkeとも仕事を共にした伝説的ジャズ・キーボード奏者のHailu Mergia。2016年に録音していた秘蔵ライブ・レコーディング音源『Pioneer Works Swing (Live)』が〈Awesome Tapes From Africa〉より堂々アナウンス。2016年7月1日、ブルックリンの由緒ある非営利文化センター〈Pioneer Works〉で行われた彼らの激しいライヴを美しく捉えています。エネルギッシュかつ遊び心たっぷりに、エチオピアの様々なレパートリーから、ハーモニーとリズムの面白さを次々と引き出した現代のエチオ・ジャズの新たなる金字塔！

By 1978, Addis Ababa’s nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6am. But that didn’t stop some people from dancing and partying thorough the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning.
One key denizen of Addis’ musical golden age, Hailu Mergia, was preparing a follow up to his seminal Tche Belew LP with the famed Walias Band. It was the band’s only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band’s afternoon rehearsal meetings, with sessions lasting three days.
“My instrumental music was very in-demand and I could have waited,” Mergia recalls. “But I wanted to have a different kind of sound. I had done several recordings with Walias so this time I needed a different sound.”
Dahlak Band catered to a slightly more youthful, local audiences, while Mergia’s main gig with the Walias at Addis swankiest hotel had a mixed audience that included foreign diplomats and older folks from abroad. Therefore their sets varied included lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd.
When Mergia entered the Ghion hotel nightclub to record this tape he was teaming up with a seasoned band who were particularly suited to his instrumental sound. Ethiopian popular music at the time combined elements of music from abroad and Dahlak balanced Mergia’s traditional song selection with the modern approach of a seasoned soul band.
Crucial to the resulting collaboration were Mergia’s arrangements which replaced distinctively use vocals for melodies normally played by instruments. His arrangements conjured memorable new flavors out of existing songs already popular with listeners.
Before Walias Band’s successful gig as house band at the Hilton, Mergia was a young musician hustling from one place to another around Addis. After finishing gigs at the Hilton or on nights off, he would go to good bar where azmari—roving musicians who play traditional songs for tips—and he’d pick up ideas and inspiration. Late night azmari performances revealed for Mergia which songs were moving people in the city. He regularly attended clubs, bars and special private after-hours venues called zigubgn where azmari perform. For Mergia, it was crucial to feature songs he knew people would recognize.
Amharic music has a large repertoire of standard songs everyone knows, the original composers and lyricists of which are often unknown or forgotten. Many of the songs Dahlak, Walias and other bands of that era (including Ibex and Shebele) were playing came from the treasury of shared music, which helped ensure a good vibe in the air.
Mergia released Wede Harer Guzo (“Travel to Harer,”with Sheba Music Shop, which was located in the Piazza district but has long since shut down. Recalling the audience’s positive reaction to Wede Harer Guzo’s novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there’s no indication as to why the cassette appears largely forgotten until now. 

The first new studio album by the Ethio jazz pioneer in over 25 years features intricate new compositions alongside funky workouts. Includes the cinematic instrumental ‘Green Africa’ and the slinky jazz cut, ‘The Way To Nice’.

Vibraphone and keyboard player, master arranger and bandleader, Mulatu Astatke is one of the all-time greats of Ethiopian music and the creator of his own original music form, Ethio jazz. Through the acclaimed Ethiopiques album series and through featuring on the soundtrack to the Jim Jarmusch film Broken Flowers, his music has belatedly reached a global audience and a new, younger generation of fans. In November of last year, he recorded an inspired new album with London psych jazz band The Heliocentrics for Strut’s ‘Inspiration Information’ studio collaboration series. Now, Strut are proud to present, for the first time anywhere, the definitive Mulatu career retrospective covering his landmark ‘60s and ‘70s recordings. Mulatu is a true pioneer of African music. He was the first Ethiopian musician of his generation to travel extensively and to record abroad – he studied in the UK in Wales and at Trinity College Of Music in London, cutting his teeth on the buoyant London jazz scene of the early ‘60s. He became the first African student to attend Harvard and he lived and recorded in New York, developing a unique sound that fused Western jazz with traditional Ethiopian melodies. As Mulatu says, “it took a long time to get the balance, to let the colours and the feelings of the Ethiopian modes shine through.” Returning to ‘Swinging Addis’ during the late ’60s, he became a pivotal figure, arranging for many of the country’s top vocalists and developing rich, dense textures in his own music during the final years of Selassie’s reign and the mid-‘70s rule of the Derg Communist military junta. Tracing the progression of his Ethio jazz experiments with full access to all of the labels for whom he recorded, Mulatu Astatke: New York-Addis-London is the essential Mulatu. Covering his first recordings in the UK during 1965, his groundbreaking fusions for the small Worthy label in New York and his key ‘70s recordings back in Addis on Amha, Phillips and Axum, the album features comprehensive sleeve notes by Miles Cleret, boss of the excellent Soundway Records imprint, and rare, previously unseen photos from Mulatu’s personal archive.

