Podcast appearances and mentions of francis falceto

Ethiopia was the first Christian nation in Africa, and the only African country never to be colonized. With ethnomusicologist Kay Kaufman Shelemay and Ethiopian music scholar and compiler Francis Falceto as guests, this Hip Deep program explores the role of the Ethiopian church and monarchy in building the country's unique brassy pop music. We sample the hot sounds of "swinging Addis" on the eve of the 1974 revolution. Produced by Banning Eyre in 2006. APWW #512

Join us on TNT this month as we celebrate the extraordinary life of Ethiopian nun and master pianist Emahoy Tsegue Maryam Guebrou, who passed away on March 26, 2023, at the age of 99. An accomplished pianist and composer - not to mention philanthropist and speaker of 7 languages(!) - your hosts Thanh and Tim uncover her fascinating story and dig into her 2023 Mississippi Records release, "Jerusalem."

Mancato in settembre a ottant'anni, il cantante etiopico Alemayehu Esheté è stato uno dei grandi protagonisti della cosiddetta "swinging Addis", la Addis Abeba degli anni fra i sessanta e i primi settanta. In un paese che per cultura guardava con sospetto tutto quello che non era etiopico, Esheté è stato considerato a scelta l'Elvis Presley o il James Brown della scena etiopica. E per quanto Esheté si sforzasse di lusingare padri e madri con i testi delle sue canzoni, finì per rappresentare il nemico pubblico numero uno per i genitori dei giovani della sua generazione, che nel nuovo beat etiopico di cui Esheté era uno dei massimi alfieri vedevano una cosa "da selvaggi". Ma a onor suo e della straordinaria capacità della musica etiopica moderna di allora di aprirsi al mondo senza però rinunciare ad una autonoma e spiccata identità, bisogna riconoscere che proprio la produzione di Esheté, che negli anni sessanta fu uno dei musicisti più appassionatamente e apertamente esterofili del suo paese, ci appare oggi, oltre che tra le più forti, una delle più inconfondibilmente e visceralmente etiopiche. Dopo la fine della dittatura militare del Derg, con gli anni novanta Esheté conobbe poi, per merito del produttore della collana éthiopiques Francis Falceto, anche una notorietà internazionale.

Mancato in settembre a ottant'anni, il cantante etiopico Alemayehu Esheté è stato uno dei grandi protagonisti della cosiddetta "swinging Addis", la Addis Abeba degli anni fra i sessanta e i primi settanta. In un paese che per cultura guardava con sospetto tutto quello che non era etiopico, Esheté è stato considerato a scelta l'Elvis Presley o il James Brown della scena etiopica. E per quanto Esheté si sforzasse di lusingare padri e madri con i testi delle sue canzoni, finì per rappresentare il nemico pubblico numero uno per i genitori dei giovani della sua generazione, che nel nuovo beat etiopico di cui Esheté era uno dei massimi alfieri vedevano una cosa "da selvaggi". Ma a onor suo e della straordinaria capacità della musica etiopica moderna di allora di aprirsi al mondo senza però rinunciare ad una autonoma e spiccata identità, bisogna riconoscere che proprio la produzione di Esheté, che negli anni sessanta fu uno dei musicisti più appassionatamente e apertamente esterofili del suo paese, ci appare oggi, oltre che tra le più forti, una delle più inconfondibilmente e visceralmente etiopiche. Dopo la fine della dittatura militare del Derg, con gli anni novanta Esheté conobbe poi, per merito del produttore della collana éthiopiques Francis Falceto, anche una notorietà internazionale.

