Abyssinia Business Network /ABN/ Special Edition 2020

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Father of Vocalists Ali Abdela Keifa

Special

Edition

/Ali Tango/

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Recognizing Legends

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Gone are those days when we used to go to music shops to buy newly released music albums recorded by very few music recorders mainly based in the capital Addis Ababa.

The most popular music shops that had been engaged in recording and distributing albums in the 70’s, 80’s and 90’s included Tango Music Shops of Keifa Records, Electra, Ambassel, Ethio, Genet, and Harambe music shops, among others.

The role of these recorders in the country’s music development had undoubtedly been very significant; many vocalists who had gone through lots of ups and downs to appear before the public with their own artistic pieces still extend their appreciation, recognition and gratitude to those recorders.

Ali Abdela Keifa aka Ali Tango is amongst these recorders who spent most of their lives unleashing the potential of young and talented Ethiopian vocalists.

This time around it has become a promising culture to recognize and acknowledge heroes and heroines who have contributed a lot to various socio-economic changes throughout the country.

Indeed, good deeds and kindness pay back; Ali Tango is now a living witness to learn that people can reap what they sow; Ethiopia has got many legends in all walks of life; they need to be remembered and honored for their longstanding contribution to societal development.

As we are recognizing and acknowledging Ali Abdela Keifa we need also to extend our deepest gratitude to those friends, relatives and former colleagues of Ali who have dedicated their precious time and energy to successfully accomplish “You Deserve!” recognition event.

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

CONTENTS

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Ali Tango: Father of Vocalists

One of the popular music recorders in the heart of the capital Addis Ababa was Keifa Records of Ali Abdela Keifa aka Ali Tango who had helped several Ethiopian young and talented vocalists unleash their potential. Ali had produced LPs and cassettes of famous singers like Tilahun Gessesse, Muluken Melesse, Hirut Bekele, Bizunesh Bekele, Ali Bira, Getachew Kassa, Getachew Gadissa and Aselefech Ashine. He also did record and distribute the first and consecutive albums of renowned artists like Aster Awoke, Hamelmal Abate, Neway Debebe, Aster Kebede, Hibist Tiruneh and many more vocalists.

ABN Edito-in-Chief AklileTsige speaks to Ali Abdela Keifa who has been in the US for about 23 years and got back home a few months ago.Aklile, moreover, presents voices of different Ethiopian singers and a French music promoter Francis Falceto on Ali’s professional career and personality.

June 19, 1942 .Jimma town of the ancient King Jifar located in South-West of Ethiopia. An Ethiopian mother from the Oromo community and a Yemeni father gave birth to a baby boy named Ali Abdela Keifa.

The little boy left Jimma and moved to the Ethiopian capital, Addis Ababa where he lived at the village called ‘Talian Sefer’. Ali was sent to Yemen community school to study Arabic language. After completing his Arabic study he joined Menelik II School. Ali was found of playing football and was good at defending and striking. His excellent performance had led him to play for a locally established football club-Mesfin Harar Football club and Menilik II School Football club.

The young football player, Ali had also the opportunity to play for the then famous football club-Saint George football club. “I just recall St. George’s football players like Fiseha Woldeamanuel, Netsere, Zewdie …err- Mengistu Worku and Shewangzaw joined the club when I was about to leave the club.” Ali said.

Although Ali didn’t play for the Ethiopian National Football Team, he managed to train his younger brother, Ahmed Buker who was a popular and good football player of the then Ethiopian National Football Team.

06 Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

“

It’s really unforgettable that my mom has sold her golden belt so that I could start a business of my own.

”

Sol Image Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Ali

and Business The 14-year-old Ali joined the business world when his step-father used to send him coffee from Jimma to Addis Ababa. Ali was running this business for several years before he kicked off his own business. His mother’s amazing and wonderful sacrifice to help Ali start his own business has rarely been unheard of. “It’s really unforgettable that my mom has sold her golden belt so that I could start a business of my own.” Ali recalled.

Photo by Ethiopiques

With the start-up capital his mother had given, Ali embarked on importing and distributing solely canvas shoes branded ‘Chipolini from the then Asmara province to Addis Ababa.

After having been sole distributor of this famous product for about six years, Ali changed his business to an agent for the distribution of Sony products such as radio, tape recorder, television and Sony cassettes.

While trading these Sony products Ali was operating on a recorder with reel tape and cassette player. Once upon a time someone has asked Ali to sell the recorder for 3,000 birr credit, and Ali said ok. Nevertheless, the person was not willing to pay back his debt.

Fortunately, Ali who was aware of the person’s address went to one of the shops the person was running.

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Realizing that the person was unable to give the 3,000 back, Ali negotiated to own one of the three shops, which had been known as Calypso Music Shop. He owned it, paying additional 3,000 birr, and renamed it, Tango Music Shop.

After having taken Calypso Music Shop, he discovered various LPS of English, Italian and French languages. This was a moment that instigated Ali to take part in the music recording business.

Once upon a time Ali paid a visit to Wabi Shebele Hotel where Getachew Kassa was playing his song entitled ‘tizita’ translated as nostalgia-a song that switches from slow beat to fast beat. Ali was highly impressed by the spectators shouting ‘once again!’ ‘once again!’.

This was also another moment that motivated Ali to whole heartedly get into music recording.

Although Ali wanted to record Getachew’s music, Getachew had already signed an agreement with Amha Eshete of Amha Records to record his debut under the title ‘tizita’. Ali made attempts to persuade Getachew Kassa to come to terms with his provided that Amha would not record the music. However, as per the agreement he had made with Amha Records, Getachew managed to have his album recorded and released.

Ali’s first recording came with a vocalist named Alemayehu Borebor whose album entitled “belaya belaya” was recorded with LP-Ali them kept on recording greatest hits of various male and female vocalists, including Getachew Kassa, Seyoum Gebreyes, Muluken Melesse, many more singers.

Ali had produced mesmerizing hits of vocalists and helped them be popular and lovable.

Queen of Soul Music Aster Aweke, is amongst those musicians.

One sunny day in the afternoon Ali was recording instrumental music played

by Walias Band. The music composer proposed the importance of three female vocalists featuring in between the melodies and rhythms.

Hence, some people brought Aster Aweke to studio where Ali was recording.

Photo by Ethiopiques

Photo by Ethiopiques

aifa K

recording

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09

While Ali was recording the instrumental music entitled ‘Che’ belew’, he has identified unique voice that would be on the top of Ethiopia’s music history, voice that many lovebirds meditate with and voice that hits the global music arena. He anticipated that this girl would be one of the most popular vocalists both at home and overseas. He wanted her to work with him, and she happily accepted Ali’s request. Ali and Aster then signed an agreement that the latter should closely work with the former for unlimited time.

Although Keifa Records produced Aster’s first debut entitled “እትቱ በረዳኝ”, it had not been successful and popular. Realizing the failure, Aster Aweke decided not to keep signing. Nevertheless, Ali had tried to rise up her spirit and motivate for a go-ahead. He managed to gather better

“

Many vocalists requested me for album recording so that they could be famous and popular

”

poems and lyrics and get her with Wubishet Fiseha. He then availed a studio at her residence located at Addis Ababa Bole so that both vocalists could exercise and do rehearsal for nearly eight months.

Unlike the first album, Aster Aweke’s second album jointly voiced with Wubshet Fiseha and produced by Keifa Records had received good appreciation and popularity among listeners.

With the unlimited business deal, Ali could manage to produce five consecutive albums of Aster Aweke. Unexpectedly Aster turned her back to Ali Tango and moved to Electra Music Shop without the consent of Ali Abdela.

“Aster, you signed a long-term agreement with me. Why do you now refuse to work with me? I asked her. But she was not willing to be positive with me. So I had torn the paper in front of her, and said you can go!” Good Luck! She then became very popular both at home and at the international level.

We never met. She never called me.” Ali lamented.

Ali Tango has also produced six songs of the late vocalist honorable Tilahun Gessesse with three separate LPS. He, moreover, produced albums of Bizunesh Bekele, Hirut Bekele, Alemayehu Eshete, Hailu disassa, Gemechu Etana, Ali Birra and many more, putting them in the top list of Ethiopian music history.

getting Image 10

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

There was a vocalist who was pleading for songs recording, standing at the gate of Tango Music Shop and holding and old

getting Image

hand bag. This man had spent his childhood playing songs with locally formed music band Afrenkelo in Dire Dawa. He’s still famous for introducing Oromo music. Ali Birra.

Once upon a morning Ali Abedela Keifa called the man who was usually standing at the gate of Tango Music Shop, and told him that music in Oromiffaa was not hot cake like Amharic music, otherwise, he would go bankrupt.

After repeated coaxing, Ali Birra managed to convince Ali Keifa to accept his request. Then Ali Birra gave Ali Tango the master album which he fully completed the composition done by different music players. Ali duplicated and distributed Ali Birra’s debut includes songs entitled ‘Amalelele...”, “Eshururu” and “Eyadini”.

Ali Birra’s debut distributed by Keifa Records gained incredible recognition and popularity. As a result, it was distributed to various

parts of the country, including Jimma, Gojam, Gondar and Addis Ababa.

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“Many vocalists requested me for album recording so that they could be famous and popular. But I declined for he or she is naïve and unfit to make album. Then they kept saying that they didn’t want money for their work; they wished to receive visa from embassies because most of vocalists who had worked with me have got visas and left for USA and Canada.”

Ali Keifa stated.

Ali came to get acquainted with Neway Debebe when he was wondering to know the writer of “finchitua” album of vocalist Tsehaye Yohannes. Ali then learnt that the Song writer of the album was Neway Debebe, Tsehaye’s colleague at Ras Theatre.

Heading directly to Ras Theatre, Ali met Neway Debebe and asked “Why did you sell such a wonderful music to your friend?”

“No! He’s my friend. I sold it for I was in trouble.”

“What do you do now? Are you a vocalist or a song writer?”

“I am both a writer and singer.”

“What do you sing about?”

“Sir! I do have ten songs which I have kept for four years. I talked to many producers, but all refused to record my music, saying I have got a very low pitch voice and cannot play love songs.”

Ali asked Neway to give him his works which were composed with traditional musical instruments.

Ali has taken Neway’s cassette to his home and attentively listened to it. Having been impressed by the music Ali anticipated how beautiful, soothing and wonderful this music would be when composed by Roha Band. Ali then met Neway and told 12

getting Image

him that he had decided to record his music.

“How much shall I pay for your music?”

“Of course, other recorders proposed 1,000 birr, so you pay me 1,000 birr.”

“I won’t give you 1,000 birr. I will pay you 5,000 birr” said Ali. Neway was overwhelmed by Ali’s

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

decision. Ali has quickly introduced Neway to Roha Bank, and began exercise. However, Neway couldn’t be compatible with Roha Bank. He made them annoyed, distributed and tired for he didn’t have experience with modern music band.

Ali and Dawit Yifru of the Roha Bank had managed to split Neway’s original song entitled “Eshet Belahugn” into “Eshet Belahugn” and “Yetkimt

Regarding Hibist Tiruneh Ali said the following: “Hibist first came to me when she was 13 with a friend of her brother, who pointed out that I had produced music for many singers and helped them became popular. He reiterated that Hibist was blessed with wonderful voice. But I asked them whether that very young girl could sing love song or not.

In another day her father came and begged me to unleash his daughter’s potential and talent.

When he told me that her name is Hibist, I wanted to know the meaning of her name. He told me that Hibist means bread, and she remained his bread, his hope and vision. Then I had to record her debut and distribute across the country. I made her population, and left my country later.”

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Abeba”. Still the training continued, but Neway made members of the band get bored and angry since he was unable to go in line with the rhythms and beats of the band.

Neway had also got frustrated and decided to run way.

“Ali, I better stop doing the music.”

“Why?” “I cannot cope up with the Roha Band.”

“No! You can! There’s nothing impossible. You just get on to my car!”

Neway and Ali headed to Roha Bank Studio. Ali told members of the band that Neway’s music was good enough to be composed and insisted them on playing his music. Moreover, he expressed his

readiness to pay them additional 5,000 birr from the previously agreed similar payment.

Neway’s debuted was released following an exhausting effort exerted by Ali Keifa. Significant number of music shops in Addis Ababa began to flock to Tango Music Shop to buy and distribute the album, which unexpectedly gained popularity all over the country. Neway Debebe has become very famous and joined Ethiopian celebrities list.

Ali had produced Neway’s second and third albums entitled “Ma’ebel” and “mebreq” consecutively, and Neway suddenly and unexpectedly left Ali.

After having contributed significantly to the country’s music development father of vocalists in Ethiopia, Ali Abdela Keifa faced life in convenience in the mid 1990’s. This led him to leave the country and the profession he loved.

Ali, this time round, doesn’t have the will to divulge the pressure that made him go into exile in the USA. He prefers to remain silent regarding this issue. However, the insiders have partially disclosed that Ali was unexpectedly compelled to leave his coffee trading at Jimma due to trade conspiracy, unfair trade competition and some sort of security threat against his life.

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Though Ali has lived in the US as US citizen, life was not as easy and comfortable as he had expected earlier.

It was all monotonous, disgusting and meaningless.

“I have really been in grief and discomfort for the last 23 years. I was usually dreaming of combing back home.

The previous Ethiopian government political system was inconvenient for me. But now the Administration of Abiy Ahmed (PhD) appeals to me. I find it a promising political system, and I got back home” said Ali. Ali has got married to his longtime friend from his birth place, Jimma town, and becomes a father of a beautiful son and a daughter. He’s unwilling to mention anything about his previous marriage and family affairs.

Today the 77-year-old Ali Abdela Keifa appears to be a very strong man, elegant and optimist to carry out activities he has been anticipating. Although he was made to leave his homeland, he’s in love with the country as usual.

“I’m madly in love with my country Ethiopia. I paid visits to Europe, United States and other countries. I gained US citizenship, but I don’t have a country I can be interested and happy rather than Ethiopia. Nevertheless, I have lost all my properties and belongings that I had kept with my sweat. I’m now emptyhanded. I don’t even lose hope…. I have got a woman who I had taken care of; her name is Rahel. She has planned to organize an event on acknowledging, honoring and recognizing my contribution to the development of the country’s music industry. I look forward to receiving blessing this event would bring in to me.” Ali stated 14

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If lucky, Ali wants to resume the professional career he gave up 23 years back, following contemporary ways of organizing concerts and technologicallybacked music production.

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Devoted his life for the development of Ethiopia’s music, young and talented vocalists, executing various social responsibilities, and supporting different individuals in good and bad times, Ali Abdela

“I’m madly in love with my country Ethiopia.

I paid visits to Europe, United States and other countries. I gained US citizenship, but I don’t have a country I can be interested and happy rather than Ethiopia” Keifa today need the support of his friends, relatives and colleagues as well as citizens at large.