Hailu Mergia is a one-man band. In 1985, master accordionist and veteran bandleader, arranger and keyboardist released the Hailu Mergia & His Classical Instrument cassette. In a nostalgic effort to bring back the vintage accordion sound of his youth, Hailu gave Ethiopian music a sonic makeover. He was already celebrated for his work with the groundbreaking Addis Ababa ethio-jazz and funk outfit Walias Band. With imagination and a visionary sense of the self-contained possibilities of modern music, he captured the popular sounds of the past using the modern tools of the day. Hailu Mergia weaves Moog and DX7 synthesizers, Rhodes electric piano and rhythm machine into the rich harmonic layering of his accordion, creating hauntingly psychedelic, elegantly arranged instrumentals. These tunes draw from famous traditional and modern Ethiopian songs, as Hailu brilliantly matches lush Amhara, Tigrinya and Oromo melodies with otherworldly flavors soaked in jazz and blues, synthesizing a futuristic landscape. He balances Ethiopian music's signature melodic shape with beautiful analog synth touches, floating upon clouds of hypnotically minimal rhythm tracks. Hailu Mergia was born in Debre Birhan, Showa Province, Ethiopia in 1938 (1946 in the European calendar) to parents Tewabech Ezineh and Mergia Lulessa, who were of Amhara and Oromo ancestry, respectively. His mother took him to Aynemisa, close to Addis, where he grew up from age 3 until he was 10 when they moved to the capital Addis Ababa. Hailu went to Shimelis Habte high school but dropped out before graduating. In 1952 (1960 in European calendar), he joined the army music department as a boy scout to support his mother. Mergia stayed in the army almost two years, learning how to read and write music. After Hailu left the army, he started singing in small bars as a freelance musician. He joined various pick-up bands, touring across the Ethiopian provinces as a singer and accordion player for almost a year. After the group broke up, he started performing in nightclubs like Addis Ababa, Patrice Lumumba, Asegedech Alamrew, Sombrero, Zula Club and others. At Zula Club he and his mates formed Walias Band and did something no other band in Ethiopian nightclub history had done: they started buying their own musical instruments. Until then the club owners were supplying the instruments and had the power to fire musicians at will. For the first time ever Walias Band signed a contract with the owner of Venus Club as a group thereby protecting themselves from club owners. Mergia and Walias Band went on to do gigs at hotels like Wabi Shebele and the Hilton. After playing almost eight years at the Hilton Hotel, Mergia and Walias Band came to the United States and toured widely in 1982-1983. Afterwards, some of of the band stayed in America while others went back to Addis. That was a heartbreaking time for the band. They considered themselves a family, and they knew they had broken new ground in the history of Addis nightclub musicians. They had helped make the Ashantis Band from Kenya famous in Addis. They were the first private band who played for state dinners at the palace for the Derg government (twice). And, they were the first private band to tour the USA. After the break-up of Walias Band, Mergia settled in the States and formed Zula Band with Moges Habte and Tamiru Ayele, playing in different restaurants and touring in the States and Europe. At that time, Mergia made a one-man band recording with accordion for the first time, mixing in Rhodes electric piano, Moog synthesizer and a rhythm machine. That was 1985. This recording was inspired by the early memories of his first instrument, the accordion. After the break-up of Zula Band in 1992, he quit performing and ran Soukous Club for seven years with his partners Moges and Tamiru. Nowadays he's making his living as a self-employed taxi driver at Dulles International Airport while continuing to record his music and practice as often as possible. The reissue of this recording brings back a moment when Ethiopian music was shifting from acoustic-based performances to recordings using more and more synthesized elements. While the results of that shift have their critics Hailu Mergia's initial experiments with solo instrumental music based on Ethiopian folk and popular music captures a singular feeling dripping in ambiance and very human emotional energy.

