The unique rhythms of Ethiopia’s golden era find a new global stage
ARTS & ENTERTAINMENT
PUBLISHED : 7 Feb 2026 at 01:01
NEWSPAPER SECTION: Life
WRITER: John Clewley
DeeperDive
What role did Either/Orchestra play in Nalbandian’s revival?
What role did Either/Orchestra play in Nalbandian’s revival?
How did Ethiopiques series boost Ethiojazz’s global profile?
Who was first African Grammy Lifetime Achievement winner?
The Paris-based Buda Musique label introduced the popular Ethiopiques CD series in 1997, with the aim of re-releasing singles and albums from the 1960s and 70s golden era of Ethiopian music and jazz in “Swinging Addis”. So far, the series has produced 32 volumes, curated by Francis Flaceto, that feature musical greats such as Alemayehu Eshete, Mahmoud Ahmed, Mulatu Astatke and Tilahun Gessesse.
In 2005, film director Jim Jarmusch featured songs from Ethiopiques Volume 4 in his movie Broken Flowers which starred Bill Murray. This further raised the profile of Ethiojazz worldwide.
But one name missing from this list is the great Armenian musician, composer and bandleader Nerses Nalbandian, who was given the honorific “The Ethiopian” for his work composing songs, introducing choral (Armenian) music, and for his work as director and conductor of the Haile Selassie I Theatre Orchestra (now the National Theatre). But, above all, he was the man who brought swing to Addis Ababa in the 1950s. His uncle was the renowned musician and teacher Kevork, who composed Ethiopia’s first national anthem.
In 2004, a project began to recreate some of the great jazz and popular music from the 1960s and 1970s. The latest CD in the series is a revival of his music by the Either/Orchestra, led by bandleader Russ Gershon who has reconstructed and rearranged Nalbandian’s compositions. He then took the band to Addis Ababa in 2011 to perform songs, along with Ethiopian musicians.
This new album, Éthiopiques 32: Nalbandian The Ethiopian, features live recordings, and it is brilliant.
The tracks vary from dreamy brass-driven Ethiojazz like Eyeye to songs that feature great vocalists like the mournful Yetezeta Roro — it’s worth noting that the Farfisa organ sound that came out in the late 1960s is largely absent as much of his music was created before the introduction of electric keyboards.
There are also several Latin tracks like opener Amhara Rumba and Mambo No.1 that reflect the mambo boom of the 1950s, which influenced Ethiopian jazz musicians as much as it did in other parts of Africa (especially Congolese and West African music).
This is a great album full of delightful musical surprises and dripping with that unmistakable Ethiopian groove that seems to transport the listener to a higher realm. I played this one very loud. An essential addition to any music collection. Highly recommended. More information from budamusique.com.
There is another recent release in the series, Volume 32: Muluken Mellesse, but I have yet to hear this album. I will report on this one when I get the chance to hear it.
Sly Dunbar, one of Jamaica’s top drummers, died recently. He formed a long and prolific partnership with bass player Robbie Shakespeare. They backed Peter Tosh, and provided the rhythms and grooves for successful albums by Grace Jones and Black Uhuru. They formed their own label Taxi Records in 1980, releasing albums by Chaka Demus and Pliers, Bennie Man and Red Dragon. They also collaborated with a dizzying array of stars like Bob Dylan, Herbie Hancock, Serge Gainsbourg, The Rolling Stones and Joe Cocker.
Dunbar seemed to me to be one of the heirs to the great Lloyd Nibb of The Skatalites, who he described as his mentor. Both of them helped create the rhythms of reggae, but Dunbar came a little later than Nibb and brought an inventiveness into reggae that showed in his ability to work in multiple genres.
He is the drummer on one of my favourite reggae tracks, Police And Thieves by Junior Murvin, which readers may remember was covered by the UK punk rock band The Clash.
Three decades after his death at 58, the Nigerian musician, bandleader and pioneer of Afrobeat Fela Kuti has been awarded a Lifetime Achievement Award, posthumously, at this year’s 68th Grammy Awards. He is the first African musician to receive a lifetime award. The ceremony also honoured US musicians Paul Simon, Chaka Khan and Carlos Santana with lifetime awards.
Kuti created a potent music, ably assisted by drummer Tony Allen, from West African popular music, jazz and funk to traditional Yoruba rhythms, call and response vocals, and hard-edged political lyrics.
After he returned from a US tour, Kuti renamed his band Africa 70 and set about addressing social injustice and corruption in his music — check out his 1977 album Zombie, and 1980s gems like Black President and Original Sufferhead. It is ironic that the establishment is honouring such a resolute anti-establishment figure but I’m not sure Kuti would be too impressed. It is, however, great news that his music is once again in the global spotlight.
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