Furthermore, he wants to spend the rest of his life working on his interest especially music production and presentation. People both at home and worldwide would undoubtedly extend their support to this legend for it’s our deep-rooted and popular culture to be a friend in need.

Ali finally expresses his deepest gratitude for the following friends, colleagues and relatives who managed to organize a recognition and honorary event for acknowledging his contribution to the country’s music development and for being solid foundation for most Ethiopian vocalists:

getting Image

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ዓሊ ታንጎ-የድምጻውያን አባት

እ.ኤ.አ ሰኔ 19 ቀን 1942 ዓ.ም፤ የአባጅፋር ሀገር ጅማ ከተማ፤ የኦሮሞ ብሄር አባል ከሆኑት ኢትዮጵያዊ እናቱና ከየመናዊ አባቱ ተወለደ፡ ዓሊ አብደላ ኬይፋ፡፡ በልጅነቱ ከጅማ ከተማ ወደ አዲስ አበባ ጣልያን ሰፈር የመጣው ዓሊ መርካቶ አካባቢ በሚገኘው የመን ማህበረሰብ ትምህርት ቤት በመግባት የአረብኛ ቋንቋ መማር ጀመረ፡፡ በዚህ ት/ቤት ይሰጥ የነበረውን ትምህርት ካጠናቀቀ በኋላ ዳግማዊ ምንሊክ ትምህርት ቤት ገባ፡፡ ከልጅነቱ ጀምሮ እግር ኳስ መጫወት በጣም ይወድ ነበርና ለትምህርት ቤቱና ሀረር መስፍን ተብሎ ይጠራ ለነበረ የእግር ኳስ ቡድን፤ በመቀጠልም በጊዜው ተወዳጅና ታዋቂ ለነበረው ለቅዱስ ጊዮርጊስ የእግር ኳስ ቡድን ተሰልፎ ተጫውቷል፡፡ “እኔ በተጫወትኩበት የቀድሞው የቅዱስ ጊዮርጊስ እግር ኳስ ቡድን ተጫዋቾች መካከል አሁን የማስታውሳቸው ፍስሀ ወ አማኑኤል፣ነጸረ፣ ዘውዴ … እ … እ … መንግስቱ ወርቁና ሸዋንግዛው እኔ ክለቡን ከለቀቅኩ በኋላ ነው የተቀላቀሉት፡፡” ሲል ያስታውሳል ፡፡ ዓሊ ከቅዱስ ጊዮርጊስ እግር ኳስ ቡድን ከለቀቀ በኋላ ታዋቂ የኢትዮጵያ እግር ኳስ ብሄራዊ ቡድን ተጫዋች የነበረውን ታናሽ ወንድሙ አህመድ ቡከርን እግር ኳስ ያሰለጥነው ነበር፡፡

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

ዓሊና ቢዝነስ

ዓሊ ገና የ14 ዓመት ታዳጊ እያለ ነበር የእንጀራ አባቱ ከጅማ ከተማ ወደ አዲስ አበባ ቡና እየላኩለት ይሸጥ የነበረው ፡ ታዳጊው ዓሊም ለበርካታ ጊዜያት የቡና ንግዱን ካከናወነ በኋላ የእራሱን ንግድ መጀመር በሚያስብበት ጊዜ ወላጅ እናቱ በአስገራሚ ሁኔታ የንግድ መነሻ ገንዘብ እገዛ እንዴት እንዳደረጉለት ሲናገር፡፡ “የራሴን ንግድ ስራ ለመጀመር የቻልኩት ወላጅ እናቴ በወቅቱ የነበራትን የወርቅ ቀበቶ ሸጣ መነሻ የሚሆነኝን ገንዘብ ስለሰጠችኝ ነው፡፡” ብሏል፡፡ በዚህ ገንዘብ ዓሊ ቺፖሊኒ ተብሎ ይታወቅ የነበረ ከአስመራ ከተማ ወደ አዲስ አበባ የሚመጣ ሸራ ጫማ ብቸኛ ወኪል በመሆን ያከፋፍል ነበር፡፡ ዓሊ ለስድስት ዓመታት ያህል ብቸኛ ወኪል በመሆን የቺፖሊኒ ጫማ ሲያከፋፍል ከቆየ በኋላ የሶኒ /Sony/ ምርት የሆኑ እንደ ሬድዮ፣ቴፕ ሪከርደር፣ቴሌቪዥን፣ የሶኒ ካሴቶች የመሳሰሉ የተለያዩ ኤሌክትሮኒክስ ዕቃዎች ማከፋፈል ጀመረ፡፡ በዚህ የሶኒ ምርቶች ማከፋፈል ሥራ ላይ ተሠማርቶ በነበረበት ወቅት ዓሊ ሪል ቴኘና ካሴት የሚያጫውት ሪከርደር ነበረው፡፡ ከዕለታት በአንዱ ቀን አንድ የማይታወቅ ግለሰብ ይህንን ሪከርደር በዱቤ ሸጥልኝ ብሉ ይጠይቀዋል፡፡ ዓሊም “ምንም ችግር የለም” በማለት ቴፑን በ3ዐዐዐ ሺህ ብር/ በዱቤ ይሰጠዋል፡፡ ሆኖም ግን ግለሰቡ እዳውን ሳይከፍል እልም ብሉ ይጠፋል፡፡ ከተወሰነ ጊዜያት በኋላ ይህ ዱቤ ሳይከፈል የቀረው ግለሰብ በመሐል ፒያሣ ካሊኘሶ ሙዚቃ ቤት መጨረሻ ፋሽን እና አንድ መጽሐፍ ቅዱስ መሸጫ መደብር በአጠቃላይ ሦስት ሱቆች እንዳሉት አሊ በመረዳቱ ወደ ግለሰቡ ሱቅ ሄዶ እዳውን እንዲከፍለው ሊጠይቀው ሲሄድ ግለሰቡ እዳውን ለመክፈል ባለመቻሉ ካሊኘስ ሙዜቃ ቤት በሚባለው የንግድ ቤቱ ተደበቀ፡፡ ተደብቆም አልቀረም ከዓሊ ዓይን ለማምለጥ ሳይችል ቀረ፡፡ ከዚያም “ዓሊ ገንዘቡን ለምን አትከፈልም?” በሎ ቢጠይቀው ግለሰቡም በጊዜው መክፈል እንደማይችል ይነግረዋል፡፡ ዓሊ ግን “በቃ ገንዘቤን መክፈል ካቃተህ ይህንን ሱቅ ገንዘብ ጨምሬልህ ለእኔ ሰጠኝ!” በማለት 3, ዐዐዐ ሺህ ብር ጨምሮ በአጠቃላይ ስድስት ሺህ

“

የራሴን ንግድ ስራ ለመጀመር የቻልኩት ወላጅ እናቴ በወቅቱ የነበራትን የወርቅ ቀበቶ ሸጣ መነሻ የሚሆነኝን ገንዘብ ስለሰጠችኝ ነው፡፡

”

ብር ከፍሎ ካሊኘሶ ሙዚቃ ቤትን ወደ ታንጐ ሙዚቃ ቤት በመለወጥ የእራሱ አደረገው፡፡ ዓሊ ካሊኘሶ ሙዚቃ ቤትን የእራሱ ካደረው በኋላ በሙዚቃ ቤቱ ውስጥ የእግሊዝኛ፣ ጣልያንኛና የፈረንሣይኛ ሙዚቃ ሸክላዎች ያገኛል፡፡ ይህ አጋጣሚ ዓሊ ወደ ሸክላ መቅረፅ ሥራ እንዲገባ አነሳሳው፡፡ ዓሊ ከዕለታት በአንዱ ቀን ወደ ዋቤ ሸበሌ ሆቴል ለመዝናናት ይሄዳል፡፡ በቦታው ድምፃዊ ጌታቸው ካሣ “ትዝታ” የተባለው፣ ከለስላ /Slow/ /ወደ ፈጣን / / fast / የሚቀየረው ዘፈን በቀጥታ / live / ሲጫወት ይመለከተዋል ፡፡ ታዳሚው ቢስ … ቢስ” ይደገም! እያለ ይጮሀል፤ በዚህ ቅጽበት ነበር አሊ አብደላ ኬፋይ ወደ ሙዚቃ ዝግጅትና ማሳተም ሥራ ለመግባት ውሣኔ ላይ የደረሰው፡፡ ዓሊ የጌታቸው ካሣን ሙዚቃ ለማሳተም ቢፈልግም ድምፃዊው ከአምሃ እሸቴ ወይም አምሀ ሪከርድስ ጋር ለመሥራት ስምምነት ላይ መድረሱን ይረዳል፡፡ ሆኖም ግን ዓሊ ተስፋ ሳይቆርጥ “አምሀ ካልሠራልህ እኔ ሱቅ አለኝ ፍቃድ አውጥቼ የአንተን ሙዚቃ አሳትምልሃሁ” ብሎ ለጌታቸው ካሣ ይነግረዋል፡ ፡ ጌታቸው በወቅቱ ከዓሊ ጋር ለመሥራት ፍላጐት ቢኖረውም አምሀ ሪከርድስ በቅድሚያ ከእኛ ጋር ውል ስለገባህ ሌላ ቦታ መሄደ አትችልም ብሎ ሥራውን አሳተመለት፡፡ ዓሊ አብደላ ኬይፋ እጅግ በጣም የመሰጠውን “ትዝታ” የሚለውን የጌታቸው ካሣን አልበም ማሳተም ባይችልም በሙዚቃ ዝግጅት ሕይወቱ የመጀመሪያ የሆኑውን “በላያ በላያ” የሚለውን የአለማየሁ ቦረቦር ሸክላ ለማሳተምና ለማከፋፈል ችሏል፡፡ ከዚያ በኋላ ዓሊ የሙዜቃ ማሳተም ሥራውን ተያይዘው ከአለማየሁ ቦረቦር ሸክላ በመቀጠል የጌታቸው ካሣ፣ የስዩም ገብረየስ፤ የሙሉቀን መለሰና የሌሎች በርካታ ዘፈኞችን ሥራ በሸክላ አሳተመ፡፡ ዓሊ ለበርካታ ድምፃውያን የመጀመሪያ አልባማቸውን በማሳተም ተወዳጅና ታዋቂ እንዲሆኑ መሠረት ሆኗቸዋል፡፡ ከነዚህ በርካታ ድምፃውያን መካከል ተወዳጇ የሶል ንግሥት አስቴር አወቀ አንዷ ናት፡፡

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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ዓሊ በአንድ ወቅት የዋልያስ ባንድ በሙዚያ መሣሪያ ብቻ የተቀነባበረ ሸክላ ለመቅረፅ ዝግጅት ላይ እንዳለ አጋጣሚ በመሐል የሚገባ “ቼ! ባለው!፣ “ቼ! በለው!” የሚል የሴት ድምፅ በመሐል በመሀል እንዲገባ ሦስት ተቀባይ ሴቶች ይፈለጉ ነበርና አንዷ ሴት ተቀባይ አስቴር አወቀ ሆና ዓሊ ሙዚቃውን በሚቀርፅበት ስቱዲዬ ሰዎች ይዘዋት መጡ፡፡ ዓሊ ይህን “ቼ! ብለው!” የሚለውን በሙዘቃ መሣሪያ የተቀነባበረ አልበም በሚቀርፅበት ወቅት በኢትዮጵያ የሙዚቃ ታሪክ ትልቅ ቦታ ሊይዝ የሚችል፤ ጣፋጭ፣ በርካታ ፍቅረኞች ሀሴት የሚያደርጉበት፤ የሚቆዝሙበትና ፍቅራቸውን የሚያሞቁበት ድምፅ በድንገት በጆሮው ተንቆረቆረ፡፡ ይህቺ ሴት ከፍ ያለ ደረጃ ትደርሳለች ብሎም አሰበ፣ በሃሣብ ብቻ አልቀረበም አልበም ሊያሳትምላትም ውሣኔ ላይ ደረሰ፡፡ አስቴርም ዓሊ ያቀረበላትን ጥያቄ በደስታ ተቀበለች፤ ለተወሰኑ ዓመታት ከሌላ አሳታሚ ጋር እንዳትሠራና ከዓሊ ሪከርድስ ጋር ብቻ እንድትሠራ ሁለቱም ውል ተፈራረሙ፡፡ ዓሊ የአስቴር አወቀን የመጀመሪያ የሆነውን “እትቱ በረደኝ” የሚል ሸክላ ቢያሳትምም ተቀባይነቱ ብዙም አስደሳች አልነበረም፡፡ አስቴር ይህ ሸክላ በሕዝብ ዘንድ ተወዳጅ ባለመሆኑ በጣም በማዘኗ በቀጣይ ምንም ዓይነት የሙዚቃ ሥራ ላለመሥራቱ አስበች፡፡ ሆኖም ግን ዓሊ አስቴርን “አይዞሽ” በማለትና በማበረታታት፤ የሙዚቃ ግጥምና ዜማ በማሰባሰብ ከተወዳጅ ድምፃሚ ውብሸት ፍስሐ ጋራ በመሆን ቦሌ በሚገኘው በዓሊ ቪላ ቤት አንድ ስቱዲዮ ለመለማመጃ ሰጥቷቸው ከስምንት ወር በላይ ሙዚቃውን እንዲያለማመዱ አደረገ፡፡ ለአስቴር አወቀ ሁለተኛ የሆነው ከውብሸት ጋር በሕብረት የሰሩት አልበም በኬይፋ ሪከርድስ ተዘጋጅቶ በታንጐ ሙዚቃ ቤት እንዲከፋፈል ተደረገ፡፡ ከአስቴር አወቀ ጋር የረጅም ጊዜ የሥራ ውል ስምምነት የነበረው ዓሊ የድምፃውያኗን አምስት ተከታታይ ካሴት ካሳተመና ካከፋፈለ በኋላ በማያውቀው ምክንያት አስቴር ፊቷን ወደ ኤሌክትራ ሙዜቃ ቤት አዞረች፡፡ 18

“አስቴር ከእኔ ጋር እኮ የረጅም ጊዜ ውል ነው የተፈራረምሸው፤ አሁን ለምንድነው ከእኔ ጋር አልሠራም ያልሸው? ብዬ ብጠይቃትም ደስተኛ ባለመሆኗ ውሉን በፊቷ ቀድጄ በቃ ሂጂ! ይቅናሽ! አልኳት፤ በቃ ከዚያ በኋላ ተገናኝተን አናውቅም፤ ደውላልኝም አታውቅም” ይላል ዓሊ አብደላ ኬይፋ፡፡ ዓሊ የክቡር ዶ/ር ጥላሁን ገሠሠን “የአለፈው አልፏልና” ሌሎች አምስት ዘፈኖች በአጠቃለይ ስድስት ዘፈኖችን የያዙ ሦስት ሸክላዎች አሳትሞ አከፋፍሏል፡፡ ዓሊ የብዙነሽ በቀለ፣ የሂሩት በቀለ፣ አለማየሁ እሸቴን፣ ኃይሉ ዲሳሳ፣ ገመቹ ኢታና እነ አሊ ቢራ እና የሌሎች የበርካታ ዘፋኞችን ሸክላና ካሴት በማሳተም በሕዝብ ዘንድ ተወዳጅና ታዋቂ እንዲሆኑ በማድረግ የላቀ ድርሻ አለው፡፡

