| | Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar CD - Import
Asnaqetch Werqu first found fame as an actress and dancer, and became the first female actress in her country to be acknowledged as a star in the 1950s. However, she was also very much a musician, and her music -- which was always very distinctive -- was associated with a specifically Ethiopian tradition, that of Azmaris, or the artist caste, who improvised songs with their instrument, the krar. Perhaps unsurprisingly, artists (especially female ones) were looked down upon, making Werqu's life a very hard one -- and this she put into song. Her recordings are literally a record of her struggles against the prevailing establishment, to be seen as a moral person claiming a just place in society (which makes the whining of most Western singer/songwriters seem very irrelevant in comparison). She could be poignant or sarcastic, but every piece is from personal experience -- and she finally did achieve recognition. ~ Chris NicksonRolling Stone (4/1/04, p.92) - 4 stars out of 5 - "[S]pare, haunting music...' Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar Music Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar Songs Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar Music Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar Review
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Purchase Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar CD To buy, Click on price to add to cart | Ethiopiques, Vol. 11: Alemu Aga CD (2002) (Import)
Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar album
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Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar CD music
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The Ethiopiques series of world music keeps slowly widening its arc, and this time around it's come up with some very interesting vintage (circa 1972) material. ...
| | Europe Meets Ethiopia: Vol. 15: Jump To Addis CD (2003) (Import)
Ethiopiques, Vol. 16: Asnaqetch Werqu -- The Lady With The Krar music CDs
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The Ethiopiques series seems intent on becoming all things Ethiopian. This branches out, once again, from the classic vintage material that's been the hallmark of the albums, and marks a collaboration between four European jazz musicians -- all with conservatory training -- and Ethiopian musicians, most of whom work with the National Theater or Circus Ethiopia. It's the Ethiopian elements very much in the ascent here, with the Europeans doing a very good job of following, although they rarely seem to take the lead, letting the washint flute and messenqo fiddle push ahead. However, ...
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It's easy to wonder about the liner note proclamations that Tlahoun Gèssèssè is "the Voice of Ethiopia." If he's the man, why wait until Vol. 17 to dedicate a full disc of the exemplary Ethiopiques series to his '70s hits? It's not that Gèssèssè isn't a strong, expressive singer, but his voice is thinner than Mahmoud Ahmed's. That may boil down to a pop vs. roots soul/blues debate, since the arrangements here are very controlled and in the pocket. It sounds more like genuine Ethiopian pop music in the sense of well-crafted professionalism without many rough edges, so maybe Gèssèssè rates as "the Voice" by virtue of his ability to reach a mass audience. Another possibility could be that Gèssèssè latched onto his groove thing and worked it. Bookended by "Sego Mènor" and "Ras-Hen Betcha," at least half a dozen tunes here are peppy, uptempo Ethio-pop with answering horns, soul-style guitar comps, organ blankets, and Gèssèssè occasionally cutting loose but usually playing it cool. The ballads "Lantchi Biyé" ...
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