Alemayehu Eshèté nous a quittés. Nous lui rendons hommage en rediffusant une sélection musicale que nous avait confiée en mai dernier Francis Falceto (Buda Musique), auteur des compilations "Éthiopiques" pour un mix qui faisait la part belle aux chansons de l'Elvis éthiopien.La suite de ce mix est à retrouver en podcast ici !PlaylistNewen Afrobeat - ChaltumayMama Sissoko - Soleil De MinuitLee Scratch Perry & The Dub Syndicate - JungleUsain Bolt - Days Like TheseLila Iké - Batty Riders ShortsJo Mersa Marley & Black-Am-I - No Way OutLokua Kanza - Kanga MisoToto Bona Lokua - Ma MamaLokua Kanza - Wapi Yo (Live à Nova en 1995)Lokua Kanza - Tu esLokua Kanza feat. Wasis Diop - SamawayLokua Kanza - Melopyg (Live à Radio Nova)Lokua Kanza - Love is a Power (Live à Radio Nova)Voltface feat. Fabert Thénard - TitineHypnotic Brass Ensemble - Live au Paris Jazz FestivalMahotella Queens - Mab'amantsentse Mahotella Queens (Live A Capella à Radio Nova en 2000)L'“Ethiomix” en hommage à Amha Eshèté & Alèmayèhu EshètéAlèmayèhu Eshèté – Addis Abèba bété Mahmoud Ahmed – Kulun mankwalèsh Sèyfu Yohannès – Mèla mèla Tèshomè Meteku- Yèzèmèd yèbaed Alèmayèhu Eshèté – Mèkèyèrshin salawqTèwèldè Rèddat – Ab teqay qèrebi Mulatu – Dèwèl Ayaléw Mesfin – Hasabé See acast.com/privacy for privacy and opt-out information.

Un vent d'ailleursBintou Simporé rend honneur à une légende de la guitare africaine : Mama Sissoko, chef d'orchestre du Super Biton de Segou, en ce moment célébré dans un ouvrage par la photographe Françoise Huguier et par l'Institut français du Mali à Bamako avec un concert, une expo et un livre.MusikactuJudah Roger nous donne le pouls de la planète reggae. Au programme : un hommage au producteur légendaire Lee Perry par son fils Omar Perry et les nouveautés de Jo Mersa Marley, Lila Iké, et le 1er album de… Usain Bolt ?!https://www.youtube.com/watch?v=GXnlkGzKRGs&ab_channel=LilaIkeVEVOLe Live de Néo Géo Nova : Lokua KanzaA l'occasion de la sortie de son nouvel album “Moko” (Universal Music Africa), la star congolaise Lokua Kanza est passée dans les studios de Nova. Il nous parle de ce disque enregistré dans 10 pays différents et interprété en lingala et dans de multiples langues africaines, sans oublier l'anglais et le français. Avec sa guitare et accompagné des choristes Roselyne Paule Belinga Ndo et Marlene Donkeng Gompo et du guitariste Evens Mabanza, Lokua chante avec toute son âme ! Le coup de coeur de BintouCette semaine, le coup de cœur de Bintou Simporé nous emmène auMusée des Arts Décoratifs de Paris à l'expo “Bonne Arrivée”, qui accueillait les collections de la Maison Château Rouge et d'autres créateurs valorisant les métiers d'arts africains, dans le cadre de Saison Africa 2020. 1981-2021 : 40 ans de radio nova, 40 ans de sono mondialeNova et la sono mondiale, ça dure depuis 40 ans. L'occasion pour Néo Géo Nova de fouiller dans ses souvenirs radiophoniques, et d'écouter lesMahotella Queens avec la regrettée Nobesuthu Gertrude Mbadu, en live a cappella dans les studios de Nova en 2000. Accompagnées par Christian Mousset, alors directeur du festival Musiques Métisses d'Angoulême et créateur du label indigo, elles présentaient l'album “Sebai bai “. Ici la version originale, Kazet, connue en France à travers la reprise de Lizzy Mercier Descloux , “Mais où sont passées les gazelles ?”.https://www.youtube.com/watch?v=HR7UbvhVT8g&ab_channel=GalloMusicAfricaWorldmix : ré-écouter le Worldmix éthiopien de Francis Falceto en hommage à Alemayehu EshètéAlemayehu Eshèté nous a quittés. Nous lui rendons hommage en rediffusant une sélection musicale que nous avait... See acast.com/privacy for privacy and opt-out information.