ዓሊ አብደላ ኬይፋ ዓሊ ቢራን በአንድ ወቅት እንዲህ አለው፡፡ “በአሁኑ ጊዜ ኦሮሚኛ እንደ አማርኛ ሙዚቃ ገበያ ላይ አይሸጥም እና ኪሣራ ውስጥ እንዳታስገባኝ፡፡” ዓሊ ቢራ ግን ተስፋ አልቆረጥም፤ ዓሊ ኬይፋ ጠዋት ወደ ሙዚቃ ቤቱ ሲገባ ዓሊ ቢራ በር ላይ ቆሞ ይጠብቀዋል፡፡ ዓሊ ኬይፋ ግን በመጨረሻ የዓሊ ቢራን ጥያቄ ተቀብሎ “አማሌሌሌ …”፣ “እሹሩሩሩ” እና “እያዲኒ” የሚሉ ዘፍኖች የተካተቱበትን አሥር ዘፈኖች የያዘ ማስተር ካሴት እራሱ ጣጣውን ጨርሶ ለሕትመት ብቻ ለዓሊ አስረክበው፡፡ በኬይፋ ሪከርድስ የታተመው የዓሊ ቢራ የመጀመሪያ ካሴት በሕዝብ ዘንድ ከፍተኛ ተቀባይነት በማግኘቱ በጅማ፣ በጐጃም፣ በጐንደር፣ በአዲስ አበባና በሌሎች የሀገሪቱ ክፍለ ሀገራት ተከፋፍሎ ድምፃዊውም ተወዳጅነትና ታዋቂነትን ሊያገኝ ችሏል፡፡

ታንጐ ሙዚቃ ቤት በር ላይ አንዲት አሮጌ የእጅ ቦርሣ ይዞ ለበርካታ ጊዜ ደጅ የሚጠና አንድ ዘፋኝ ነበረ፡፡ በድሬዳዋ ከተማ ከልጅነት ዕድሜው ጀምሮ አፍረንቀሎ “በርካታ ዘፋኞች ወደ እኔ ይመጡና በሚባል የሙዚቃ ቡድን ውስጥ ያደገ፤ ዓሊ እባክህ ጋሽ ዓሊ ካሴት አሳትምልኝ፣ ቢራ፡፡ ታዋቂና ተወዳጅ አድርገኝ ይሉኛል፡

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

፡ እኔ ደግሞ ለምን ገና ነህ፤ ገና ነሽ፣ ብዬ ስነግራቸው፤ አይ! እኔ ገንዘብ አልፈልግም አንተ ጋር የሰሩ ድምፃዊያን በአብዛኛው ቪዛ አግኝተው ወደ ካናዳና አሜሪካ ሄደዋል፤ እኔም ስራልኝና ቪዛ ላግኝ ይሉኛል፡፡” ይላል ዓሊ ኬይፋ፡፡

ንዋይ ዓሊ ንዋይ ደበበን ሊያውቀው የቻለው በወቅቱ መርካቶ በሚገኘው በራስ ቴአትር ቤት ድምፃዊ የነበረው ፀሐዬ ዮሐንስ “ፍንጭቷ” የሚለውን ካሴት በኢትዮ ሙዜቃ ቤት አሳታሚነት ለሕዝብ ይፋ ባደረገበት ጊዜ በሙዚቃው ውበት በጣም በመማረኩ የዘፈኖቹ ደራሲ ማን እንደሆነ ሲጠይቅ ንዋይ ደበበ የሚባል የፀሐዬ የሥራ ባልደረባ እንደሆነ ለመረዳት ቻለ፡፡ ወዲያውኑ ዓሊ ወደ ራስ ቴአትር በመሄድ ንዋይ ደበበን ያገኘዋል፡፡

Photo by Daniel Tiruneh

“ለምን ይህን የመሰለ ሙዜቃ ሸጥክለት?” ዓሊ “አይ! ጓደኛዬ ነው ሲቸግረኝ ሸጥኩለት፡፡” ንዋይ “አሁን አንተ ምንድነህ? ደራሲ ነህ ወይስ ዘፋኝ?” ዓሊ “ደራሲም፣ ዘፋኝም ነኝ፡፡” ንዋይ “ምንድነው የምትዘፈው?” ዓሊ “ጋሼ እኔ ለአራት ዓመት ያቆየኋቸው አሥር ዘፈኖች አሉኝ፣ በርካታ ሙዚቃ ቤት ሄጄ አሳትሙልኝ ብዬ በጠይቃቸው ሁሉም “አንተ ድምፅህ ቀጭን ነው፤ ከአብዮት ዘፈን ውጪ መዝፈን አትችልም፤ የፍቅር ዘፈን መጫወት አትችልም ብለው አባረውኛል፡፡ ንዋይ ንዋይ አለኝ ያለውን በባህላዊ ሙዚቃ መሣሪያ የተቀነባበረ በካሴት የተቀረፀ ዘፈን ዓሊ ማታ ቤቱ ተረጋግቶ እንዲያዳምጠው ሰጠው፡፡ ዓሊ ማታ ቤቱ እራቱን ከበላ በኋላ መኝታ ላይ ጋደም ብሉ ሙዚቃውን ማዳመጥ ጀመረ፡፡ “የጥቅምት አበባ”፣ “ወንዝ አፈራሽ” እና ሌሎችን ዘፈኖች በጥሞና ካዳመጠ በኋላ እጅግ በሙዚቃው ውበትና ቃና ተማረከ፡፡ እነዚህ ዘፈኖች ከሮሃ ባንድ ጋር ሲገናኙ ምን ያህል ቆንጆና ተወዳጅም ሊሆኑ እንደሚችሉ ለማሰብ ጊዜ አላባከነም፡፡ ዓሊ በማግሥቱ ንዋይ ደበበን አገኘውና ሙዚቃውን እንደሚሰራለት አስረዳው፡፡ “አሁን ስንት ነው ለሙዚቃህ የምከፍልህ?” “ያው …. እንግዲህ ሌሎች 1,ዐዐዐ ብር ነው ያሉኝ 1000 ብር ስጠኝ፡፡” “እኔ ግን 1ዐዐዐ ብር አልሰጥህም፤ 5,ዐዐዐ ብር ነው የምሰጥህ፡፡” አለው በመዚቃው ተደሰተ ፤ ዓሊም ወዲያውኑ ሮሃ ባንድንና ንዋይ ደበበን አገናኛቸው፡፡ ንዋይና ሮሃ ባንድ ልምምድ ጀመሩ፤ በወቅቱ Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

19

በማለት አባረሩት ፡፡ በዚህ የተማረረው ንዋይ ደበበ ወደ ዓሊ በመሄድ እያለቀሰ “ጋሼ በቃ እኔ ይህ የካሴት ሥራ ይቅርብኝ፡፡” አለ፡፡ “ለምን?” ዓሊ “ ከሮሃ ባንድ ጋር ሙዚቃ መሥራት አልቻልኩም ፡፡ ” “አይደለም! ትችላለህ! የማይቻል ነገር የለም፡፡” “በል አሁን መኪና ውስጥ ግባ!” ንዋይ ዓሊ መኪና ውስጥ ከገባ በኋላ አብረው ወደ ሮሃ ባንድ ስቱዲዩ አቀኑ፡፡ እዛም እንደደረሱ ዓሊ ለባንዱ ኃላፊዎች የንዋይ ሙዚቃ ጥሩ በመሆኑ እባካችሁ ተባበሩት፤ እኔ የፈለጋችሁትን ገንዘብ እከፍላለሁ በማለት ቀድሞ ለባንዱ ሊከፈል ከተስማማው 5,ዐዐዐ ብር እጥፍ በማድረግ 1ዐ,ዐዐዐ ብር ለመክፍል በመስማማት ሙዚቃው እንዲሠራ አደረገ፡፡ ከብዙ ልፋትና ድካም በኋላ የንዋይ ደበበ የመጀመሪያ ካሴት በጥራት ታትሞ ለአድማጭ መድረስ ችሏል፡፡ በአዲስ አበባ ከተማ ይገኙ የነበሩ በርካታ የሙዚቃ ቤቶች ወደ ታንጐ ሙዚቃ ቤት መጐረፍ ጀመሩ፡፡ ባልተጠበቀ መልኩ በሕዝብ ዘንድ ተወዳጅ የነበረው ይህ አልበም በመላው ኢትዮጵያ ተዳረሰ፡፡ ንዋይም በሀገር ውስጥና በውጪ ሀገር ታዋቂ መሆን ቻለ፡፡ ንዋይ ከዓሊ ጋር “ማዕበል” የሚለውን ሁለተኛ አልበሙን፤ በመቀጠል “መብረቅ” የተሰኘውን ሦስተኛውን አልበም ከሠራ በኋላ ዓሊ በማያውቀውና ባላሰበው ሁኔታ ግንኙነቱን አቋረጠ፡፡

getting Image

“የጥቅምት አበባ” እና “እሸት በላሁኝ” የተሰኙት ዘፈኖች ንዋይ በመጀመሪያ በአንድ ግጥምና ዜማ የሰራቸው ነበሩ፡፡ ሆኖም ግን ይህን አንድ ዘፈን ዓሊና የሮሃ ባንድ አባል የሆነው ዳዊት ይፍሩ ወደ ሁለት ዘፈኖች ማለትም “የጥቅምት አበባ” እና “እሸት በላሁኝ” ወደሚሰኙት ዘፈኖች እንዲሠሩ ወሰኑ፡፡ 20

ዓሊ ስለ ህብስት ጥሩነህ ሲናገር እንዲህ ይላል፡ ፡ “ህብስት መጀመሪያ ወደ እኔ የመጣችው የ13 ዓመት ዕድሜ ታዳጊ እያለች ከወንድሟ ጓደኛ ጋር ነው፡፡ አንተ በርካታ ድምፃውያንን አሳውቀሃልና ይህች ልጅ ጥሩ ድምፅ ስላላት እባክህ ካሴት አሳትምላት አሉኝ፡፡ እኔም እንዴ! ይህች ልጅ በጣም ህፃን ናት፤ የፍቅር ዘፈን ልትዘፍን ነው ወይስ ሌላ ዘፈን? ብዬ ስጠይቃቸው፤ ግዴለህም ጥሩ ድምፅ አላት አሉኝ፡፡

ንዋይ ደበበ ከሮሃ ባንድ ጋር የሙዚቃ ሥራው በሚለማመድበት ወቅት ከባንዱ ጋር መዋሃድ አልቻለም፡፡ አንድ ዘፈን ከአራት እስከ አምስት ጊዜ በመደጋገም የባንዱን ሙዚቀኞች አሰለቻቸው ፡፡ አደከማቸው፣ አማረራቸው፡፡ በዚህም በሌላ የተነሣ “ሂድና ማስንቆህን ተጫወት”

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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አደራ

ሰጥቼሀለው፤ ስሟም ህብስት ነው አለኝ፡ ፡ እኔ ደግሞ ህብስት ማለት ምን ማለት ነው? ብዬ ስጠይቀው፤ ህብስት ማለት ዳቦ ማለት ነው፤ እርሷ ለእኔ ዳቦዬ ናት፤ እኔ ዳቦ የማገኘው በዚህች ልጅ ነው አለኝ፡፡ ያው እኔም የህብስት ጥሩነህን የመጀመሪያ አልበም ስኬታማ በሆነ መልኩ አሳትሜና አከፋፍዬ፣ እሷንም ታዋቂና ተወዳጅ አድርጌ ከሀገር ወጣሁ፡፡” ሲል ትውስታውን ይገልፅል፡፡ ከወጣትነት ጊዜው ጀምሮ ለበርካታ ኢትዮጵያዊ ድምፃውያን መሠረት በመሆኑ በርካቶችን በሙያቸው ተወዳጅና ታዋቂ እንዲሆኑ ከፍተኛ ጥረት ያደረገው ዓሊ አብደላ ኬይፋ በ198ዐዎቹ መጨረሻ አካባቢ ከዚህ የሙዚቃ አዘጋጅና አሳታሚ ሥራ እንዲሸሸ የሚያደርግ አጋጣሚ ተፈጠረ፡፡ ዓሊ በዚህ ጉዳይ ላይ “ሆድ ይፍጅው”፣ “የቤተሰብ ጉዳይ ነው” ከማለት ውጪ ዝርዝር ጉዳዩን ለመግለፅ ምንም ዓይነት ፍላጐት የለውም፡፡ ከታማኝ ምንጮች መረዳት እንደተቻለው ዓሊ በወቅቱ ወደ ትውልድ ሀገሩ ጅማ በመሄድ ከወላጆቹ የተከበረውን የቡና እርሻ በማስተዳደር ከፍተኛ የቡና ንግድ ሥራ ያከናውን ነበር፡ ፡ ሆኖም ግን የንግድ አሻጥርና የደህንነት ችግር ዓሊ ከሚወዳት ሀገሩና ከሚወደው ሙያ ሳይወድ በግድ እንዲለይ አድርጓታል፡፡ ዓሊ ከኢትዮጵያ ወጥቶ በሀገረ አሜሪካ መኖር ቢጀምርም ሕይወት እጅግ በጣም አታካች፣ አሰልቺና መራራ ሆኖበት ቆይቷል፡፡ “እኔ በእውነት 23 ዓመታት በሀዘን ላይ ነበርኩ፤ ሁልጊዜ ወደ ሀገር ቤት እመለሳለሁ ብዬ አስብ ነበር፤ ሆኖም ግን ቀደም ሲል የነበረው የመንግሥት ሥርዓት የማይመቸኝ ስለነበር በዚያው ቀረሁ፤ አሁን ግን ... ያው … የዶ/ር አብይ አህመድ አስተዳደር ጥሩ ሆኖ ስላገኘሁት

“ እኔ ሀገሬ ኢትዮጵያን በጣም ነው የምወዳት፤ አውሮጳ፣ አሜሪካና ሌሎች ዓለማትን አይቻለሁ፤ የአሜሪካ ዜግነት አግኝቻለሁ ፡፡ እንደ ኢትዮጵያ የምደስትበት ሀገር የለም ” መጥቻለሁ፡፡ ብሏል፡፡ ዓሊ ጅማ ከተማ ያውቃት የነበረች ፍቅረኛውን ወደ አሜሪካ በመውሰድ የግራ ጐኑ አደረጋት፤ ከእሷም አንድ ወንድና አንድ ሴት፤ ቆንጆ ቆንጆ ልጆች ወልዷል፡፡ ዛሬ ላይ የ77 ዓመት ዕድሜ ያለው ዓሊ አብደላ ኬይፋ ጠንካራ መንፈስ ያለው፤ ዘናጭ፣ ገና ብዙ መሠራት እችላለሁ የሚል ወኔ ያለው ሰው ነው፡፡ ምንም እንኳን ሚስጢራዊ በሆነ ጉዳይ ከሀገሩ እንዲወጣ ቢደረግም እርሱ ግን ማን እንደ ሀገር ይላል፡፡ “እኔ ሀገሬ ኢትዮጵያን በጣም ነው የምወዳት፤ አውሮጳ፣ አሜሪካና ሌሎች ዓለማትን አይቻለሁ፤ የአሜሪካ ዜግነት አግኝቻለሁ ፡፡ እንደ ኢትዮጵያ

