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MULATU ASTATKE & HIS ETHIOPIAN QUINTET
Afro Latin Soul Vols 1 & 2

jazz/yass/impro
Strut, 2018

Czas trwania: 64:38

Średnia ocena klientów: -    oceń

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CD : 63,90 zł
na stanie
Nr kat.: STRUT156CD
format : CD
liczba nośników : 1
Opakowanie : plastik


nr tytuł play mp3
  AFRO LATIN SOUL
1 I FARAM GAMI I FARAM 2:25
2 MASCARAM SETABA 1:47
3 SHAGU 3:00
4 ONE FOR BUZAYHEW 3:25
5 ALONE IN THE CROWD 4:00
6 ALMAZ 2:50
7 MULATU’S HIDEAWAY 2:40
8 ASKUM 2:04
9 A KISS BEFORE DAWN 3:15
10 PLAYBOY CHA CHA 3:50
AFRO LATIN SOUL Vol. 2
11 THE PANTHER (BOOGALOO) 2:20
12 KONJIT (PRETTY) 3:07
13 SOUL POWER 5:05
14 LOVER’S MAMBO 2:10
15 LOVE MOOD FOR TWO 4:15
16 JIJIGER 2:22
17 GIRL FROM ADDIS ABABA 3:50
18 KARAYU 3:52
19 RAINA 4:38


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OPAKOWANIEjewel case + ksiązeczka
Strut continue their essential work with the “Godfather Of Ethio Jazz”, Mulatu Astatke, with the first official reissues of his early classics ‘Afro Latin Soul’ Volumes 1 and 2 from 1966, recorded as The Ethiopian Quintet.

Arriving after Astatke’s life-changing years studying at Berklee College in Boston, the albums were the first experiments in his pioneering sound, fusing Ethiopian cultural music with Afro Latin and jazz forms. “I have always felt a deep connection between Latin and African music,” he explains. “I travelled to Cuba and listened to their musicians; the tempo, rhythm and feeling was very similar to different African forms. In the mid-‘60s, I formed a band called The Ethiopian Quintet in New York comprising Ethiopian, Latin and Afro-American musicians - the band included trumpeter and pianist Rudy Houston who later played with Yambu and Felix Torres who played with La Sonora Poncena.”

Supported by Worthy Records’ Gil Snapper who offered to record the quintet, Astatke began to experiment during two separate sessions: “We created a different feel and different arrangements. On the first recording, I played an adaptation of an ancient Ethiopian warrior song, ‘I Faram Gami I Faram’ - the lyrics were translated so that the singer could sing it in Spanish. Some compositions were important steps for me: ‘Mascaram Setaba’ (‘Summer Is Coming’) ‘Shagu’ and ‘Almaz’. With the second album, a personal favourite is ‘Girl From Addis Ababa’ which worked very nicely as a fusion of Ethiopian modes and R&B rhythms.”

Astatke would start to perfect his Ethio jazz sound on his later album for Worthy in 1972, ‘Mulatu Of Ethiopia’ (STRUT129) but the two volumes of ‘Afro Latin Soul’ stand as important recordings documen
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