Un Worldmix éthiopien en hommage au producteur mythique Amha Eshèté disparu récemment.Installez-vous dans notre cabaret éthiopien, le temps d'un mix dansant qui vous portera, par la musique, au coeur des fécondes années du “Swinging Addis “ que Francis Falceto, producteur, journaliste, musicologue a su nous faire découvrir au fil des compilations “Ethiopiques” sur le label Buda Musique ces vingt-trois dernières années. Jeudi 29 avril disparaissait un producteur intrépide, Amha Eshèté, grâce auquel de nombreux musiciens ont pu s'exprimer et continuent de susciter la plus grande admiration de la part d'un public issu du monde entier et des artistes qui s'inspirent, apprennent et reprennent les modes et les secrets des arrangements de ces musiques. Benoît Thuault, notre réalisateur, fan de la première heure de la collection “Ethiopiques” nous mixe les sélections effectuées par Francis Falceto pour ce Worldmix dédié à Amha Eshèté.En visuel ci-dessus, le neuvième Ethiopiques dédiée à Alèmayèhu Eshèté.PlaylistAfrican Corporation ft. Saleeh - LovePamelo Mounk'A - L'Argent Appelle L'ArgentAltin Gun - Bulunur MuMahotella Queens - Asambeni BafanaLa Fine Equipe - Happy End L'afrobrunch musical “Ethiomix” Alèmayèhu Eshèté - Addis Abèba bété Mahmoud Ahmed - Kulun mankwalèsh Sèyfu Yohannès - Mèla mèla Tèshomè Meteku- Yèzèmèd yèbaed Alèmayèhu Eshèté - Mèkèyèrshin salawqTèwèldè Rèddat - Ab teqay qèrebi Mulatu - Dèwèl Ayaléw Mesfin - Hasabé See acast.com/privacy for privacy and opt-out information.

Sous titre : Un #Worldmix éthiopien en hommage au producteur mythique Amha Eshèté disparu récemment.Installez-vous dans notre cabaret éthiopien, le temps d'un mix planant qui vous portera, par la musique, au coeur des fécondes années du “Swinging Addis “ que Francis Falceto, producteur, journaliste, musicologue a su nous faire découvrir au fil des compilations “Ethiopiques” sur le label Buda Musique ces vingt-trois dernières années. Jeudi 29 avril disparaissait un producteur intrépide, Amha Eshèté, grâce auquel de nombreux musiciens ont pu s'exprimer et continuent de susciter la plus grande admiration de la part d'un public issu du monde entier et des artistes qui s'inspirent, apprennent et reprennent les modes et les secrets des arrangements de ces musiques. Benoît Thuault, notre réalisateur, fan de la première heure de la collection “Ethiopiques” nous mixe les sélections effectuées par Francis Falceto pour ce Worldmix dédié à Amha Eshèté.PlaylistSababa 5 - NasnusaSeu Jorge - Mania De Peitao Degiheugi - Nuday Orchestra Baobab - SeyMykki Blanco - Free RideMaravillas de Mali - Rendez-vous chez FatimataCesaria Evora - Sangue De BeironaDont l'EthiomixAlèmayèhu Eshèté - AltèlèyèshegnemTlahoun Gèssèssè - SemaTsehaytu Bèraki - Mèdjèmèriya feqrey Mulatu - Mètché dershé Muluqèn Mèllèssè - Hédètch alu Girma Bèyènè - Ené nègn bay manèsh Menelik Wèsnatchèw - Tchèrèqa Alémayéhu Eshèté -Timarkyalèsh See acast.com/privacy for privacy and opt-out information.

This week's Lauren leans in and makes a true Lauren recommendation. Nina's in thrall to primal astrology (blame Steven Yeun) and switches up her recommendation pattern by giving Lauren a musical offering. A few notes: Paris, Texas can be watched on the Criterion Channel : https://www.criterionchannel.com/paris-texas Ethiopiques, Vol 4: Ethio Jazz 1969-1974 on Spotify https://open.spotify.com/album/5VKvVk4gaPAJyXjof8NnzX?si=0a5Z6xIwSfW_DHVW7W3rIg Interview with Mulatu Astatke: Video: https://www.youtube.com/watch?v=lCgdUD9gdPE Transcript: https://www.redbullmusicacademy.com/lectures/mulatu-astatke-ethiopian-knight Interview with Francis Falceto on NPR: https://www.npr.org/templates/story/story.php?storyId=5560216 Playlists of music from Italian exploitation/detective movies: Beretta 70: Roaring Themes from Thrilling Italian Police Films: https://open.spotify.com/playlist/1g6qZyfUzMZT1GGoOGJFVp?si=ce_h3AAhSoe-emV66AYIEQ A crisis is currently unfolding in the Tigray region of Ethiopia. Learn more at this link: https://www.doctorswithoutborders.org/what-we-do/news-stories/news/widespread-destruction-health-facilities-ethiopias-tigray-region

