ጌታቸው መኩሪያ (1935 - 2016) A lifelong musical history in photos, from the Municipality Band to The Ex. ሞዓ አንበሳ፡ ማስታወሻና ቅርስ terp B-28/EX 146-B ISBN: 978-90-826066-0-7 Ⓟ&Ⓒ Terp Records/The Ex 2016. All rights reserved. [email protected] www.theex.nl u THE STORY THE EX AND GETATCHEW MEKURIA. (2004-2014)

We were intrigued by Getatchew’s music, which we had discovered on an old cassette, back in 1996. Recordings from 1972 (Philips vinyl), later released as Ethiopiques 14 “The Negus of Ethiopian Sax”. A big sound and a huge vibrato in a minimal setting. A saxophone sound where you recognise Getatchew in a second! Unique. We had our 25th year anniversary party in November 2004 and invited a wide variety of musical friends for a two day festival at the Paradiso, in Amsterdam. Our big dream was to invite Getatchew and have him play with the ICP, the , for many decades Holland’s most amazing free-impro- vising jazz orchestra, based around and . But, of course, we realised that Getatchew came from quite another world, that he hadn’t played concerts for a long time and, in his seventies, was maybe getting on a bit. We took the risk, went to Addis to find him, and explained our story. He agreed to do it right away! What followed was a whirlwind. It was his first time travelling to Europe. When he arrived, he was so full of energy, that he didn’t go to bed for two nights. He treated the ICP as if they were his own band and enjoyed immensely the improvising and the freedom. And when he put on his lion’s mane, the ‘gofere’, he blasted everyone off stage, playing his saxo- phone version of an Ethiopian war-chant, the Shellele. He had already played this piece in the 1950’s, and for some it is considered to be a keystone to free improvised jazz. Pre-Albert Ayler or John Coltrane. A scene and style of music Getatchew and the ICP played at the Paradiso, the Bozar in Brussels and later Getatchew knew nothing about. at the Moers Jazz Festival. They were legendary concerts. On the following “25 year Ex Convoy Tour” around France, he also played a few songs with The Ex. The energy and spirit that grew from this collaboration, reminded him of highlights from his own career, such as his association with the Police Band, and with singer Ayalew Mesfin, back in the 1960’s. Wonderful music every night and amazing to see Getatchew so happy and inspired. Getatchew then said he wanted to play and make his next CD with The Ex! Ethiopian music at full blast. He chose 10 songs, which he played to us in our room at the Baro Hotel in Addis. From the solo saxophone lines he gave us, we made our own arrangements and added some of our lyrics. Some songs we knew, others were totally new to us. We invited some great jazz horn players we had met through the years; trombonist Joost Buis (NL); clarinetplayer Xavier Charles (F) and alto-player Brodie West (CAN). They played with great spirit between the ‘Ethio-riffs’ and the free improvising. When we all started playing together it never felt like a compromise. In general we are not big fans of ‘fusion’, but this music really EF grew from both sides. It almost spoke for itself and somehow came from a

6 very deep source. The Ex remained The Ex and Getatchew could let his lines and solos fully rip! Sparks flew from all sides! A miracle. Because, of course we realized again our apparent musical, social and cultural differences.

We recorded the CD/LP in 2006 and things really took off. In some ten years we played more than a hundred concerts, in 15 countries. Jazz-, world music- and rock festivals to venues of all sizes, all over the world. Appearances at the Lincoln Centre ‘Out of Doors’ in New York, on the French 8 ‘o clock news (with 8 million viewers!), at the Rio Loco Festival in Toulouse, playing to 20.000 people (and broadcasted on TV in ). Large events. But also when playing on small stages we’ve always had musical adventures and a great response.

Getatchew was born on March 14, 1935 in the countryside in Northern Shoa, Ethiopia and arrived with his father, a honeymerchant, in Addis. He soon became hooked on music, started playing the washint, the traditional flute. Soon joined the Municipality Band at the age of 13 and began to play the clari- net and saxophone. Later, he joined the National Theatre Orchestra, the Police Orchestra, Speed Band and many more. Playing with stars like , Tilahoun Gessesse, Hirut Bekele, Ayalew Mesfin and many others.

Our connection with Ethopian musicians also became stronger. We initiated six music-projects in Addis, including two ‘Saxophone’ projects. With repair- man Friso Heidinga and renowned players like (S), Ab Baars

BL

7 (NL) and (USA), who later joined our hornsection. Getatchew always came to the concerts to join in and played at his best. He would always invite us all to his home for incredible, copious, unfinishable meals. And Tej’, the honeywine!