የምደስትበት ሀገር የለም ፡፡ ሆኖም ግን ከልጅነት እስከ ጉልምስና ባለው ዕድሜ ያፈራሁትን ሐብትና ንብረት ተቀምቻለሁ፤ ድርጅቴ ተወስዷል፤ እኔ አሁን ባዶ እጄን ነው ያለሁት፤ …. መቼም ብዙ ተስፋ አልቆርጥም እዚህ ኢትዮጵያ ውስጥ ያሳደግኳት፣ ልጄ የምላት ራሔል እኔ በሙያዬ ላበረከትኩት አስተዋጽኦ የእውቅናና የክብር መርሃ-ግብር አዘጋጅታለች፤ ይህን ተከትሎ የሚመጣ መልካም አጋጣሚ ካለ እርሱን እጠብቃለሁ፡፡” ዓሊ አብደላ ኬይፋ ፡፡ ዓሊ ከተሳካለት የዘመኑን የሙዚቃ እድገትና ቴክኖሎጂ ግምት ውስጥ ያስገባ የሙዚቃ ዝግጅትና ሕትመት ሥራ ለመቀጠል እንደሚፈልግ ይገልፃል፡፡ በርካታ ኢትዮጵያዊ ድምፃውያን በሙያቸው ተወዳጅ፤ ታዋቂና የተከበሩ እንዲሆኑ መሠረት የጣለ፤ በርካታ ልደት፣ ድግስ፣ ሽኝት፣ ሀዘን፣ ምርቃትና ሌሎች ማኀበራዊ ኩነቶች ሲያጋጥሙ ምን ጐደለ? ምን ልጨምር? ምን ችግር አለ? በማለት ለወዳጅ ዘመድ፣ ጐረቤትና ጓደኛ ደራሽ የነበረው ዓሊ አብደላ ኬይፋ ዛሬ ላይ የወገኖቹን እገዛ ይሻል፡፡ በሙዚቃ ዝግጅትም ይሁን በሌላ የሥራ መስክ ተሰማርቶ ቤተሰቡን ማስተዳደር፣ ቀሪ ጊዜውን በሥራ ላይ ማሳለፍ ይፈልጋል ፡ መቼም ኢትዮጵያውያን ለባለውለታዎች ክብርና ምሥጋና መለገስ፤ ድጋፍ ማድረግና መተባበር ባህላችን ነውና ታዋቂው ዓሊ አብደላ ኬይፋ /ዓሊ ታንጐ/ ወደ ቀድሞው ክብርና ሞገሱ እንመልሰዋለን ፡፡ በጥር ወር 2ዐ12 ዓ.ም በአዲስ አበባ ከተማ ሸራተን ሆቴል ዓሊ አብደላ ኬይፋ ለኢትዮጵያ ሙዚቃና ሙዚቀኞች እድገትና መሻሻል ላበረከተው ድርሻ ወዳጅ ዘመዶቹና ጓደኞቹ ላዘጋጁለት የእውቅናና የክብር መርሃ- ግብር መሳካት የበኩላቸውን አስተዋጽኦ ላደረጉት፡1. ለአቶ አብነት ገ/መስቀል 2. ለሸራተን አዲስ ሆቴል 3. ለሜድሮክ እህት ኩባንያዎች 4. ለኤን ኤች ዋይ / NHY / 5. ለወ/ሮ ራሄል ታደሰ 6. ለኢትዮ ግሬት ኢንቭስትመንት ሳፖርት 7.ዝግጅቱን ላዘጋጀው ኮሚቴ አባላት በሙሉ እጅግ ከፍተኛ ምሥጋና ያቀርባል፡፡

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

21

ራሔል ታደሰ

22

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

የኮሚቴው ሰብሳቢ መልዕክት በቢዝነስ ማኔጅመንት የሁለተኛ ዲግሪዬን ሰርቻለሁ፡፡የስራ አመራር አቅሜንም ለማሳደግ ዘወትር አጫጭር ስልጠናዎችን እወስዳልሁ፡፡ከሜድሮክ ኢትዮጵያ ካምፓኒዎች በአንዱ በስራ አስኪያጅነት ካካበትኩት የስራ ልምድ በተጨማሪ በማሕበራዊ ጉዳዮች ዙሪያ በንቃት በመሳተፍ ለተቸገሩ መድረስ የሀገር ባለውለታዎችን ማክበር ማለት ራስን፣ቤተሰብን፣ሀገርንና ህዝብን ማክበርና መውደድ እንደሆነ ስለምገነዘብ ከመደበኛ የቀን ተቀን ስራዬ ባልተናነሰ ትኩረት ሰጥቼ የማከናውነው ተግባር ነው፡፡ ለዚህም ነው አሊ አብደላ /አሊ ታንጎ/ ከ23 ዓመታት የውጭ ሀገር ቆይታ/ስደት በኋላ ወደ ሀገሩ ሲመለስ እንደ ቤተሰብ እንኳን ደህና መጣህ ብቻ ብሎ በመቀበል ባለመሆኑ በኢትዮጵያ ሙዚቃ ታሪክ ውስጥ ያሳረፈውን ደማቅ አሻራ የሚመጥን የምስጋናና የእውቅና መድረክ ለማዘጋጀት በራሴ ኃላፊነቱን በመውሰድ የተንቀሳቀስኩት፡፡

“ይገባዎታል!” “ይገባዎታል!” በሚል መሪ ቃል አሊ አብደላን/አሊ ታንጎ / ከአድናቂዎቻቸውና ከሙያ ፍሬዎቻቸው ጋር ማክበርና ለማመስገን የታቀደውን መድረክ ለማዘጋጀት የነበረው ውጣ ውረድ አድካሚ የነበረ ቢሆንም ፍሬው ጣፋጭ እንዲሆን በረዳኝ ፈጣሪ ስም ፊተኞችን ማክበር ለመጪው መሠረት መጣል እንደሆነ ተገንዝበው በገንዘብና በዓይነት ከፍተኛ ድጋፍ ላደረጉል የሜድሮክ ኢትዮጵያ እህት ኩባንያዎች፣ ዓላማውን በመደገፍ ፕሮግራሙ እንዲሳካ ጊዜያቸውን፣ ጉልበታቸውንና እውቀታቸውን ሳይሰስቱ ላገዙኝ ቤተሰቦቼ ወዳጆቼና ጓደኞቼ እንዲሁም የኮሚቴ አባላት የሆኑትን ቴድሮስ ተስፋዬ ሸዊት ወ/ሚካኤል ሙሉብርሃን ወንድሜነህ ታዬ ወ/ሩፋኤል ሜላት በላቸው ፉአድ መሃመድ እና በጽሁፍ ስራ ያገዘችን መሰረት ፍቅሬ በልዑል እግዚአብሄር ስም ምስጋናዬን አቀርባለሁ ፡፡

ራሔል ታደሰ Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Francis Falceto It was in April 1985, late in the afternoon that I went to Tango Music Shop the only address I knew in Ethiopia from the back cover of KF 20 LP album entitled “Mahmoud Ahmed with the Ibex Band”. Ali was in the shop. He understood immediately who I am, and why I came to Ethiopia: To meet and invite Mahmoud to perform in Europe. After a brief introduction, Ali invited me to his home. We spoke the whole night.No sleep at all, till the sunrise. A great gorgeous meeting, talking, passionately about Ethiopian music development and export, and dreaming of a similar future that reggae music was facing worldwide.

When Francis Falceto curated the first volume in the Éthiopiques series on the Buda Musique label in 1997, most of us knew very little about Ethiopian music. In the two decades that have followed, Falceto has singlehandedly been responsible for putting Ethiopia on the world music map as our appreciation of artists such as Mahmoud Ahmed, Mulatu Astatke and Tilahun Gessesse has grown along with the series of releases.

Falceto released the 30th volume

by Girma Bèyènè & Akalé Wubé (reviewed in #127) – and the impact of Éthiopiques has extended far beyond the core world music audience - Jim Jarmusch used a track for the title music of his movie Broken Flowers and the likes of Jamie Cullum, Robert Plant, Brian Eno, Simon Reeve and David Harrington all selected music from the series for their Songlines playlists.

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Photo by Ethiopiques For Falceto, it has been a lifetime’s passion since he first heard a Mahmoud Ahmed recording in 1984 while working as a concert promoter in Poitiers.

He was soon making regular trips to Addis Ababa, tracking down master tapes from the most important labels and producers of the music’s ‘Golden Age’ in the 60s and 70s. From the programming and remastering to Buda Musique’s packaging, presentation and attention to detail, new standards have been set and made Éthiopiques the ultimate brand in crate-digging excellence.

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Regarding Ali’s contribution to Ethiopian music,Francis noted thatwhen he met him firstin the mid-80’s , Ali was simply the king of Ethiopian music producers a sharp talent scout, a pivotal actor in the country’s music scene, ingenious, obsessed with technological innovation.

He had produced some of the greatest hits of major artists like Ali Birra (Who was promoting Oromo music then), Bezunesh Bekele, Alemayehu Eshete, Ayalew Mesfin, Muluken Mellesse, not to mention Mahmoud Ahmed’s historic “Ere

Mela Mela” album the very one that had driven me to Ethiopia. He has discovered Aster Aweke, Hamelmal Abate, Neway Debebe and Hebist Tiruneh.

“As I said, it is all about my first meeting with Ali and our whole night talk. Two passionate music lovers and activists were plotting to set up international promotion of Ethiopian music. One can say that the foundations of this exciting struggle were laid that night to take shape soon after. Next chapter for me would be to meet the initial godfather of Ethiopian recording “industry”, the absolute pioneer, Amha Eshete of Amha Records, who had been forced to exile 10 years earlier. And I met Amha in

Washington DC the following year (1986). I met also other important colleagues of Amha and Ali at Philips-Ethiopia office.” Francis recalled.

“Today, 35 years later (and after several years spent inside Ethiopian society and cultures along more than 60 stays in the country), I can say that Ali’s openmindedness and enthusiasm for active cooperation are his most amazing qualities as opposed to the basic mistrust, suspicion and even xenophobia that ferenjis are

confronted with much too often.”

He added.

On the other hand, Francis said that it must be underlined that the part Ali played fighting with the stupid but harsh censorship of that time, to protect what could be protected of artists’ freedom of expression.

Censors used to see then semenna-werq hostile to the regime behind each and every lyric.

Winding up his views on Ali’s legacy, Francis stated that management of his rights as music producer should keep him busy enough. There must be a time to

Photo by Ethiopiques Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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rest for shimagelles Ethiopian music world is so exhausting!!!

He would recommend Ali to slow down and enjoy retirement and acknowledgement from his fellow countrymenas well as from music professionals worldwide and from music lovers at large. Long live Ali Tango!

He is the creator ofthe growing, Ethiopiques CDseries on Buda Musique. The series gives the most complete picture available ofmodern Ethiopian music, specializing in the highly productive era of the late 60s andearly 70s in Addis, on the eve of the 1974 revolution that ended the long regime of Haile Selassie and launched the 18-year, socialistmilitary regime known as the Dergue. Ethiopiques includes some traditional music, and some music created since the end of the Dergue in 1991, but it’s great strength is its careful documentation of the extraordinarily creative years leading up to the revolution.

Francis Falceto is also the author of a beautiful book, Abyssinie Swing: A Pictorial History of ModernEthiopian Music (Shama Books). Banning Eyre met Francis in New York in 2005.

Falceto started to organize concerts in the mid-70s with some friends in the city. He used to live in the countryside in France. We had a nonprofit organization to produce concerts. Our music tastes were very, very special. It was between experimental music, free jazz, noise music, industrial and much traditional music from all around the world. From ‘77 until the late 80s, it wasn’t very fashionable to like these two kinds of music. In 28

the minds of the people, they were very separated. It was rare that in a personal discothèque at home somebody would have both pygmy music and Sonic Youth, you see? We were very into innovation.

Falceto’s View on Ethiopia’s Music (Source: Music Corner Lissan Magazine @ 14:59 Francis FalcetoEthiopia: Empire and Revolution Interviewer: Banning Eyre.... Part I) B.E: When did the first Éthiopiques CD Come out?

F.F: 1997.

B.E: 97? So there were quite some years between that moment of discovery and theactual beginning of the series.

F.F: In fact, the first release was ‘86. This LP of Mahmoud Ahmed on Crammed Disc in Brussels.

This was the first release abroad of modern Ethiopian music. It was akind of fetish for me. This was the LP which opened the doors for Ethiopian music.

B.E: I remember that record very well.

F.F: It was released in 86 in Europe and in America. It got good reviews In the NewYork Times, John Pareles wrote a beautiful article about the LP. It was praised asone of the five or ten best world music albums of the year.

B.E: It was very striking, amazing to me. It made me very curious

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Photo by Ethiopiques about Ethiopia. Butthe official Ethiopiques series didn’t come for another ten years, right?

1997?

F.F: ’97, yes. But in the meantime, by ’90, he had recorded in Paris and released two: One with Alèmayèhu Eshèté and another with Netsanet Mèllèssè, two brilliant,famous singers with the Walias Band. We were still under the Derg time. It had beenpossible to invite them to Europe, but the

full band could not come. They did notallow the guitarist or the saxophonist to leave Ethiopia.

You used to need an exit visato leave your country. Can you believe it? It was quite a hard time to complete theserecordings: He had to work with some French saxophonists and guitarists to play theguitar and horn lines.

And in ‘94, came the second release of golden oldies. That wasthe first edition of Ethiopian Groove. By the way, it’s in early

94 when the CD wasreleased, a collection of oldies from Kaifa Records, the label belonging to a famousproducer Ali Tango.

What a beautiful name! So before he started the Éthiopiquesseries in ’97. There were these four releases in the meantime.

So it’s a kind of backbone for the culture of this country. This is very, very, very important.

The church had the same role in Ethiopia as the church had

in Middle-Age Europe. No king could be a king without the consent of the church. Another historic point is that Ethiopia had its own script, its own writing, almost from eternity. The church has the language Ge’ez, which is the equivalent of Latin for the Catholic Church, for instance. From this Latin, always spoken by the priests in Ethiopia, came Amharic, also Tigrinia and several other languages, just the way Latin gave us French, Italian, Spanish, Romanian, and other languages. Ge’ez is a Semitic language, just like Hebrew or Arabic,

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but written from left to right, not right to left. The design of these letters is really beautiful. So all these points: Religions, long history, Christianity, arethe core things that make this country absolutely unique in Africa.