One of the leading lights of Ethiopian music presents his first new material in an age on Lala Belu for Awesome Tapes From Africa - the label who were instrumental in showcasing his work to wider audiences with the compilation Hailu Mergia & His Classical Instrument: Shemonmuanaye in 2013, and later a reissue of reissue of his Tche Belew [1977] album. Comprising the virtuoso accordionist and keys player¡Çs first new material since those reissues triggered a worthy career resurgence, Lala Belu catches fire in all six parts with a vitally tough and expressive sound that feels like Mergia has thrown off the more genteel jazz vibes of early releases in favour of a fierce, freer jazz and funk flex to proceedings. The guy¡Çs gotta be knocking into his 70s now yet shows no sign of letting up here, sounding utterly alive and full of feels from the opening cut¡Çs switch from mellow sway to bustling jazz and blazing electric keys, thru the head-down funk chops of Addis Nat, to the swingeing organ lines and percolated percussion of Anchihoye Lene. He chills out beautifully well on the sublime solo piano piece Yefikir Engurguro, which sweetly recalls the magic of Emahoy Tsegue-Mariam Guebru, while Gum Gum sounds perhaps closest to his debonaire early recordings.

オリジナルは$4,000で取引されたエチオピア産ジャズの77年金字塔的傑作『Tche Belew』を残したことでも知られるレジェンド中のレジェンドによる最新作！エチオピークの重鎮Mulatu Astatkeとも仕事を共にした伝説的ジャズ・キーボード奏者のHailu Mergia。2016年に録音していた秘蔵ライブ・レコーディング音源『Pioneer Works Swing (Live)』が〈Awesome Tapes From Africa〉より堂々アナウンス。2016年7月1日、ブルックリンの由緒ある非営利文化センター〈Pioneer Works〉で行われた彼らの激しいライヴを美しく捉えています。エネルギッシュかつ遊び心たっぷりに、エチオピアの様々なレパートリーから、ハーモニーとリズムの面白さを次々と引き出した現代のエチオ・ジャズの新たなる金字塔！

オリジナルは$4,000で取引されたエチオピア産ジャズの77年金字塔的傑作『Tche Belew』を残したことでも知られるレジェンド中のレジェンドによる最新作！エチオピークの重鎮Mulatu Astatkeとも仕事を共にした伝説的ジャズ・キーボード奏者のHailu Mergia。2016年に録音していた秘蔵ライブ・レコーディング音源『Pioneer Works Swing (Live)』が〈Awesome Tapes From Africa〉より堂々アナウンス。2016年7月1日、ブルックリンの由緒ある非営利文化センター〈Pioneer Works〉で行われた彼らの激しいライヴを美しく捉えています。エネルギッシュかつ遊び心たっぷりに、エチオピアの様々なレパートリーから、ハーモニーとリズムの面白さを次々と引き出した現代のエチオ・ジャズの新たなる金字塔！

It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. From a young musician in the 60s starting out in Addis Ababa to the 70s golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with the reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world. With his 2018 critical breakthrough "Lala Belu" Mergia consolidated his legacy, producing the album on his own and connecting with listeners through his vision of modern Ethiopian music. Extensive touring after the record revealed an artist who is in no way stuck in the nostalgia for the “golden age” sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music “triumphantly in the present” in its Best 200 Albums of the 2010's list.

Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable—elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound.

Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70s outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro. An artist still reinventing his sound every night on stage during his marathon live sets, this 74-year-old icon refuses to make the same album twice. His creative process in the studio—starting with the core band, then after listening extensively over weeks and months adding more sounds and instruments—is as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music.

Follow-up to 2010’s acclaimed EP Addis-Abeba, Mercato is the debut album by Swiss band Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the Golden Age. Raphaël Anker, trumpet player from Geneva, one day decides to gather musicians for a live performance revisiting the golden age of Ethiopian music. It's 2007, and the experience is so memorable that the one shot happening becomes a band: Imperial Tiger Orchestra. Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, twisted pop…) the Orchestra tests the grounds with an EP and a 7" breaking the boundaries of genres followed by a trip to Addis-Abeba where they perform with local luminaries and learn about the large diversity of Ethiopian music. A life-changing experience which brings them back to the studio for their debut album: Mercato. Overseen with flair by Ethiopian music expert Jeoren Visse, Mercato is a mesmerizing re-interpretation of Ethiopian music's golden age mixed with the digitalized themes that appeared in the 80s and filtered through the eclectic influences of the Orchestra. It's a fascinating retro-futuristic piece of music, close yet totally different from the songs that inspired the band. It's progressive Ethiopian rock! Whether saluting Mahmoud Ahmed on "Lale Lale", re-interpretating the classic wedding theme "Shinet", or taking Martha Ashagani's "Zoma" to new heights, the Orchestra always does it with its unique vision while honoring the Ethiopian originals. Thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas, Mercato explores multiples paths and never loses its warm groove. A winter Mercato sure to bring fire to stages this summer!

