The “other African music” from Ethiopia, so different from the familiar rhythms of West Africa, will never fail to fascinate a first-time listener. It is played by the Asmari singer-poets, who wander through the huge country, preserving and spreading the musical culture.

The Asmaris play traditional instruments such as the massinko (one-stringed violin), the krar (six-stringed lyre) or the washint (simple flute). They accompany each other on traditional drums, but sometimes reach for the accordion or guitar. They also have a good command of the old poetic tradition of sam-ennawarq. Their songs are apparently about love, but subliminally they level serious criticism at the rulers and political or social conditions.

Ethiopian music has two sources. The first is the unique Ethiopian church music zema, that has been played for hour after hour in services since the fourth century. A large part of the liturgy is sung, and on religious occasions the begena, a large lyre also known as “David’s harp”, can be heard.
The other, no less important source, is the traditional folk music, that is extremely diverse. No wonder, with over 70 languages and over 200 dialects, in a peaceful coexistence of Christians with Moslems and supporters of natural religions. The oral tradition is full of songs of praise, fairytales and animal stories. The entire life cycle is embedded in music. Singing accompanies the work in the fields, but also births, weddings, feasts and deaths.

 

Two characters have had a formative influence on modern Ethiopian music: Mahmoud Ahmed and Aster Aweke. Ethiopian Star in the mid-1980s Mahmoud Ahmed surprised the European friends of African music with the Album “Ere Mela Mela”. It combines bluesy sax riffs with rolling rhythms and haunting lyrics to a style that is strongly reminiscent of soul music. This feeling has its origins in the traditional Ethiopian harmony, the Amharic pentatonic scale.
Even more popular is Aster Aweke. She is Ethiopia’s best known music star. After leaving her home country for political reasons, she has embarked on an international career, without forgetting her Ethiopian roots in her music. Both of them fill whole stadiums with their concerts and sell hundred thousands of cassettes.

Following the years of darkness and oppression (up to the revolution in 1991), Ethiopian musicians today enjoy the freedom to travel and listen to western or other African music. International youth culture, reggae, western pop and rock music, Zaire and Kenyan sounds are extremely popular and are absorbed into the domestic music.
Chachi, Alemayehu Eshete, Netsanet Mellesse, the Ethio Stars or the Abyssinia Band are only a few of the proponents of the new style, whilst the krar player and singer Seleshe Demassae is an example for the survival of the Asmari tradition. The friends of world music from outside wish to hear the special Ethiopian “feeling”, the young trendsetters of Addis Ababa prefer western style.
Will it be possible to reconcile the two tastes? In the opinion of Abiy Solomon, one of the new stars: “We don’t want to westernise ourselves, we only want to make music that is equally good. We are working hard to make the sound more varied and to modify the traditional arrangements so that they sound a little more modern.