B.E: Do you think that Haile Selassie was consciously trying to manipulate the course of that music?

F.F: It was totally under his control.

Probably not what ended as Ethiopian pop, buthe was totally responsible for the development of this military music firstly, andsecondarily, light music. As I mentioned, he used to organize these concerts of Western classical music, but also the Haile Selassie Theatre, the Agher Feqer Theatre, which was a kind of national theatre of Ethiopia, started to develop popularmusic, with singers, which was something new for this country.

In front of these bigbands, Ethiopian singers started to sing. It wasn’t any more military music, instrumental music; it becomes Ethiopian songs, arranged by all of these musicteachers, coming from abroad, teaching themselves Ethiopian arrangements. So, little by little, the Ethiopian influence in this music was stronger and stronger.Also, we have to keep in mind that after the Second World War, in Ethiopia, like everywhere in the world, the biggest influence was the American big band, Glen Miller and the like. If you consider what happened in Europe, in France, in particular, everybody was listening “In the Mood,” or these kinds of songs. Everywhere, you could see the development of these big bands, playing more or less American music,or local music with influences of jazz big bands. And because there’s this tradition of marching bands with big horn sections, the Ethiopian big bands appearedimmediately. You had big civil 30

“Wow, nice voice. We’ll integrate him into the Imperial Body Guard Band.” bands with 10, 15, 20 players, incredible horn sections.

This gave the real blend of modern Ethiopian pop music.

Until the fall of Haile Selassie in 1974, you could feel this influence of the horn section, coming from the jazz band influence from America post the Second World War. B.E: Let’s return to the the azmari. We have singers emerging as part of this lightmusic, this early popular music. Are these singers coming from the azmari background?

F.F: Not at all. The azmari remains the azmari, all the time.

They are wandering singers, minstrels. They come from the deep countryside, mostly the Northern provinces, Gondar, Gojam, Wello. And they are wandering minstrels, just like we had in Europe in the middle ages.

They have their own instruments mostly a onestringedviolin with a bow and they sing everywhere

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

they see some people they can get money from. It can be a party, a wedding, a seasonal festival.

B.E: Like griots in West Africa?

F.F: There are many similarities.

When there is a market, every time there are people,they go and sing, praise them to get money from them. Or they can joke with them.They are very famous because, in this country, there’s a hierarchy, because it hasbeen an empire for so many centuries. It’s a feudal regime, in fact. There is nospecial freedom of speech, and these azmaris, these minstrels, are the ones who arein charge of this freedom of speech. Under the conditions, their lyrics are not open;they must use double meaning in their critiques, for instance.

They can criticize theking, the princes, the high people, but not openly. The most famous azmaris are theones who find the nicest joke, the nicest double meaning.

This is very importantbecause we have to know that in Ethiopian culture, they don’t pay so much attention to the music itself. When I say music, I mean the melody, the sound of the instruments. They are fond of, first of all, lyrics. It was something very special, in this culture, to develop instrumental music, or big bands. The main thing, more than a great melody or a great voice, is what the lyrics mean. That is true still today.

B.E: In this period of the 50s, when this popular music is beginning to take shape,Bandleaders are looking for singers. If they don’t turn to the azmaris at all, where dothey look for singers?

Nobody was basically willing to become a musician in Ethiopia. It had to start with such ways. But the musicians were not recruited from the azmari cast. Not at all.

Azmaris always continued their role as improvisers, wandering in the villages, going up north, following the season of weddings and harvest. They always remained azmaris. Basically, an Ethiopian is a warrior. He will never prefer the job of business or commerce, or the job of a musician. So, even if you were not a pure azmari from ancient decent, but just a singer or guitarist or saxophonist, you were more or less considered an azmari not a good person to marry one’s kids to.

Photo by Daniel Tiruneh

F.F: Almost everywhere. For instance, take the case of Mahmoud Ahmed.

Mahmoud Ahmed was not born a singer.

He did not belong to a family of azmaris.

He was just working in a nightclub where his father had a small job. And it happened that one night, in the early 60s, the singer of the local band was absent, so he said, “Can I try to sing with the band,” and, immediately, the musicians said “Wow, nice voice. We’ll integrate him into the Imperial Body Guard Band.” So, it could go like this. Among the high people, there is one who is quite important. He was the famous General Tsegue Dibu, and the head of the police in the ‘50s, and he was a music lover. He himself played cello. And he wanted the Police Orchestra to have a great string section. So what he used to do, was, in the street, seeing some kids without jobs, he’d ask them if they wanted to work. He’d take them to the Police headquarters, clean them, give them food, new clothes, and schooling, and he would try to intensively teach them cello, violins, things like this.

B.E: So anyone who does take this step of becoming involved with music, either as ahorn player, or singer, or even an arranger, they have to really love Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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it, becausethey’re potentially identifying with something that has low status.

F.F: Yes, of course. But also, keep in mind that all these bands were institutional,were depending on the will of the king, the emperor.

All of them belonged either tothe army, to the police, to the Haile Selassie Theatre, to the Imperial Guard, PoliceBand, Haile Selassie Theatre Band, Army Band. These people were on salaries. Soit was quite a comfortable situation. It’s not everybody who used to have work, a job.

B.E: Let’s talk about some of the key people who made this happen.

And probably the person we should start with is Amha Eshèté.

Tell us his story.

F.F: Amha Eshèté is the patron saint of the modern Ethiopian musicians, because he was really the first independent producer to support private bands, and to create his own record label. We have to know even record production was in the hands of the emperor, in the hands of the authorities.

You could not release an album, a disc, by yourself. It was normally forbidden. But at some point Amha Eshèté thought, “Oh, they will not kill me if I release this disc.”

B.E: So who was he? What was his background?

F.F: He was a baby boomer himself. He had a music shop. He had started to import some of this rock and roll, rhythm and blues, soul, James Brown, and the like, in Ethiopia. Even the import of discs was something not really allowed.

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You needed a kind of visa to import.

So after a few years, he said, “Why don’t we make our own discs?”

The officials who are supposed to import and record and manufacture discs, they do nothing. At least nothing for this modern music.

So, he took Alèmayèhu Eshèté and recorded a few 45s, one song on each side. He sent his master tape to India. Why India? Because as in many African colonies, there were many Indian merchants in Ethiopia. India was and still is the biggest producer of discs in the world.The discographic industry there is huge. So through this Indian merchant based inEthiopia he sent his master tapes to India, and after a few weeks he received his 45s.It was a big deal, because the officials started to wake up. I mean when this disc of Alèmayèhu Eshèté, his first one, AE 100, came in Ethiopia it sold like crazy.

B.E: And in what year?

F.F: ’69. Possibly late 68, but early 69. ’69 is a key year for all of these new things.Amha Eshèté had some problems with the authorities, but finally, the emperordecided let this youngster go ahead.

B.E: He personally decided that?

F.F: We don’t know exactly. But he used to decide everything.

Of course the official head of the Haile Selassie Theatre and the like, went to complain and say, “What this youngster is doing is against the law.” And finally, after some turmoil, which you can understand through the press of the time, they decided to drop it. And little by little, other producers came, but he remains one of the key persons for

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

the real new pop scene in Ethiopia.

B.E: Tell us about Alèmayèhu Eshèté.

F.F: Alèmayèhu Eshèté used to be a singer of the Police Orchestra.

Mahmoud Ahmed and Tlahoun Gèssèssè, used to belong to the Imperial Body Guard Band.

They all wanted to leave these institutional bands, but they were paid by the Police Orchestra or Imperial Body Guard Band. Sometimes at night, they’d leave the barracks and go to a nightclub and sing for themselves before some hip audiences, which brought them some problems. You know, they might go to jail 1 or 2 days because of this. But it was not a big deal. You know, very soon, by ’74, this regime is finished and dead.

Usually, the end of a reign has a very developed night life. Many people call itdecadence, but it’s almost the contrary. Little by little, the empire, the state, starts to lose its power.

In December 1960, there was coup d’etat against Haile Selassie. It failed, but there are several attempts in the following years. We had studentmovements, we had the ’68 in Europe, but there is something like this also inEthiopia. And so the whole society was in turmoil. And this has always beenfavorable to creativity.

We can see in many ends of reign or regimes a very highlydeveloped artistic life, night life. As we had swinging London, they had swingingAddis. It was unimaginable parties, incredible fun, where everybody was mixed the royal family, the nobles, the rich merchants, the bourgeois, the prostitutes, thebeauties. You had beauty contests, Miss Ethiopia, even Miss Swing, many, manydaily or nightly events that gave a special cache to this scene. So from the mid

60suntil the last fifteen years was something. I mean it would have been a dream for meto have been there, you know. (Laughs).

B.E: Incredible?

F.F: Yes and it’s difficult for us to imagine that because we have such a miserable vision of Ethiopia. We see this country as a cliché. As a kingdom of hunger and famine.

B.E: Tell me what you can about some of these other important musicians. Take Muluqèn Mèllèssè.

F.F: Muluqèn Mèllèssè was one of the most famous singers in Ethiopia.

He started tosing in the Police Orchestra by the age of 13, 14. As I told you before, they used torecruit young sters to be members of the band, to teach them an instrument they even had workshops for song writing, arrangement, even dance. So Muluqen startedin one of these institutional bands before he became an independent singer with hisown band. He recorded beautiful masterpieces. What is unfortunate for music lovers,but respectable from his point of view, is that by the early 80s he changed his mindabout that, and he converted to Pentecostalism, and decided to stop singing popmusic. For music lovers it was a big loss, and he remains a big artist who recorded classics in Ethiopia, kind of standards.

B.E: Let’s talk about another singer, Tlahoun Gèssèssè.

F.F: Tlahoun Gèssèssè is the singer in Ethiopia, the voice. Big T big V. He started tosing at the Agher Feqer Mahber, meaning Patriotic Association. It was a kind of national

theatre, and he was very young, about 16 or 17 when he starts to sing in this institution. But very quickly he was taken by Imperial Bodyguard Band and he became the main soloist there by the late 50s. Since then until nowadays, he has been the most beloved singer in Ethiopia. He is a kind of icon.

Everybody loves him. There are many other singers. But Tlahoun Gèssèssè is a core singer, even if he is not the most easy to listen to for western audiences. He has such a big powerful voice that sometimes you think it’s too much for a Western ear. He had dozens of imitators of course, but none with such vocal talent as Tlahoun himself.

of the coup d’etat, Tlahoun went to jail for a few weeks.Because by itself the Imperial Bodyguard was involved in the coup d’etat. All the heads of the Imperial Bodyguard were pushing the band to sing double-meaning songs, protest songs in some way. And if you are popular with this protest song, this double-meaning, you become also very popular. Because they could see through the way the audience received it, if the coup d’etat was popular, if they could go with the protest. If the protest song is popular, it means that everybody understands the protest of the singer. And there are many instances of this; this song is one of the most famous.

B.E: Maybe an interesting subject to talk about a little bit would be political messages.You talked about how the lyrics are so important and especially among the azmaristhere is this tradition of saying things in round-about ways, using words with doublemeanings.

B.E: Let’s talk about instruments a little bit. There’s a very interesting Ethiopiquesvolume featuring a musician who plays a lyre believed to be a descendent of King David’s harp. Talk about that but also bring us up to date on the krar.

Just in general,give us a bit of an overview on the lyre in Ethiopia.

F.F: They have a name for this, sem-enna-werq, it means “wax-and-gold.” There is a wax meaning and a gold meaning.

The wax meaning is the apparent meaning. Just a love song you can take it as a love song. The gold meaning is something else. It can be a protest song. Somebody like Tlahoun, a member of Imperial Bodyguard Band, was in jail after ’60 because he had a song, a love song called “Altchalkoum,” that meant “I Can’t Stand Any More.” A kind of love story. “She left me I can’t stand any more” in fact, I can’t stand any more of this regime. And after the failure

F.F: Yeah there are different kinds of lyres, especially the krar which is played mostlyin the North, a lot in Eritrea, less and less in Ethiopia, unfortunately. But there is one instrument which is unique to Ethiopia it is the begena. The begena is a big lyre, something like oneand-a-half meters. This instrument used to be played by the nobility, by priests and learned people. It was high society. You could not say that a begena player was an azmari.

This was an instrument related to religion and nobility.Nowadays the nobility has disappeared, but the begena continues to be played.

Itwas almost destroyed during

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the revolutionary period because precisely it wasrelated to the nobility which the revolution had abolished, and related to the church, which the Stalinist government did not encourage. So, it has come back slowly through brilliant exponents like Alemu Aga for instance. And nowadays, for the most important religious period of the year, like Christmas, Easter, the radio plays extensively this type of music. But it is not the kind of music you can play during the mass at the church. It is not the type of music you can play in the church. It is played in religious contexts, but it is not an instrument of the church.

B.E: And it’s thought to be extremely old. They call it King David’s harp.

What’s thesignificance of that?

F.F: It’s a kind of legend. It’s difficult historically to demonstrate it because it’s three thousand years. King David was supposedly a lyre player, you know, and as the Ethiopians claim they are descendents of Solomon and the Queen of Sheba, which is exactly 3000 years ago, it’s part of the historical legacy of the country.

I’m not a historian but I’m not sure I would agree with this antiquity of the instrument. But it remains to be demonstrated on both sides.

B.E: And it’s in the popular imagination, the idea.

F.F: Absolutely.

B.E: I know who we need to talk about. Mulatu Astatké.

F.F: Mulatu Astatké is a very special case. It’s quite unique in the history of Ethiopia and Ethiopian music. He was not the first to be taught abroad, because 30 or 40 years before him, 34

getting Image

there was a lady who learned piano and violin in Switzerland. But as a modern musician, Mulatu was really the first to be taught abroad.

He started his musical studies in England and then in New York, he attended also Berkelee College of Music in Boston. Later on, during his stay in New York, he was in touch with a lot of jazzmen and Latin musicians. He was very fond of jazz and Latin music. He was one of the first Africans this must be mentioned to record modern African music in the early 60s.

Before Manu Dibango, before Fela, and when he came back toEthiopia in the late 60s, the modernist movement had started already. But he came intime to bring a special blend. Especially his jazz touch. He invented a style Ethiojazz.

But to tell the truth I’m not sure he was influential in terms of introducing Latin music to Ethiopia. I cannot say that the Ethiopian audience became crazy about Latin music, not at all. Again, they are so close to their own roots, if it is too much something from abroad they are reluctant to pick it. So we cannot seriously say that

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

there was Latin invasion in Ethiopia, not at all.

B.E: But you can hear Latin flavor in Mulatu’s arrangements, and you don’t hear thatanywhere else.