There is perhaps no woman more cherished in modern Ethiopian history than Asnakech Worku. As a musician, actress, dancer and cultural icon, Asnakech inspired and challenged society for decades, until her death in 2011. From her beginnings as Ethiopia’s first theater actress in 1952 to her acclaimed film appearances to her days as a club owner-turned-master musician, Asnakech’s inimitable confidence and charm made her a household name. She earned endless accolades across the artistic spectrum.

She made seminal recordings of unforgettable original compositions, as well as legendary renditions of traditional songs, that became national staples. With a singular sense of style, glamour and sex appeal that sometimes stunned mainstream society, Asnakech wore clothes no one else wore and said things no one else said. Staid notions of how women should dress and behave didn’t apply to her. Battling a mentality that until the early 1950s had men wearing dresses to play female roles in the theater, Asnakech became a national treasure on her own terms.

Her family wasn’t pleased with Asnakech becoming an azmari—an itinerant praise musician who sings, often in bars, for tips—and didn’t bother her, especially after Emperor Haile Selassie I began to emphasize theater and music in society, officially legitimizing her career. Asnakech became an internationally-celebrated performer of Ethiopia’s ancient harp, the krar, making her one of the most visible female musicians of the 20th century. All this while leaving controversy, broken hearts and a changed cultural landscape in her wake.

In 1975, keyboardist and bandleader Hailu Mergia got a call from the owner of Misratch Music Shop to do a recording with Asnakech and he went for it. This recording is a nearly-forgotten artifact of the remarkable icon’s singular legacy, remastered and available outside Ethiopia for the first time. It also provides a rare glimpse into Mergia’s work as a arranger-sideman in the Addis Ababa music scene.

The Krar

The krar is one of the oldest and most iconic traditional instruments in Ethiopia and Eritrea. A lyre, or harp, with 6 strings attached to a cloth-wrapped wooden crossbar, the sound emits from a resonator bowl covered with animal skin. The instrument comes in a variety of sizes and has relatives in the Middle East and Mediterranean as well as other parts of East and Central Africa. Used for secular music, the krar is normally accompanied by at least one vocalist and plays monophonic melodic lines using the region's traditional pentatonic scales, called kignit. These characteristic scales form the basis of the sound listeners worldwide now recognize. They are also the names of well-known songs: tizita, bati, ambassel and anchi hoye lene, of which there are numerous recorded versions. The krar has been around for centuries, likely introduced to the Kingdom of Axum in Northern Ethiopia via the Nile River a little less than 2000 years ago.

Memories of Asnakech
by Hailu Mergia

Asnakech had a club uptown—in Dejach Wube area, a popular part, there were a bunch of clubs. It was the late 1950s in the Ethiopian calendar, so probably the mid-1960s. I saw her there for the first time, not in the theater. She used to perform for friends there, sometimes we stayed there after hours. She would play krar. Back then she was very young, haha. Whatever you would request, she would play, many traditional songs, solo. Sometimes some guys would come there and play with her.

Someone took me there just to have fun. I was not a known guy back then, she was a famous lady. So I introduced myself but I was just a fan. I knew her name but hadn’t seen her but I’d heard her music on the radio. She said, “Oh you’re a new guy, good for you,” the kind of supporting things she usually said to a young musician. After that, when I used to play in Zula club or next door to her club at Patrice Lumumba club (Acegedech Nightclub), she used to come and dance with her friends once in a while.

After so many years, in the mid 1970s, the owner of this music store contact me and he told me that he is planning to have a cassette with Asnakech. So I made a handshake deal and we started the recording.