Admas, a quartet of young Ethiopian musicians living in exile in Washington DC, had a ball recording an album of synth-heavy, funked up versions of Ethiopian classics. 'Sons of Ethiopia ' was soon forgotten but became cult among fans of ethiojazz. Now reissued by Frederiksberg Records, it reflects happier times from a generation that "just escaped" the worst of the Derg. Some records are far more than the sum of their parts, and Sons of Ethiopia is one such. The seven tracks were recorded in 1984 by the band Admas: Henock Temesgen, Abegasu Shiota, Tewodros “Teddy” Aklilu and Yousef Tesfaye. Like so many Ethiopian expats in the U.S. at the time, the four young men had fled the Derg: the military junta that deposed Emperor Haile Selassie in 1974. As the White Terror gave way to the Red Terror, over a million people died in the violence. Aklilu, the band’s keyboard player, left Addis in 1977, aged 15, just before the worst of the Red Terror began. “It was so sad, kids killed each other,” he told RFI on the line from Addis. “I went to the U.S. and basically closed my ears for the next two or three years.” Aklilu closed his ears to the horror, but opened them to exciting new music. When bass player Henock Temesgen, an old school friend, arrived in Washington DC in 1980 they began playing together. “It was a very dark time but we found our cocoon, our own friends, playing in each other’s houses. We tried to create our own group, our own happy times,” said Temesgen. The need to experiment The two friends played in a band called Gasha and took up residency at the Red Sea, a lively Ethiopian restaurant in Washington. They would open for big Ethiopian names like Aster Aweke, playing instrumentals to audiences of expats, many of whom had lost friends and family in the civil war. While they enjoyed traditional Ethiopian music, they immersed themselves in the sounds of their new home with its go go funk, jazz, highlife, samba and roots reggae. Brazilian jazz fusion band Azymuth, The Crusaders and Spyro Gyra were big influences, they said. “In DC you got to hear a lot more of what the world has to offer, than in Ethiopia, and it’s very natural that when you hear something you want to experiment with it,” Aklilu explained. What’s more, there were new tools like Moog keyboards, synthesisers and electric guitars to play with. Joined by drummer Yousef Tesfaye and multi-instrumentalist Abegasu Shiota, the musicians expressed their more experimental side under the new name of Admas. “Abagasu liked to work with computers, he had a four track very basic recorder and started playing with it, said it would be nice to record something,” Temesgen said. They scraped the funds together to record seven tracks and had 1,000 copies pressed. They sold a few, paid off their debts, but didn’t make any money. “We didn’t have any business sense,” Aklilu laughed. “We still don’t!” Re-shaping songs from happier times They recorded instrumental, high-tech versions of songs largely from “the golden era, the good old days, Ethiopian music from happier times” Temesgen explained. “The experimentation was not in the melody but in the harmonisation and rhythm,” said Aklilu. They did “a reggae-ish version” of Wed Enate, put samba rhythms into Samba Shegitu and paid tribute to Ghanaian highlife on Bahta’s Highlife although, as Aklilu admitted, it owes more to Congolese soukous. On Tez Alegn Yetintu, the band drew out its melancholic blues feeling. “It’s a popular song and we played it in half time, so for a lot of people the melody would be very slow. But we played it like a really melancholic blues song.” The age group that just escaped Spurred on by the optimism of their youth, Admas bent some of these melancholic old melodies into new shapes. “I think the music you can hear on the album is our experience of America basically, it was more hopeful than sad,” said Aklilu. “And also our personalities come through the music,” Temesgen continued. “During that time our personalities were optimistic and hopeful.” “We were not damaged by the revolution, we escaped, we were lucky. And I think the album might reflect that age group that just escaped.” Still fresh today The men moved on, went their separate ways and forgot about the album. Then decades later, Aklilu was contacted by Andreas Vingaard, founder of NY-based Frederiksberg Records. A big fan of Francis Falceto’s Ethiopiques compilations, Vingaard had stumbled on Sons of Ethiopia and wanted to reissue the record. “When I heard Admas for the first time, it sounded very different from any other Ethiopian music I had heard,” he told RFI. “It's clearly Ethiopian, but it's different and familiar at the same time. It's incredible to me that so many years later it still has a real freshness to it.” The men were surprised the album had generated new interest. “We didn’t know but a lot of people have been collecting it and liked it; it was being sold for a lot of money on eBay. Somebody said the album had a cult following,” Aklilu recalled. “It is great music,” Temesgen admitted, but “I didn’t think people outside the Ethiopian community would know about the way I felt.” “It will be a surprise for this generation I think,” said Aklilu. The beat goes on in Addis   Three of the band members have made successful careers in music. Aklilu now works on music research projects and sometimes tours with Ethiopian pop star Teddy Afro, Temesgen has become a prominent music educator and Shiota is one of the country’s top recording engineers. They’ve played together and don’t rule out releasing another Admas album one day. The music scene in Ethiopia is “very vibrant” the Admas duo said, with lots of young bands playing in a range of genres: ethio-jazz, pop music and traditional. But this promising scene is hamstrung by heavy import taxes of up to 300 percent on musical instruments, which are deemed luxury items. “It’s killing the music here, it’s really damaging us,” regretted Aklilu. “Musicians can’t afford instruments; it’s one thing the government needs to change so music can grow in this country.” Sons of Ethiopia, on vinyl and cd, complete with detailed liner notes, is available here.   