F.F: No, definitely. That’s why I say he is a unique case. He is a special case because he was the first to be put in such a position. When he came back to Ethiopia he put this in his own composition in his own arrangement. But it was not followed bythe other musicians, I would say.

It remains that the music that he has recorded at the time is simply gorgeous, great music. Just listen to Éthiopiques, Volume 4, Ethiojazz.

For me, it’s a total masterpiece.

There are some other musicians on thisCD, who we should mention.

For instance, one of my favorite saxophonists ever in Ethiopia is Tésfa-Maryam Kidané. Actually he’s living in Virginia now for many years. He left Ethiopia to study at Berkelee College of Music in ’72 and he stayed and settled in America but he’s still active as a musician and is a gorgeous saxophonist. It’s amazing the level of inspiration those musicians had reached at the time.

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ፍራንሲስ ፋልሴቶ ፈረንሳዊው ፍራንሲስ ፋልሴቶ በ1970ዎቹ አጋማሽ አካባቢ ከጥቂት ጓደኞቹ ጋር በመሆን በፈረንሳይ ዋና ከተማ ፖሪስ የሙዚቃ ኮንሰርት ማዘጋጀት ጀመረ፡፡ ይህን ያከናውኑ የነበሩት በአንድ ለትርፍ ያልተቋቋመ መንግሥታዊ ድርጅት /NGO/ አማካኝነት ሲሆን የሚቀርቡት ሙዚቃዎች ደግሞ ከመላው ዓለም የተውጣጡ የፍሪ ጃዝ /free jazz/፣ የድምፅ ሙዚቃ / noise music/፣ ኢንዱስትሪያዊና ባህላዊ ሙዚቃዎች ነበሩ፡፡ ዘመናዊ የኢትዮጵያ ሙዚቃ የተሟላ ስዕል ሊሰጥ ይችላል የተባለውና በቡዳ ምዩዚክ የተካተተው ተከታታይ የኢትዮጲክስ ሲዲ አዘጋጅና ፈጣሪ ነው፡፡ ፍራንሲስ ፋልሴቶ፡፡ በኢትዮጵያ የሙዚቃ ታሪክ የ1960ዎቹ ማገባደጃና የ1970ዎቹ መግቢያ በጣም ውጤታማና ምርታማ ዘመን ተብሎ የሚጠቀስ ነው፡፡ ኢትዮጲክስ ጥቂት ባህላዊ ሙዚቃዎችንና የደርግ መንግሥት ውድቀት ድረስ የተሰሩ ጥቂት ሙዚቃዎችን ያካተተ ነው፡፡ ፍራንሲስ ፋልሴቶ አቢሲኒ ስዊንግ ኤ ፒክቶሪያል ሂስትሪ ኦፍ ሞደርን ኢትዮጵያን ምዩዚክ /Abyssinie Swing: A Pictorial History of Modern Ethiopian Music/ የተሰኘ በሻማ ቡክስ የታተመ ቆንጆ መፅሐፍ ደራሲ ነው፡፡ “እ.ኤ.አ. በኤፕሪል ወር 1985 ዓ.ም በአንድ የቀን ሁለተኛ አጋማሽ /ከሰዓት በኋላ/ ነበር አዲስ አበባ ወደሚገኘው ታንጎ ሙዚቃ ቤት የሄድኩት፡፡ “መሐሙድ አህመድ ከአይቤክስ ባንድ ጋር” የሚል ርዕስ ካለው የKF 20 ሸክላ የጀርባ ሽፋን ያገኘሁት፤ ኢትዮጵያ ውስጥ የማውቀው ብቸኛ አድራሻ ነው ሙዚቃ ቤቱ፤ ዓሊ በሙዚቃ ቤቱ ውስጥ ነበር፡፡ ማን እንደሆንኩና ወደ ኢትዮጵያ ለምን እንደመጣሁ ወዲያው ነው ያወቀው፤ ድምፃዊ መሐመድ አህመድን ለማግኘትና ድምፃዊው በአውሮጳ የሙዚቃ ዝግጅት እንዲያቀርብ ለመነጋገር 36

መሆኑ ገብቶታል፡፡” በማለት የሚያስታውሰው ፍራንሲስ ፋልሴቶ በመቀጠል “በዕለቱ ዓሊ ወደ መኖሪያ ቤቱ ይዞኝ ሄደ፡፡ ምሽቱን በሙሉ ስናወራ ነጋ፤ ፀሐይ እስክትወጣ፤ ምንም እንቅልፍ አልነበረንም፤ በጣም ትልቅ አጋጣሚ፤ ስለ ኢትዮጵያ ሙዚቃ ዕድገትና መሻሻል ለመነጋገር በጣም ትልቅ አጋጣሚ ነበር” በማለት ይገልፃል፡፡ ፍራንሲስ ፋልሴቶ እ.ኤ.አ. በ1997 ዓ.ም የኢትዮጲክስ ተከታታይ ሙዚቃ የመጀመሪያ አልበም ባዘጋጀበት ወቅት

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

አብዛኛው የውጪ ዜጋ ስለ ኢትዮጵያ ሙዚቃ በቂ እውቀት አልነበረውም፡፡ ለሁለት ተከታታይ አስርት ዓመታት ፋልሴቶ ኢትዮጵያን በዓለም የሙዚቃ ካርታ ላይ የማስቀመጥ ኃላፊነት የተጣለበት ብቸኛ ባለሙያ ነበር፡፡ ፋልሴቶ በኢትዮጵያ ሙዚቃ ፍቅር የወደቀው እ.ኤ.አ. በ1984 ዓ.ም የሙዚቃ ኮንሰርት አዘጋጅ /promoter/ በመሆን በፓይቲየርስ በሚሰራበት አጋጣሚ የመሐሙድ አህመድን “መላ መላ” የሚለውን ዜማ ለመጀመሪያ ጊዜ በሰማበት ወቅት ነበር፡፡

ከዚያ በኋላ ፍራንሲስ ፋልሴቶ ወደ አዲስ አበባ ተከታታይ ጉዞ አደረገ፡፡ በኢትዮጵያ በ1960ዎቹና 70ዎቹ ወርቃማ ዘመን የተሰሩ የሙዚቃ ቅጂዎችን ማዳመጥና መመርመር ጀመረ፡፡ ዓሊ አብደላ ኬይፋ ለኢትዮጵያ ሙዚቃ ዕድገት ያደረገውን አስተዋፅዖ በተመለከተ ፋልሴቶ ሲናገር እ.ኤ.አ. በ1980ዎቹ አጋማሽ ዓሊ የኢትዮጵያ የሙዚቃ አታሚዎች ንጉስ፣ የሰላ የሙዚቃ ችሎታ ያለው፣ በሀገሪቱ የሙዚቃ ዘርፍ ዋና ተዋናይና በቴክኖሎጂና ፈጠራ ፍቅር የወደቀ በማለት ይገልፀዋል፡፡ ዓሊ ታንጎ እንደ ዓሊ ቢራ፣ ብዙነሽ

በቀለ፣ አለማየሁ እሸቴ፣ አያሌው መስፍን፣ ሙሉቀን መለሰ፣ መሐሙድ አህመድ፣ አስቴር አወቀ፣ ሐመልማል አባተ፣ ንዋይ ደበበና ህብስት ጥሩነህ የመሳሰሉ ዋና ዋና ኢትዮጵያዊ ድምፃውያንን ታላላቅ ሥራዎች በማሳተምና ለአድማጭ በማድረስ ትልቅ ሚና ስለተጫወተ ከፍተኛ ክብር ይገባዋል ብሏል ፋልሴቶ፡፡

በኋላ ዓሊ አብደላ ኬይፋ /ዓሊ ታንጎ/ በአሁኑ ወቅት ከመላው የሙያ አጋሮቹ፣ ጓደኞቹ፣ ቤተሰቦቹና ከሙዚቃ አድናቂዎች እውቅናና ክብር ሊሰጠው ይገባል፤ ዓሊ ለዘላለም ይኑር! በማለት ምኞቱን ገልጿል፡፡

“በኢትዮጵያ ማህበረሰብና ባህል ውስጥ ለበርካታ ዓመታት እንደቆየ አንድ የውጪ ዜጋ ዛሬ ላይ ሆኜ ስለ ዓሊ መናገር የምችለው ዓሊ ክፍት አዕምሮ ያለውና ከፍተኛ የሙያ ፍላጎት ያለው መሆኑን ነው፡፡” ካለ Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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ዳዊት ይፍሩ

“በወቅቱ ይህ የሙሉቀን መለሰ ሙዚቃ በዳህላክ ባንድ ሲሰራ ቅንብሩን በሙሉ የሰራሁት እኔ ነኝ፡፡” ያለው ዳዊት ይፍሩ ሮሃ ባንድ ስራ ከጀመረ በኋላ ከዓሊ ኬይፋ ሪከርዲንግስ ጋር የሰራቸውስራዎች በርካታ ሲሆኑ የንዋይ ደበበ፣ ሀመልማል አባተና ህብስት ጥሩነህ የመሳሰሉ ድምጻውያን ስኬታማ ስራዎች ተጠቃሽ ናቸው፡፡

Photo by Daniel Tiruneh

ከአራት አስርት ዓመታት በላይ በሙዚቃው ዓለም የቆየው፤ በዋናነት በዳህላክና በሮሃ ባንድ የሙዚቃ ባንዶች ሙዚቃ በመጫወት በህዝብ ዘንድ አንቱታን ያተረፈው ታዋቂው የሙዚቃ ሰው ዳዊት ይፍሩ ከአቶ ዓሊ ጋር የተዋወቁት ከዛሬ 42 ዓመት በፊት በ1070 ዓ.ም ውጤታማ የነበረውን ሙዚቀኞች ወደ ሙዚቃ ባንዶች የሙሉቀን መለሰ ‘ሀገሯ ዋሳ መገና’ የተሰኘው እንዲሁም ድምጻውያን ወደ ባንዶች የሚመጡበት ስርዓት ራሱን የቻለ ሂደት የሙዚቃ አልበም በሚዘጋጅበት ጊዜ ነበር፡፡

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

ነበረው፡፡ “ በዚያን ግዜ ዘፋኞችን መርጦ ወደ ሙዚቃ ባንዶች የሚያመጣው ዓሊ ታንጎን የመሳሰሉ ሙዚቃ አዘጋጅተው የሚያከፋፍሉ ሙዚቃ ቤት ያላቸውየሙዚቃ አዘጋጆች /producers/ ናቸው፡፡ ” ይላል ዳዊት ይፍሩ፡፡ ድምጻዊ ንዋይ ደበበ እራሱ ግጥምና ዜማ የሰራላቸውን ዘፈኖች ይዞ መጀመሪያ የሄደው ወደ ዓሊ ነበር፡፡ ዓሊም በቅድሚያ የንዋይ የመጀመሪያ የነበረውን ሙዚቃ አዳመጠ፣ ችሎታውን ተረዳ፣ ከዚያም ወደ ሮሀ ባንድ ይዞ መጣ፡፡ ንዋይ ከዚያ በፊት ምንም ዓይነት የዘመናዊ ሙዚቃ ስራ ልምድ የሌለውና ከራስ ቲያትር ባህላዊ የሙዚቃ ባንድ ጋር ይሰራ ስለነበር ከሮሀ ባንድ ጋር ሙዚቃዊ ውህደት ለመፍጠር ብዙ ጥረት ይጠይቅ ነበር፡፡ከብዙ ጥረትና ድካም በኋላ የንዋ አልበም ለህዝብ ይፋ ሆነ ፡፡ንዋይ ደበበም በዚህ የመጀመሪያ አልበሙ በሀገር ውስጥና በዓለማቀፍ ደረጃ በማይታመን መልኩ ዝነኛ ሆነ፡፡ ዓሊ በወቅቱ በአንድ ዴክ የሚሰሩ ስራዎችን በተወሰነ ደረጃ ወደ ዘመናዊ ደረጃ ለማሳደግ የሚያስችሉ ዘመናዊ የሙዚቃ መቅጃ መሳሪያ እንደነበረው ዳዊት ያስታውሳል፡፡ዓሊ ዘፋኞችን እጅጉን ያበረታታ ነበር፤ በክፍያ ረገድም ቢሆን ወቅቱ ይጠይቅ የነበረውን ክፍያ ያለምንም ማንገራገር ይከፍል ነበር፡፡ በተለይ የአንድ ድምጻዊ አልበም ስኬታማ ከሆነና፤ በድጋሚ የታተመ ከሆነ ማበረታቻ ያደርጋል፤ ይሸልማል፤ለድምጻዊውም ተጨማሪ ክፍያ ይፈጽማል፡፡ “ ይህ ድርጊቱ ደግሞ ዓሊ ከድምጻውያን ጋር በቀጣይ አብሮ ለመስራት ምቹ ሁኔታን ከመፍጠሩ በተጨማሪ ቤተሰባዊ ቅርበት እንዲኖር አድርጓል፤ በዚህም የተነሳ ሮሀ ባንድ ከዓሊ ጋር በርካታ ስራዎችን ሰርቷል፡፡ ” ብሏል ዳዊት ይፍሩ ፡፡ ዓሊ እንደ ሙዚቃ አዘጋጅነቱ ትርፍ ሊያስገኝለት በሚችል ስራ ላይ ያተኩር ነበር፡፡ የሮሃ ባንድ ሙዚቃ ተጫዋቾች ደግሞ የሙዚቃው ውበትና ጥራት ላይ በመጨነቅ በትብብር ነበር የሙዚቃ ስራዎች ይሰሩ የነበሩት፡፡ “ ዓሊ በጣም

Photo by Daniel Tiruneh

ይገርመኝ የነበረው ያዘጋጀውን የሙዚቃ ስራ ወይም አልበም በአዲስ አበባ ብቻ ተወስኖ እንዲቀር አይፈልግም ነበር፡፡ ከአዲስ አበባ ውጪ በነበረው ግንኙነት/ connection/አማካኝነት ካሴቶችን በየክፍለሀገሩ ያደርስ ነበር፡፡ በዚያን ጊዜ ደግሞ የካሴት ተጠቃሚዎች የነበሩት በዋናነት በየበረሀውና በየገጠሩ የነበሩ ወታደሮችና መምህራን ነበሩ፡፡ ይህ የሙዚቃ ስራዎችን ለእነዚህ የህብረተሰብ ክፍሎች እንዲደርስ የማድረግ ተግባር የሚመሰገንና የሚደነቅ ትልቅ ችሎታ ነበር ብዬ አምናለሁ፡፡” ሲል ሙዚቀኛ ዳዊት ይናገራል፡፡ በወቅቱ በአዲስ አበባ የነበሩት የሙዚቃ ቤቶች ቁጥር ውስን ቢሆንም እርስ በእርስ በሚደረግ የገበያ ውድድር ድምጻውያንን የማስኮብለልና የመሻማት ሁኔታ ይስተዋል ነበር፡፡ በመሆኑም ለድምጻውያን ተገቢውን እንክብካቤ ማድረግ፣ የሚገባውን ክብርና ክፍያ መስጠት፤ ከዚያም የድምጻውያኑ ስራ በአግባቡ ወደ ህዝብ እንዲደርስ ማድረግ ወሳኝ ነው፡፡ በዚህ ረገድ ዓሊ ኬይፋ ከፍተኛ ጥረት ያደርግ ነበር፡፡ በሮሀ ባንድ የተቀናበረው የሀመልማል አባተ የመጀመሪያ አልበም ከመውጣቱ በፊት የሙዚቃ ባንዱ በምሽት ክበብ