I’m proud that I played with her, that we did this album. It’s nice to play with somebody you admire, to be able to say, I played with Asnakech when she was great. She was a very polite person, always talking good about other people. In particular, to me she was a very modern lady. If you’re not a dead person your heart is gonna beat, young or old, when you see that lady dressing, any kind of dress western dress or traditional dress. She was a modern lady, dressed in the latest designer dresses, more than anyone else back then. Oh! That lady was different. She was a dancer and an actress. At the same time she was very beautiful and everybody talked about her. She had a style when she smoked, the way she took the cigarette in her fingers, it was an art. Her hair was so beautiful, long hair. Asnakech? Forget it, man.

Some of the songs are traditional, some are her compositions. You can listen to songs like these at home with family, while sitting or reading, in the after-hours at the club, while you’re washing the dishes. When you’re driving, a bunch of people listen while driving. It depends what time when you want to listen. Some people they listen to this kind of love music when they have a good relationship, somebody passed away or somebody stopped dating each other and have emotional flashbacks to what happened in their lives. Sometimes I listen to this music while I sit by the fireplace and I take some whisky, during the holiday time for relaxation. You can listen to this music any time. Especially for lovers.

*On the occasion of the first anniversary of her passing, Asnakech's family and friends held a memorial. This is the text accompanying that event, composed by Asnakech's biographer, Getachew Debalke.

We would like to present our greetings. Please, be present with your spouse as we mark one year of grieving for the artist Asnakech Worku on September 6, 2015 E.C. [Ethiopian Calendar], at 12:30 in Kidst Selassie Cathedral church.
Address :- 6 kilo near Egypt Embassy
Short Biography
Ethiopia lost a great queen of art. Today marks one year since our loss of the famous and respectful artist who combines music and theatre for the first time. This day marks a year of deep grief. Yes, both of them lost Asnakech. They lost their biggest blessings. From now on she will not be there. But, her children will be with us forever. This is the short biography of this great artist.
Artist Asnakech Worku was born in 1926 E.C., in Addis Ababa, Gedam Sefer, near Sidst Kilo. She was only three years old at the time her mother passed away. Due to this, her godmother took her and raised her.
At that time getting education nearby was impossible. There was no other choice than spending time with religious clergymen. Due to this, Asnakech started to learn letters and she was able to finish the book of David.
Her biography tells that, starting from a young age, Asnakech grew up singing living with her godmother. Singing sad songs when she felt low, singing alone when she felt happy, and dancing when singing were her natural gifts. Memorizing songs was also one of her gifts.
Her hope was to start learning in the only school found nearby called Etege Menen girls’ school. After she tried hard to get in, she was asked to shave her head for a medical checkup. But she refused and didn’t start studying there.
She sang a song about the horrifying truth of migration. Asnakech got the admiration of German journalists.
On January 27, 2000, there was a ceremony for women in the arts. Asnakech was the only Ethiopian representative. She performed an amazing show using only one instrument, the krar. She got an award for that.
Asnakech Worku, the woman of love, the talented artist, the symbol of talent, has performed her plays in various countries. A few are stated below:
-“Aris," a play by a French director
-“Agote Banya,” a play at Alliance Française
-On a play called “Zetegn Fetena” et cetera…
In 1991, Asnakech received a lifetime achievement award from the media.
Asnakech used to dance to traditional music, she used to sing, she used to perform in plays, she used to dance to modern dance, and she was just gifted. Art is created by mankind. These harmonious and beautiful memories of Asnakech were created by her. Her beautiful works will be remembered forever.
Birth and death are God’s power. Mankind has only a right to live the short time given to him. Even when we are alive, we live on the verge of death. This kind, generous and talented artist Asnakech, was sick for a long time. She was battling death. Her generous friends, her co-actors, were also part of the battle. They were by her side for years. They were fighting with her. But today, by the will of God, they and Asnakech lost the battle.
On September 4, 2004 E.C., while receiving her treatment, the 78-year-old Asnakech passed away.
On September 5, 2004 E.C, her funeral was held on Kidst Sellasie Cathedral ye Arbegnoch mekane mekabr. We would like to give our condolences for her family, her friends, her co-actors and her fans.

Songs

A1. ጅንዬው Jinyew — A proud person, macho guy, always proud of himself. The kind of guy some women like.

A2. ቼ በለው Tche Belew — Tche Belew refers to making your horse or mule speed up, used for going into battle. Giddy-up! The scale is different from the other versions I’ve done. This is not a pentatonic scale, this is bati scale. It’s a patriotic song.