Admas, a quartet of young Ethiopian musicians living in exile in Washington DC, had a ball recording an album of synth-heavy, funked up versions of Ethiopian classics. 'Sons of Ethiopia ' was soon forgotten but became cult among fans of ethiojazz. Now reissued by Frederiksberg Records, it reflects happier times from a generation that "just escaped" the worst of the Derg. Some records are far more than the sum of their parts, and Sons of Ethiopia is one such. The seven tracks were recorded in 1984 by the band Admas: Henock Temesgen, Abegasu Shiota, Tewodros “Teddy” Aklilu and Yousef Tesfaye. Like so many Ethiopian expats in the U.S. at the time, the four young men had fled the Derg: the military junta that deposed Emperor Haile Selassie in 1974. As the White Terror gave way to the Red Terror, over a million people died in the violence. Aklilu, the band's keyboard player, left Addis in 1977, aged 15, just before the worst of the Red Terror began. “It was so sad, kids killed each other,” he told RFI on the line from Addis. “I went to the U.S. and basically closed my ears for the next two or three years.” Aklilu closed his ears to the horror, but opened them to exciting new music. When bass player Henock Temesgen, an old school friend, arrived in Washington DC in 1980 they began playing together. “It was a very dark time but we found our cocoon, our own friends, playing in each other's houses. We tried to create our own group, our own happy times,” said Temesgen. The need to experiment The two friends played in a band called Gasha and took up residency at the Red Sea, a lively Ethiopian restaurant in Washington. They would open for big Ethiopian names like Aster Aweke, playing instrumentals to audiences of expats, many of whom had lost friends and family in the civil war. While they enjoyed traditional Ethiopian music, they immersed themselves in the sounds of their new home with its go go funk, jazz, highlife, samba and roots reggae. Brazilian jazz fusion band Azymuth, The Crusaders and Spyro Gyra were big influences, they said. “In DC you got to hear a lot more of what the world has to offer, than in Ethiopia, and it's very natural that when you hear something you want to experiment with it,” Aklilu explained. What's more, there were new tools like Moog keyboards, synthesisers and electric guitars to play with. Joined by drummer Yousef Tesfaye and multi-instrumentalist Abegasu Shiota, the musicians expressed their more experimental side under the new name of Admas. “Abagasu liked to work with computers, he had a four track very basic recorder and started playing with it, said it would be nice to record something,” Temesgen said. They scraped the funds together to record seven tracks and had 1,000 copies pressed. They sold a few, paid off their debts, but didn't make any money. “We didn't have any business sense,” Aklilu laughed. “We still don't!” Re-shaping songs from happier times They recorded instrumental, high-tech versions of songs largely from “the golden era, the good old days, Ethiopian music from happier times” Temesgen explained. “The experimentation was not in the melody but in the harmonisation and rhythm,” said Aklilu. They did “a reggae-ish version” of Wed Enate, put samba rhythms into Samba Shegitu and paid tribute to Ghanaian highlife on Bahta's Highlife although, as Aklilu admitted, it owes more to Congolese soukous. On Tez Alegn Yetintu, the band drew out its melancholic blues feeling. “It's a popular song and we played it in half time, so for a lot of people the melody would be very slow. But we played it like a really melancholic blues song.” The age group that just escaped Spurred on by the optimism of their youth, Admas bent some of these melancholic old melodies into new shapes. “I think the music you can hear on the album is our experience of America basically, it was more hopeful than sad,” said Aklilu. “And also our personalities come through the music,” Temesgen continued. “During that time our personalities were optimistic and hopeful.” “We were not damaged by the revolution, we escaped, we were lucky. And I think the album might reflect that age group that just escaped.” Still fresh today The men moved on, went their separate ways and forgot about the album. Then decades later, Aklilu was contacted by Andreas Vingaard, founder of NY-based Frederiksberg Records. A big fan of Francis Falceto's Ethiopiques compilations, Vingaard had stumbled on Sons of Ethiopia and wanted to reissue the record. “When I heard Admas for the first time, it sounded very different from any other Ethiopian music I had heard,” he told RFI. “It's clearly Ethiopian, but it's different and familiar at the same time. It's incredible to me that so many years later it still has a real freshness to it.” The men were surprised the album had generated new interest. “We didn't know but a lot of people have been collecting it and liked it; it was being sold for a lot of money on eBay. Somebody said the album had a cult following,” Aklilu recalled. “It is great music,” Temesgen admitted, but “I didn't think people outside the Ethiopian community would know about the way I felt.” “It will be a surprise for this generation I think,” said Aklilu. The beat goes on in Addis   Three of the band members have made successful careers in music. Aklilu now works on music research projects and sometimes tours with Ethiopian pop star Teddy Afro, Temesgen has become a prominent music educator and Shiota is one of the country's top recording engineers. They've played together and don't rule out releasing another Admas album one day. The music scene in Ethiopia is “very vibrant” the Admas duo said, with lots of young bands playing in a range of genres: ethio-jazz, pop music and traditional. But this promising scene is hamstrung by heavy import taxes of up to 300 percent on musical instruments, which are deemed luxury items. “It's killing the music here, it's really damaging us,” regretted Aklilu. “Musicians can't afford instruments; it's one thing the government needs to change so music can grow in this country.” Sons of Ethiopia, on vinyl and cd, complete with detailed liner notes, is available here.   