ውስጥ በሳምንት ሁለት ጊዜ ይጫወት ስለነበር ዓሊ ድምጻውያኗ ስራዋን ለህዝብ እንድታስተዋውቅ በመፈለጉ፤ ደምወዝ እራሱ እየከፈላት በዚያ ምሽት ክበብ እንድትጫወት አደረገ፡ ፡ ይህ ሁለት ጠቀሜታ አለው ይላል ሙዚቀኛ ዳዊት ይፍሩ፡፡ “ አንደኛ ሀመልማል ካሴቷ ከመውጣቱ በፊት ከህዝብ ጋር ያስተዋውቃታል፤ ሁለተኛ ደግሞ ከዚያ በኋላ የምታወጣው ካሴት ደግሞ የበለጠ ተፈላጊ ይሆናል ማለት ነው፤ይህ አሰራር ደግሞ የብልህ ነጋዴ ስትራቴጂ ነው፡፡” ዓሊ ኬይፋ በተፈጥሮ የተቸረውን የንግድ ፈጠራ ክህሎት በመጠቀም ድምጻውያኑንም ሆነ እራሱን ለማሳደግ ከፍተኛ ጥረት ያደረገ ስኬታማ የሙዚቃ አዘጋጅ ነው፡፡ ንዋይ ደበበ የመጀመሪያ አልበሙን ካወጣ በኋላ ከሮሀ ባንድ ጋር በመሆን በፈረንሳይ የኣለማቀፍ ፌስቲቫል ላይ እንዲሳተፍ አድርጓል፡፡ ከሮሀ ባንድ ወይም ከድምጻውያን ጋር ከነበረው መልካም ግንኙነት በተጨማሪ ዓሊ አለመግባባት ውስጥ ገብቶ የነበረበት ጊዜ ስለመኖሩ ለቀረበለት ጥያቄ አርቲስት ዳዊት ይፍሩ ሲመልስ

“ ዓሊ እኔ እስከማውቀው ድረስ ከእርሱ ጋር የሰሩ በርካታ ድምጻውያንን ለካሴት ስራ ወደ ሮሀ ባንድ ይዞ ሲመጣ ምንም ዓይነት ያለመግባባትና ግጭት ተከስቶ አያውቅም ፡ ፡” ብሏል፡፡ አሁን ጊዜው እነ ዓሊ ያደርጉ እንደነበረው ግጥምና ዜማን አሰባስቦ፤ ድምጻውያንን ወደ ሙሉ ባንድ አምጥቶ ካሴት የሚሰራበት ዘመን አይደለም፤ ያም ጊዜ ተመልሶ ሊመጣ አይችልም፡፡ በመሆኑም እንደ ዓሊ ዓይነት አሳታሚዎች የፈጠራ ክህሎታቸውን በማሳደግ፤ ኢንተርኔት፣ ዩትዩብና የመሳሰሉ ቴክኖሎጂዎችን በይበልጥ በመጠቀም ስራቸውን ማዘመን ይጠበቅባቸዋል፡፡ ዓሊ ከሀገሩ ወጥቶ ከ20 ዓመታት በላይ በአሜሪካ ሌላ ስራ ሲሰራ የቆየ ቢሆንም በሀገሪቱ የሙዚቃ እድገት የራሱን አሻራ ያኖረ፤ ታሪክ የሰራ ትልቅ ሰው መሆኑ መቼም አይዘነጋም የሚለው አርቲስት ዳዊት “እኔ ለዓሊ ኬይፋ የምመኝለት ነገር ቢኖር ከዘመኑ ጋር የሚራመድ እራሱን የቻለ ትልቅ የሙዚቃ አሳታሚ ኩባንያ ባለቤት ሆኖ በሀገር ውስጥና በዓለማቀፍ ደረጃ ታዋቂ እንዲሆና ታሪኩን እንዲያድስ ነው፡፡” በማለት ስለ ዓሊ ኬይፋ ያለውን አስተያየት ሰጥቷል፡፡

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

39

አስቴር ከበደ

Photo by Daniel Tiruneh

ተወልዳ ያደገችው በአዲስ አበባ መርካቶ ወይም አዲስ ከተማ ተብሎ በሚጠራውና በርካታ ታዋቂ ሰዎችን ባፈራው አካባቢ ነው፡፡ ጉሮሮዋን ያሟሸችው በእነ ሂሩትና ብዙነሽ በቀለ ዘፈኖች ነው ፤በቀድሞው የራስ ቲያትር ሙዚቃ ክፍል ሰርታለች፡ ፡ በ1970ዎቹ ዓ.ም መጨረሻ አካባቢ ‘’እንግዲህ ጀመረኝ”፣“ የኔአካል ውድነህ” እና ሌሎች ዘፈኖችን ያካተተውን የመጀመሪያዋና ብቸኛ፤ እስከ አሁን ድረስ ተወዳጅ የሆነውን አልበም በማውጣት ነው ታዋቂ የሆነችው- አስቴር ከበደ፡፡ አስቴር ይህንን አልበሟን ደግሞ የሰራችው በዓሊ ኬይፋ ሪከርዲንግስ ነበር፡፡

40 Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

አስቴር ስለ ዓሊ ስታወራ በጣም በስሜትና በትዝታ ተውጣ ነበር፡፡ “ታንጎ ሙዚቃ ቤት በመጀመሪያ የሄድኩት ከንዋይ ደበበ ጋር ነው፡፡ በነገራችን ላይ እኔ ራስ ቲያትር ተወዛዋዥ ነበርኩ፣ የአልበሜን አብዛኛውን ግጥምና ዜማ የደረሰው ንዋይ ደበበ ነው ወደዚህ እንድገባ የገፋፋኝ፣እንግዲህ በዘመኑ ድምጻዊው ድምጹን ብቻ ይዞ ነው ወደ አሳታሚው የሚሄደው፤ ሁሉንም ነገር እራሱ አሳታሚው ነው የሚጨርሰው፣ እኔ በእርግጥ ለገንዘብ ብዬ አልነበረም የሰራሁት፤ ለስሜቴና ለዕውቅና እንጂ፤……አልበሙም ወጣ፤ዓሊም ለእኔ 2000 ብር ከፈለኝ፤ ብሩም በዚያን ጊዜ ብዙ ነበር፤ ደስ ነው ያለኝ፤ ያው ነው እንግዲህ፡፡” ለበርካታ ዓመታት ኑሮዋን በሳዑዲ ዓረብያ በማድረግ ከሙያው ተነጥላ የቆየችው አስቴር ከበደ በአሁን ሰዓት እነዚህን ከ30 ዓመታት በላይ እንደተወደዱ የቆዩ

Photo by Daniel Tiruneh

ስራዎቿንና በተለየ ቅንብር /Remix/ እንዲሁም ጥቂት ነጠላ ዜማዎቿን በተለያዩ ክለቦችና ምሽት ክበቦች በመጫወት ላይ ትገኛለች፡፡ “ዓሊ ታንጎ በእውነቱ ለኛ ትልቅ ባለውለታችን ነው፡፡” ትላለች አስቴር፤ በመቀጠልም “ ዓሊ አልበሜን ከዋልያስ ባንድ በምሰራበት ወቅት በሙዚቃው ግብዓት ላይ ገንቢ ሀሳቦችን በማቅረብ የተሻለ ስራ ይዤ ህዝብ ዘንድ እንድቀርብ ረድቶኛል፡፡” በማለት የዓሊን ተጨማሪ የሙዚቃ አሳታሚነት ሚና ገልጻለች፡፡ አርቲስት አስቴር ከበደ እስከአሁን ድረስ ብቸኛና ታዋቂ የሆነውን አልበም በምትሰራበት ወቅት የዓሊ ታንጎ ድርሻ ከፍተኛ ነበር፡፡ አስቴር ይህንን ሙዚቃ ከዋልያስ ባንድ ጋር በምትሰራበት ጊዜ ዓሊ በቦታው በመገኘት በሙዚቃ ስራው፣ በድምጻዊቷ ድምጽ አወጣጥና የሙዚቃ ጥራት ላይ የራሱን እውቀትና ክህሎት በመደመር የተሳካ ስራ ሰርቷል፡፡

“ዓሊ ታንጎ በእውነቱ ለኛ ትልቅ ባለውለታችን ነው፡፡” ትላለች አስቴር፤ በመቀጠልም “ ዓሊ አልበሜን ከዋልያስ ባንድ በምሰራበት ወቅት በሙዚቃው ግብዓት ላይ ገንቢ ሀሳቦችን በማቅረብ የተሻለ ስራ ይዤ ህዝብ ዘንድ እንድቀርብ ረድቶኛል፡፡”

“ በእውነት ነው የምለው ዓሊ ታንጎ በተፈጥሮው የሚወርድና ከፍ የሚል የሙዚቃ ድምጽ በደንብ ጠንቅቆ የሚያውቅ የሙዚቃ አሳታሚ ነው፡፡ ” የምትለው አስቴር ከበደ ዓሊ ለኢትዮጵያ ሙዚቀኞችም ሆነ ድምጻውያን እድገትና መሻሻል የተለየ ድርሻ አበርክቷል ብላለች፡ ፡ በቀጣይ ለምትሰራው አልበም ዓሊ ቢያማክራት ደስተኛ እንደምትሆን ገልጻለች፡፡

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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ሕብስት ጥሩነህ የ 13 ዓመት ታዳጊ፣ቀይ፣ አጭር አፍሮ ጸጉር፤በልጅነቷ በቤት ውስጥ የነሂሩት በቀለ፣ ብዙነሽ በቀለ፣ሀመልማልአባተና የሌሎች ድምጻውያንን ዜማ ታንጎራጉር ነበር፡፡ ህብስት ጥሩነህ፡፡ በውስጧ የነበረውን እምቅ የሙዚቃ ችሎታና ዝንባሌ የተገነዘበው ባህሩ የተባለየወንድሟ ጓደኛ ነው ህብስትን መጀመሪያ ወደ ታንጎ ሙዚቃ ቤት ይዟት የሄደው፡፡

ቀድሞውን ህብስት ምንም እንዳፈራ፤ መክሮና አስጠንቅቆ ነው ወደ ሙዚቃ ቤቱ የወሰዳት፤……ታንጎ ሙዚቃ ቤት በር ላይ የተቀመጠው ድምጽ ማጉያ /loud speaker/ ከፍ ባለ ድምጽ ሙዚቃ ያሰማል፡፡ የህብስት ወንድም ጓደኛ ባህሩ የትንሿን ልጅ እጅ ይዞ ወደ ሙዚቃ ቤቱ ገባ፡

፡ የሙዚቃ ቤቱ ባለቤትና ሀላፊ አሊ አብደላ ኬይፋ ከሙዚቃ ቤቱ ጥግ በሚገኝ አንድ ከመስታወት የተሰራ የኤሌክትሮኒክስ ዕቃዎች መደርደሪያ አጠገብ ሙሉ ሱፍ ልብሱን ከነከረባቱ ግጥም አድርጎ፤ እጆቹን አጣምሮ ቆሟል፡፡ “አቶ ዓሊ!.. ያቺ ያልኩህ ልጅ ይህች ነች፡ ፡” አለ የህብስት ወንድም ጓደኛ፡፡

Photo by Daniel Tiruneh

“አሁን ይህች ህጻን ልጅ ትዘፍናለች?” አለና ታዳጊዋን ከእግር ጥፍሯ እስከ ራስ ጸጉሯ ተመለከታት፡፡ ዓሊ ቀጠለናም “እስኪ ዝፈኝልኝ!” አላት፤ በዚህ ጊዜ ታንጎ ሙዚቃ ቤት ካሴት የሚገዙ ሰዎች ወደ ውስጥ ሲገቡ፣ ካሴት የገዙ ሰዎች ደግሞ ከሙዚቃ ቤቱ ሲወጡ ማየት ሌላ ትዕይንት ነበር፤ ግርግሩ ህብስትን ትንሽ ግራ እንዲገባት ማድረጉ አልቀረመ፡፡ ነገር ግን ትንሿ ህብስት የንዋይ ደበበን“የጥቅምት አበባ’’ ዜማ በደንብ አድርጋ ተጫወተች፡ ፡ ዓሊ ደንገጥ አለና “ እስኪ ሌላ ዘፈን ተጫወቺ! ” አላት፤ ህብስትም በመቀጠል የሀመልማል አባተን “የትዳሬ ማገር” የሚለውን ዜማ ተጫወተችለት፡፡ በህብስት ድምጽ ሀይልና ውበት እንዲሁም ድፍረት በጣም የተገረመው ዓሊ “ ይህች ልጅ በጣም ትልቅ ደረጃ መድረስ የምትችል ናት፡፡” ብሎ ደስታውን፡፡

42 Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

ከዚያ ጊዜ ጀምሮ ነው እንግዲህ ዓሊ ኬይፋ ከህብስት ጥሩነህ ጋር ተወዳጅ ስራ ለመስራት እንደ አርቲስት አየለ ማሞ ከመሳሰሉት የሚዚቃ ሰዎችና ሮሃ ባንድ ከህብስት ጋር እንዲሰሩ የወሰነው፡፡ “ ጋሽ አየለ ማሞ የሰራልኝ ‘በርቺ በሉኝ’፣ ኦሮምኛና አንድ ሌላ ዘፈኔን ነው፤ ‘’እናቴን አደራ” የሚለውን ዜማ ጨምሮ ሰባቱን ዘፈኖች ዜማና ግጥም የሰሩልኝ ደግሞ ሱራፌል አበበና ተመስገን ተካ ናቸው፡፡” ህብስት ይህን አልበም ስትሰራ እንደ ጀማሪና ልምድ እንደሌለው ድምጻዊ ለሮሃ ባንድ ሙዚቀኞች አስቸጋሪ አልነበረችም፤ ወዲያው ህብር ፈጥራ የመጀመሪያና ታዋቂ ያደረጋትን አልበም በስኬት ለማጠናቀቅ ችላለች፡፡ የሙዚቃ ጉጉት ከልጅነት ጋር ተደምሮ ገንዘብ ለእርሷ

