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Ethiopiques Volume 4: Ethio Jazz & Musique Instrumentale 1969-1974

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Various Artists - Buda / Ethiopiques

 
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Ethiopiques Volume 4: Ethio Jazz & Musique Instrumentale 1969-1974
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The bewitching sound of Ethiopian jazz

  • We Say...

    This one-of-a-kind set samples instrumental works by arranger Mulatu Astatqè, a key player in Addis' golden age of pop. Educated in music in London and New York, Astatqè returned to Addis with an awareness of American jazz and, equally importantly, Latin music. Jazz harmonies and arrangements applied to the dark modalities of Ethiopian traditional melodies result in the rebirth of cool as grand melancholy, and tunes sinister enough to animate the darkest of film noir nightmares. From "Yèkèrmo Sèw," with its echoes of Horace Silver, to the swinging 6/8 flute feature "Asmarina," and "Mètché Dershé" with its heavy, Latinesque piano vamp and lugubrious tenor sax, this volume is a treasure — 14 tracks filled with organ drones, wah-wah and fuzz-tone guitars, and some of the most inventive and memorable horn arrangements you'll ever hear.

  • They Say...

    To some, the term "Ethiopian jazz" might seem impossible; after all, it's a very American form. But what's truly surprising isn't the fact that these musicians play jazz so well, but the range of jazz they manage, from the George Benson-ish guitar workout of "Munaye" to the twisting sax of "Tezeta." Really, though, it's more Jimmy Smith than Duke Ellington in its aim (although Ellington is on the cover, on stage with Mulatu Astatke, the bandleader behind all these selections). The grooves often smoke rather than swing, with some fiery drumming, most notably on "Yekermo Sew," and throughout the guitar is very much to the fore as a rhythm instrument. Perhaps the most interesting cut, however, is "Yekatit," from 1974, which is Astatke's tribute to the burgeoning revolution which would oust Emperor Haile Sellassie. Some of these pieces, certainly "Dewel," has seen U.S. release before; the track appeared in 1972 on Mulatu of Ethiopia, which was Astatke's third American LP, showing that jazz aficionados, at least, had an appreciation for what he was achieving in the horn of Africa. Given that many of his musicians had graduated from police and military bands, they knew their instruments well, and had plenty of practice time, which shows in the often inventive solos that dot the tracks. Varied, occasionally lyrical, but interesting throughout, this shines a fabulous spotlight on a hidden corner of jazz.

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