Les Francofolies de La Rochelle et Réseau Canopé, dans le cadre du PREAC Chanson Francophone et Musiques actuelles, ont invité Francis Falceto, spécialiste en musique éthiopienne. Son expertise et sa vision historique permet une meilleure appréhension du titre « Ma Gueule » de Camélia Jordana, proposé en ressource éducative des Enfants de la Zique pour 2019. De son origine à son métissage, de ses pérégrinations à son empreinte locale, la musique éthiopienne influence depuis plusieurs décennies aussi bien le jazz, la pop que la variété. Un voyage musical présenté par Julien Bouvard, rédacteur en chef des Enfants de la Zique. Ce podcast est soutenu par le rectorat de Poitiers, La DRAC Nouvelle Aquitaine et La SACEM. + d'infos sur Francos Éduc : cliquez ici 

Proxima Estacion avait eu la chance de recevoir Arat Kilo pour la sortie de leur premier album Night in Abyssinia en 2011. Huit ans plus tard, on retrouve avec plaisir ces musiciens, happés par les sonorités des 70’ d’Addis-Abeba mises en lumières par Francis Falceto et ses Ethiopiques.  Machine à Groove, Arat Kilo poursuit son voyage musical sans frontières sans jamais quitter l'esprit de l'Ethiopie.Pour« Visions of Selam » leur 4e album, ils invitent la diva malienne Mamani Keita et le slameur américain Mike Ladd. Une réussite. Playlist du 21 janvier 2019 : titre - artiste - album - label Toulo - Arat Kilo - Vision of Selam - Accord croisés Lancinant - Arat Kilo - Nouvelle fleur -  Eklektik Dia Barani - Arat Kilo - Vision of Selam - Accord croisés Seeds - Arat Kilo - Vision of Selam - Accord croisés Mestefeker - - Arat Kilo - Nouvelle fleur -  Eklektik Dou Coula - Arat Kilo -  Vision of Selam - Accord croisés Chaos Embbed - Arat Kilo - Vision of Selam - Accord croisés Gren Promenné - The Bongo Hop - Santigarona Pt2 - Underdog records Stepping Out - Stepping Out - Wanted Alive Sens interdit - Vaudou Game - Otodi - Hot Casa record When a was a lad - Donna Samiou - Music from Greece - Caprice All ashore - Punch Brothers - All Ashore - None such Le temps - Naïssam Jalal - Quest of the invisible - Les Couleurs du son Lo barcot es de papier - Laurent Cavalier - Mon Ombra e ieu - Sirventes Yumeh  - Kengo Saïto - Japanistan - Lokanga Tomorow - Anne paceo - Bright Shadow -  Laborie Jazz Alice - Putchota -Raiz Di Djarfogo - Ocora Oki Sentimento caba - Helios Batalha feat Pex - Golpe de Stado    