Photo by Daniel Tiruneh

ብዙ ትርጉም አልነበረውም፤ “እንዴ! ክፍያ? በነጻስ ቢሆን እኔ እኮ ካሴት መስራቴን እንጂ ስለገንዘብ በወቅቱ ምንም አስቤ አላውቅም፡ ፡” ብላለች ህብስት ስለ መጀመሪያ ስራዋ ክፍያ ስትጠየቅ፡፡ ዓሊኬይፋ በወቅቱ ህብስት ገንዘብ የማስተዳደር አቅም እንደሌላት በመረዳት ለዚህ ለመጀመሪያ ስራዋ 3000 ብር የከፈላት ሲሆን ገንዘቡንም የተቀበሉት አባቷ አቶ ጥሩነህ ነበሩ፡፡ ከዚህ በተጨማሪ ዓሊ ለህብስትና ለቤተሰቦቿ ያስፈልጉ የነበሩ ነገሮችን አድርጓል፡፡ ህብስት ይህን በተመለከተ እንዲህ ብላለች፣ “ በእውነቱ ከሆነ ጋሽ ዓሊ ለእኔና ለቤተሰቦቼ ከጠበቅኩት በላይ ነው በርካታ ነገር ያደረገው፤ ልክ እንደ አባት በመሆን ትልቅ አክብሮትና ድጋፍ ነው ያደረገልኝ፡፡ ” ድምጻዊ ህብስት ጥሩነህ ከዓሊ ጋር የሰራችው የመጀመሪያዋን አልበም ብቻ ቢሆንም ቀጣይ ስራዋን እንድትሰራ እገዛ አድርጎላታል፡፡ ሁለተኛዋን አልበም ለመስራት በዝግጅት ላይ ሳለች ነበር ዓሊ ከሀገር ለመውጣት በሂደት ላይ የነበረው፡፡ በመሆኑም ዓሊ ህብስት ሁለተኛ አልበሟን እንድታወጣ ከኤሌክትራ ሙዚቃ ቤት ባለቤት ከአቶ ተሾመ ጋር አገናኛት፡፡ እርሷም ሁለተኛ አልበሟን ሰርታ ለህዝብ አቀረበች፡፡

“ አሁን እኔ እዚህ ደረጃ እንድደርስ የዓሊ ድርሻ ከፍተኛ ነው፡፡” የምትለው ድምጻዊ ህብስት ጥሩነህ ዓሊ ታንጎ የሙዚቃ ማሳተም ስራ ላይ ብቻ አያተኩርም፤ በሙዚቃ ውበት፣ በሙዚቃ መሳሪያ ተጫዋቾችና በድምጻውያን መካከል ስለሚኖረው ውህደትና መግባባት የእራሱ የሆነ እውቀትና ክህሎት ነበረው ትላለች፡፡ ዓሊ አብደላ ኬይፋ የድምጻዊ ህብስት ጥሩነህ የመጀመሪያ አልበም የሙዚቃ ቪዲዮ ዝግጅት በተመለከተ በኢትዮጵያ ያልተለመደ አጋጣሚ እንዲፈጠር በማድረጉ በሀገሪቱ የሙዚቃ ታሪክ ዘላለም ሊታወስ የሚገባ የሙዚቃ አሳታሚ ነው፡፡ ዓሊ በወቅቱ የአዲስ አበባ መዘጋጃ ቤት ይገኝ ወደ ነበረው የኢትዮጵያ ቴሌቪዥን ጣቢያ ሄዶ ከስራ ሀላፊዎች ጋር በመነጋገርና በማሳመን በህብስት የመጀመሪያ አልበም ውስጥ የሚገኙትን አስሩንም ዘፈኖች የሙዚቃ ክሊፕ እንዲሰራላቸው በማድረግ ታሪክ መስራቱን ድምፃዊ ህብስት ጥሩነህ በአግራሞት ታስታውሳለች፡፡ “በጣም የሚገርመኝ ደብረዘይት ሆራ ሀይቅ ሄደን ‘ እምዬን አደራ‘ የሚለውን ዘፈኔን ውሀ ላይ፣ የሆነ ዘፈኔን የአበባ ቦታ፣ የሆነ ዘፈኔ ቤት ውስጥ፣ ሌሎችንም

እንደዚሁ ቦታ እየቀያየርን ነው የሰራነው፡ ፡ ‘ምን ይሻላል፣ ምን ይበጃል? የሚለው ዘፈን ብቻ ነው እስቲድዮ የተቀረጸው በተረፈ አስሩንም ዘፈኖቼን በአንድ ቀን ነው እንዲቀረጹ ያደረገው፡፡” ብላለች ህብስት ጥሩነህ፡፡ የዓሊ ታንጎን ውለታ የማትረሳው ህብስት “ ዓሊ እኔ እዚህ ደረጃ ለመድረሴ ከፍተኛ ድርሻ አለው፤ ልክ እንደ አባቴ ነው፡ ፡ የመጀመሪያ አልበሜን በምሰራበት ጊዜ እንደ አባት እየተቆጣጠረና እየመከረ ስኬታማ እንድሆን የረዳኝ መሰረቴ ነው፤ ከእርሱ ጋር የስጋ ዝምድና ያለኝ ያህል ነው የሚሰማኝ፡፡” ብላለች፡፡ ለረጅም ጊዜ በአካል ለመገናኘት ሳይችሉ ቢቆዩም አሁን ላይ የዓሊ አብደላ ኬይፋ ወዳጅ ዘመዶችና ጓደኞች እርሱ ለኢትዮጵያ ሙዚቃ እድገት ላበረከተው አስተዋጽኦና ለበርካታ ድምጻውያን መሰረት በመሆኑ ላዘጋጁት የእውቅናና የክብር መርሀ-ግብር ዋዜማ ላይ ሆና “ ዓሊ በጣም እወድሀለሁ! አከብርሀለሁ! እግዚሀብሄር ዕድሜና ጤና ይስጥህ! ” በማለት ለሙያ አባቷ ያላትን ምኞት ገልጻለች፡፡

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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ፍስሀ ወልደአማኑኤል

“ ከዓሊ ጋር በዋናነት የተዋወቅነውና ጓደኝነታችንም የተጠናከረውሁለታችንም ለቅዱስ ጊዮርጊስ የእግር ኳስ ቡድን በምንጫወትበት ጊዜ ነው ፡፡|” ይላሉ አቶ ፍስሀ፡ ፡ በወቅቱ ዓሊ ከሰው ተግባቢ፣ ሰው የሚወድና ቸር ነበር የሚሉት አቶ ፍስሀ ድሮ አዲስ አበባ ፒያሳ ይገኝ የቀድሞው የኢትዮጵያ ብሄራዊ የእግር ኳስ ቡድን ተጫዋችና በሰሜን አሜሪካ በነበረው ኪንግ ጆርጅ ባር በአብዛኛው የሚዝናኑበት የኢትዮጵያን ማህበረሰብ የእግር ኳስ ውድድር መስራች የሆነው ፍስሀ ወ/ ስፍራ እንደነበር ያስታውሳሉ፡፡ አማኑኤል የአሊ የልጅነት ጓደኛ ከነበሩት አንዱ ናቸው ፡፡ በወጣትነት ጊዜያቸው ለአራተኛ ፣ አምስተኛ ፣ ስድስተኛና ሰባተኛ የአፍሪካ ዋንጫ ለኢትዮጵያ ብሄራዊ የአቶ አሊን ደግነትና ሰው አክባሪነት በተመለከተ ቡድን ተሰልፎ የተጫወተው ፍስሃ ወልደአማኑኤል ከሃምሳ ዓመት በፊት ነበር አቶ ፍስሀ በህይወታቸው የማይረሱት ነገር እንዳለ ከአሊ ጋር በዳግማዊ ምኒሊክ ትምህርት ቤት የተዋወቁት ፡፡ ሲያስታውሱ “ እ.ኤ.አ በኦገስት 1969 ዓ፣ም ከኢትዮጵያ ወደ አሜሪካ ስሄድ በሂልተን ሆቴል በርካታ ጓደኞቼን እንድጠራ አድርጎ ከፍተኛ የሽኝት ግብዣ ሸኝቶኛል፡፡ ” ብለዋል፡፡ የአቶ ዓሊ ደግነትና መልካምነት በቃላት አልገልጸውም የሚሉት አቶ ፍስሀ ዓሊ በርካታ ሰዎችን ሲረዳና ሲደግፍ ይመለከቱ እንደነበር፣ እንደ ሙዚቃ አዘጋጅና ነጋዴ ለራሱ ብቻ የሚያስብ፣ ስግብግብ ሳይሆን ለሌሎች መኖርን የመረጠ ድንቅ ሰው ነው ሲሉ ይናገራሉ፡፡

Photo by Daniel Tiruneh

ዓሊ ኬይፋ ወይም በሰፊው ደግሞ ዓሊ ታንጎ በሚል ታዋቂ ስም የሚጠራው ዓሊ ረጋ ያለ፣ ቤተሰቡን የሚወድ፣ ሀገሩን የሚወድና ስራውን የሚያከብር መሆኑ በሁሉም ዘንድ የታወቀ ነው፡፡ እንደዚህ ለሀገርና ለህዝብ ለሰሩ ሰዎች እውቅና እና ክብር መስጠት አስፈላጊ እንደሆነ ሁሉም ያምናል፡፡ አቶ ዓሊ በሀገራችን ለሚገኙ የሙዚቃ ሰዎች ወይም ድምጻዊያን እድገት የራሱን ድርሻ የተወጣ ብርቅዬ የኢትዮጵያ ልጅ በመሆኑ ከፍተኛ ክብርና እውቅና ሊቸረው ይገባል፡፡

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

“አቶ ዓሊ ክብርና እውቅና ይገባዋል፤ የሚረሳ አይደለም፤ በርካታ ታዋቂ ሙዚቀኞች ለምሳሌ ጥላሁን ገሰሰ፣ መሀሙድ አህመድ፣ ሙሉቀን መለሰ፣ አስቴር አወቀ፣ አሊ ቢራና ሌሎች ሙዚቀኞች ጎልተው እንዲወጡ ያደረገ ባለውለታ ነው፡፡ ትልቅ አስተዋዕጾ አድርጓል፡፡ ሲሉ አቶ ፍስሀ ምስክርነታቸውን ሰጥተዋል፡፡

አሰለፈች

አሽኔ

በታህሳስወር 2012 ዓ.ም ከረዥም ዓመታት ቆይታ በኋላ በአካል ለመገናኘት በቅተዋል፤ ትዝታ፣ናፍቆትና ደስታ………ተቃቅፈው ለሰከንዶች ዝም አሉ፣ እንኳን ፈጣሪ በሰላምና በጤና አገናኘን ተባባሉ፤ ታዋቂው የሙዚቃ አሳታሚ ዓሊ አብደላ ኬይፋና አንጋፋዋ አርቲስት አሰለፈች አሽኔ ፡፡

በ1960ዎቹ መጨረሻ አካባቢ ታንጎ ሙዚቃ ቤት የእነ ጥላሁን ገሰሰና መሀሙድ አህመድ ዘፈኖች በካሴት ባሳተመበት ወቅት አርቲስት አሰለፈች ወደ ሙዚቃ ቤቱ እየመጣች የሙዚቃ ሸክላዎች ትገዛ ነበር፡፡በዓጼ ኀ/ስላሴ ዘመነ መንግስት ሴት ልጅ ከቤት ወጥታ መዝፈንም ሆነ ካሴት ማስቀረጽ ፈጽሞ የሚታሰብ አልነበረም፡፡ ሆኖም ግን በኢትዮጵያ የስርዓት ለውጥ ተደርጎ የደርግ መንግስት ከተመሰረተ በኋላ ሴቶችን አስሮ የነበረው ማህበራዊና ባህላዊ አመለካከት በተወሰነ ደረጃ መሻሻል በማሳየቱ አንዳንድ በሀገር ፍቅር ቴአትር ቤት ይሰሩ የነበሩ ሴት ድምጻውያን አዲስ አበባ ውስጥ ውቤ በረሀ ተብሎ በሚታወቀውአካባቢ በከፈቷቸው መጠጥ ቤቶች ውስጥ ሙዚቃን መጫወት ጀምረው ነበር፡፡

Photo by Daniel Tiruneh

እነ ከተማ መኮንን፣ አለምነህ መንግስቱ፣ ታደሰ አንዳርጌ፣ ሻምበል በላይነህና ሌሎች ሙዚቀኞች በእነዚህ መሸታ ቤቶች በመምጣት ይዘፍኑ ነበር፡ ፡ በዚህ ወቅት አሰለፈች ከጓደኛዋ ጋር በመጠጥ ቤቷ ማታማታ ትዘፍን ነበር፡፡ ዓሊ ደግሞ ድንገት በአሰለፈች መጠጥ ቤት ሊዝናና በመጣበት ወቅት ነበር የአሰለፈችና የጓደኛዋን ጥዑም ዜማ የሰማው፤ ከዚያም “ ሙዚቃችሁን እኔ ላሳትምላችሁ?” የሚል ጥያቄ ያቀርብላቸዋል፡፡ እነ አሰለፈችም ጥያቄውን በደስታ ተቀብለው ዘፈኖቻቸውን ተሾመ ሲሳይ በተባለ የሙዚቃ አቀናባሪ መሪነት ከምድር ጦር ኦርኬስትራ ጋር ይለማመዱ ጀመር፡፡ ከተወሰነ ወራት በኋላ ደግሞ በ1968 ዓ.ም አሰለፈች ከጓደኛዋ ጌጤነሽ ክብረት ጋር በህብረት “ሽገኔዎች” በሚል መጠሪያ የሰራችው የሙዚቃ ስራ ለሙዚቃ አፍቃሪያን ይፋ ሆነ፡፡ “ እንግዲህ ለጊዜው ገንዘቡ የሚረባ ባይሆንም ሸክላው ታተመ፤ ጊዜው የለውጥ ነበር፤ ሙዚቃውም በህዝብ ዘንድ በጣም ተወደደ፡፡” ብላለች አርቲስት አሰለፈች አሽኔ ስለ መጀመሪያ ስራዋ ስትናገር፡፡ “ ዓሊ አብደላ ኬይፋ ለእኔና እኔን ለመሳሰሉ ድምጻውያን እድገትና መሻሻል ከፍተኛ አስተዋዕጾ ያደረገ ሲሆን ከዚህ በተጨማሪ ደግሞ አቶ ዓሊ የእነ ጥላሁን ገሰሰ፣ አለማየሁ እሸቴ፣ ብዙነሽ በቀለና የሌሎች ድምጻውያን ስራ በሸክላም ሆነ በካሴት ባያሳትም ኖሮ አሁን ያለው የኢትዮጵያ ሙዚቃ ታሪክ ምሉዕ ላይሆን ይችል ነበር ብዬ አምናለሁ፡፡” ብላለች፡፡

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46 Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Photo by Daniel Tiruneh

“You Deserve” event organizing committee

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

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Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

CREATING UNIQUE AND PERSONALIZED WOODWORK OUR APPROACH

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P.O.Box 4645 info@fassilo.com www.fassilo.com Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020

Abyssinia Business Nework ልዩ እትም 2012 Special Edition 2020