Swing State: Jazz-Mad Ethiopia Rejoices at a Musical Revival

By Alex Perry Walking into the jazzamba lounge in Addis Ababa as it readies for a Friday night is like stumbling into a gig by an Ethiopian Buena Vista Social Club. The venue is hung with low-lit golden chandeliers, candles dot the tables, the barman is flirting with the waitresses, and on stage, running through [...]

By Alex Perry

Walking into the jazzamba lounge in Addis Ababa as it readies for a Friday night is like stumbling into a gig by an Ethiopian Buena Vista Social Club. The venue is hung with low-lit golden chandeliers, candles dot the tables, the barman is flirting with the waitresses, and on stage, running through its discordant but not unappealing set, is a jazz band comprising seven musicians: a drummer, percussionist, guitarist, bassist, keyboard player and, sitting on stools out front, an elderly mandolin player and an equally aged singer.

My host, club co-owner Samuel Gezahegn, snaps his fingers for fresh beers and indicates I should sit. “The singer is Girma Negash, a legend from the old days,” says Gezahegn. “He drives a cab today. Can you imagine?” Gezahegn points to the mandolin player. “Ayele Mamo: the only guy in Ethiopia who plays mandolin, and he’s been playing 52 years.” The band, I learn, is the Addis Acoustic Project. And just when I think this can’t get any cooler, it does: midsong, Negash steps forward, microphone in hand, and points and smiles at me like Tony Bennett.

Africa might worship hip-hop, but Addis digs jazz — and has done so since it was first introduced in the 1920s by the imperial court. In the 1960s, Addis was jumping: Duke Ellington gigged there and the city had its own sound, Ethiojazz, a fusion of jazz and Ethiopian folk pioneered by percussionist Mulatu Astatke.
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Swing State: Jazz-Mad Ethiopia Rejoices at a Musical Revival

By Alex Perry Walking into the jazzamba lounge in Addis Ababa as it readies for a Friday night is like stumbling into a gig by an Ethiopian Buena Vista Social Club. The venue is hung with low-lit golden chandeliers, candles dot the tables, the barman is flirting with the waitresses, and on stage, running through [...]

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By Alex Perry

Walking into the jazzamba lounge in Addis Ababa as it readies for a Friday night is like stumbling into a gig by an Ethiopian Buena Vista Social Club. The venue is hung with low-lit golden chandeliers, candles dot the tables, the barman is flirting with the waitresses, and on stage, running through its discordant but not unappealing set, is a jazz band comprising seven musicians: a drummer, percussionist, guitarist, bassist, keyboard player and, sitting on stools out front, an elderly mandolin player and an equally aged singer.

My host, club co-owner Samuel Gezahegn, snaps his fingers for fresh beers and indicates I should sit. “The singer is Girma Negash, a legend from the old days,” says Gezahegn. “He drives a cab today. Can you imagine?” Gezahegn points to the mandolin player. “Ayele Mamo: the only guy in Ethiopia who plays mandolin, and he’s been playing 52 years.” The band, I learn, is the Addis Acoustic Project. And just when I think this can’t get any cooler, it does: midsong, Negash steps forward, microphone in hand, and points and smiles at me like Tony Bennett.

Africa might worship hip-hop, but Addis digs jazz — and has done so since it was first introduced in the 1920s by the imperial court. In the 1960s, Addis was jumping: Duke Ellington gigged there and the city had its own sound, Ethiojazz, a fusion of jazz and Ethiopian folk pioneered by percussionist Mulatu Astatke.
To read more here

No comments yet... Be the first to leave a reply!

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Bad Behavior has blocked 3986 access attempts in the last 7 days.