Möt Etiopiens moderna musik i tre delar, med anledning av fredsavtalet tidigare i år 2018 mellan Etiopien och Eritrea. Här i del två handlar det om "Swinging Addis". "Swinging Addis" var en etiopisk motsvarighet till "Swinging London" på 60-talet, och en verklig musikalisk guldgruva. Det upptäckte bland andra den franske producenten Francis Falceto i mitten av 80-talet. Han blev knockad av all musik han fann på raspiga LP-skivor och kassettband i Etiopiens huvudstad Addis Abeba och bestämde sig för att ge ut musiken. Resultatet blev den succéartade skivserien Etiopiques, bestående av 28 olika skivor från 60- och 70-talen.   I programmet träffar vi också en av de främsta artisterna från "Swinging Addis"-epoken - Alemayehu Eshete, som kallades "The James Brown of Etiopia". Programmet är en tidlös repris från den 7 april 2013 med titeln "Swinging Addis guldålder - Musikresa Etiopien del 2" och den 16 juli 2017 då programmet som nu hette "Det svängiga Etiopien del 2".   En P2 Dokumentär av Åsa Veghed.

Möt Etiopiens moderna musik i tre delar, med anledning av fredsavtalet tidigare i år 2018 mellan Etiopien och Eritrea. Här i del två handlar det om "Swinging Addis". Lyssna på alla avsnitt i Sveriges Radio Play. "Swinging Addis" var en etiopisk motsvarighet till "Swinging London" på 60-talet, och en verklig musikalisk guldgruva. Det upptäckte bland andra den franske producenten Francis Falceto i mitten av 80-talet. Han blev knockad av all musik han fann på raspiga LP-skivor och kassettband i Etiopiens huvudstad Addis Abeba och bestämde sig för att ge ut musiken. Resultatet blev den succéartade skivserien Etiopiques, bestående av 28 olika skivor från 60- och 70-talen.  I programmet träffar vi också en av de främsta artisterna från "Swinging Addis"-epoken - Alemayehu Eshete, som kallades "The James Brown of Etiopia". Programmet är en tidlös repris från den 7 april 2013 med titeln "Swinging Addis guldålder - Musikresa Etiopien del 2" och den 16 juli 2017 då programmet som nu hette "Det svängiga Etiopien del 2".  En P2 Dokumentär av Åsa Veghed.

Ethiopia was the first Christian nation in Africa, and the only African country never to be colonized. With ethnomusicologist Kay Kaufman Shelemay and Ethiopian music scholar and compiler Francis Falceto as guests, this Hip Deep program explores the role of the Ethiopian church and monarchy in building the country's unique brassy pop music. We sample the hot sounds of "swinging Addis" on the eve of the 1974 revolution. Produced by Banning Eyre. Follow Afropop Worldwide on Facebook at www.facebook.com/afropop, on Instagram @afropopworldwide and on Twitter @afropopww. Subscribe to the Afropop Worldwide newsletter at www.afropop.org/newsletter/ APWW PGM #512 [Distributed 12/29/2016]

 - Precis som det fanns ett Swinging London på 60-talet, fanns ett Swinging Addis med fantastisk musik, säger musikjournalisten Åsa Veghed i hennes serie om Etiopiens populärmusik. Swinging Addis blev inte alls lika känt i väst som Swinging London - då. Men det var lika mycket en musikalisk guldgruva. Det upptäckte den franske producenten Francis Falceto i mitten på 80-talet. Han blev knockad av all musik han fann på raspiga LP-skivor och kassettband i Etiopiens huvudstad Addis Abeba och bestämde sig för att ge ut musiken. Resultatet, den succéartade skivserien Etiopiques. I programmet får vi också träffa en av de häftigaste artisterna från den här tiden - Etiopiens James Brown - Alemayeu Eshete. Musikresa Etiopien - en P2 Dokumentärserie av Åsa Veghed