A3. አውቄው በነበር Awkew Beneber — If I had known him earlier. When he came to her, he was nice and then when she became closer to him he became a bad guy. I wish I had known he had this kind of character, is what she is saying.

B1. ባይኔ ላይ ይሄዳል Bayne Lay Yidal — I always see him walking around in my mind. She daydreams about this guy while she is sitting by herself.

B2. ምንጊዜም የኔ ነው Mingizem Yene New — He is mine forever.

C1. ተው በጊዜ ግባ Tew Begize Giba — It’s too late, don’t stay out too late, come home early. In the old days sometimes women would refer to their husband as a friend or brother or family member. So I think she is talking about her brother.

C2. ሣቅ ብለህ አስቀኝ Sak Bleh Askegn — Laugh and let me laugh. Say something to make me laugh, don’t be boring. She wants to hear the man say something to make her smile.

C3. አብዮተኛው ጀግና Abyotegnaw Jegna — The hero of the revolution. She is singing in appreciation of the heroes and fighters who protect the country’s borders. If she didn’t have this song, this cassette wouldn’t be released. Because at that time the government [Derg Regime] and the army were supposed to get some kind of feedback from musicians and listeners to make them feel special, to boost morale.

D1. ካንድ የረጋ ደግ ነው Kand Yerega Deg New — It’s good to stay with one person. In life, if you jump from one person to another, it is not as good.

D2. መች አልኩኝ ሌላ ሰው Mech Alkugn Lela Sew — When did I say I want another person? I want you, I don’t need another person. After we finished the whole recording it was only nine songs so the guy wanted to balance the tape and he probably recorded this song with her at a separate time. Or he could have picked it up from a previous session, I don’t recall now… It was a long time ago! 

The out-of-this-world recordings of Dilson de Souza, leading a kind of tropical chamber jazz on leaves from a ficus tree. Dilson was from Barra do Pirai, in the Brazilian countryside; moving to Rio as a young man, where he worked in construction. He recorded his first record in 1954, for RCA Victor. He travelled to Quito around 1957, soon hooking up with Benitez & Valencia, who introduced him to the CAIFE label. Dilson played the leaf open, resting on his tongue, hands free, with his mouth as the resonator. Though a leaf can also be played rolled or folded in half, this method allowed for more precision, a tethered brilliance. A picked ficus leaf stays fresh, crisp and clean-toned for around ten hours. He could play eight compositions, four at each end, before it was spent. Biluka plays trills and vibratos effortlessly, with utterly pure pitch, acrobatically sliding into notes and changing tone on the fly. In Manuco, he leads Los Caníbales into a mysterious landscape on a rope pulled from an Andean spaghetti western, and corrals and teases them into a dialogue. A leaf, a harp, a xylophone, and a rondador — joined in Bailando Me Despido (Dancing As I Say Goodbye) by a saucy organ, doing sloshed call-and-response. In Anacu de Mi Guambra, Biluka shows his full range of antics, hiccuping melodically over a set of magic tricks. His expressiveness was boundless. The eucalyptus leaf is popular among Aboriginal Australians. In China, they’ve played leaves for 10,000 years. In Cambodia, people play the slek, a leaf plucked from either the sakrom or the khnoung tree. But ain’t nobody like Biluka, ever. Astounding music.

Hardly anyone outside Ethiopia seems to know Hailu Mergia & The Walias Band “Tezeta” exists. Within Ethiopia this tape has been impossible to find for decades. That’s about to change with this release, which makes available this epochal recording on LP, CD and Digital formats for the first time. From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others. Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV. This Tezeta album is the band’s second recording, released in 1975. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu’s melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible. Profoundly engaging; it’s an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears. (text by Tessema Tadele)

Limited colored vinyl.This 1966 LP by Astatke (billed to Mulatu Astatke & His Ethiopian Quintet) isn't shaded by nearly as much African/Ethiopian influence as his later work, which was recorded between the late '60s and mid-'70s. As the title might lead you to believe, it is indeed more in the Latin soul-jazz bag than the later material, sometimes leaning toward the R&B-informed boogaloo sound of the mid-'60s. On his own compositions and arrangements (which comprise about half the LP), sometimes more exotic and African colors bubble closer to the surface, as on the eerie vibe parts he lays on 'Mascaram Setaba.'" -- Richie Unterberger, All Music Guide.