We have brought many great Ethiopian musicians over to Europe, like Moham- med Jimmy, Chalachew Ashenafi, Mesele Asmamaw and the Group. The fabulous dancer Melaku Belay, who runs the Fendika Azmaribet (traditional nightclub), became a strong element in The Ex & Getatchew crew.

When in Holland he always stayed at our house, de Witte Villa, and we tried to reciprocate his generous hospitality, which proved to be impossible! Once we invited his wife Ayaletch too; her first time out of Ethiopia. We went on a canal cruise boat in Amsterdam. Soon Getatchew took over the steering wheel and sailed on the ‘IJ’-lake as if he was an experienced captain. We got to know eachother really well. He was quite a character. Incredibly diverse and full-on in every way! Getatchew did not travel around the world; the world travelled around Getatchew. Very hospitable, polite, humble, friendly, social and super humorous. But sometimes he was also a proud nobleman, a king, a mercato-merchant, a fighter.

In the summer of 2012, whilst in Europe again to play several festivals, Getatchew announced, quite unexpectedly, his desire to make another record- ing with us. At the tender age of 77, he felt it would probably be his final one.

EF

8 NH

For us, a great responsability. He recorded about 12 melodies in the Villa. Deep, old, classic melodies. Some completely mysterious to us. He wanted to record in december, which we did. The process wasn’t always easy. But with the combination of inspired overdubs, a session in Addis, meticulous mixing and fixing, some new guest musicians, we completed the . ‘Y’Anbessaw Tezeta’: ‘Longing for the lion’. The result was very different from the previous release; instrumental, more sentitive and fragile; deeper. But also exciting dance rhythms, up-tempo war-chants, amazing hornriffs and great soloing. We decided to make it a benefit CD/LP for Getatchew. Everyone contributed for free. After almost 65 years of playing music, we thought this amazing person deserves some kind of pension! We wanted this release to be something special. We added an extra LP, with some historical recordings, including Getatchew and the ICP, 1 Theatre Orchestra and a live performance with The Ex in Montreal. Plus a 48- page magazine, with photos, interview and stories.

Quite suddenly his health deteriorated very fast. Because of the diabetes, his legs became swollen and at a certain point he was no longer able to walk. It became impossible to invite him to Europe anymore. We decided to organise a ‘Celebration of Getatchew Mekuria’ concert in Addis Abeba. With the help of many people in Addis we were able to arrange it at the National Theatre. And it sold out. 1500 people came. Standing ovation. Amazing! Getatchew sat down for the whole concert , but played as strong as ever. A few days later we played

9 EF

the Jazzamba in the Taitu Hotel and our final concert with Getachew was in the Alliance Francaise.

It turned out to be the last ever. The situation became really sad. We visited Addis in Januari 2016 and he was in a health crisis. He had been sitting upright in his chair all day and all night for more than half a year. His legs were even worse. Nobody took care of him. In a final effort we bought a big adjustable chair in Holland and Emma brought it over in the beginning of March. Getat- chew was happy and could finally sleep properly. But sadly it was too late. After a few weeks his legs began to develop quite serious infections. He was brought to the Federal Police Hospital. He passed away on April 4, 2016. We will miss him. His whole life was music. With his unique sound, approach and character, he leaves behind an eternal inspiration.

Enjoy the photos of this incredible adventure!

-Terrie. The Ex.

10 GETATCHEW MEKURIA (2006):

“My family were peasants. My father was also a merchant. He was engaged in caravan trade. In the older days, people traded goods like sugar, honey and salt. Caravan traders came here to from far away places. My uncle was here in Addis Ababa. Therefore, my father stayed with his brother here and continued as a honey merchant. I was born in 1928* in Yefat in the Shoa province. I came from the countryside to Addis as a six-month old baby. I came here and grew up in my uncle’s house until I started school. I first stepped into the music world in the Municipality Band where they took in promising young musicians. I used to tell my folks that I was spending my days in school. In fact, however, I was hanging around the Mu- nicipality. While hanging around there, a friend of mine then, now deceased, called Wodajenew Filfilu, was a clarinet player. I started spending my days with him and also played the clarinet. After some time in school, I got offended in my uncle’s house over a trifle, quit school, and joined the Municipality music band upon its opening. I was just 13 years old. Then I moved from playing the clarinet to playing the saxophone. One day, although I was with the Municipality music band, I saw a street-music called ‘Fanfare’. I joined the street music band. When EF I played in the band, I played the drum in marching music. singing and ranting the war chants. Suddenly, I had the idea to transpose them Then, I went back to the clarinet and to sax-tenor in the Municipality Orchestra. to the saxophone, or rather to sing them on my instrument, for I say the words It was in 1940. I then took a music test to join the Municipality Orchestra, pas- that I blow at the same moment. sed it and continued to work there. I joined, because I was enamored of music, urged from within. I liked what I saw, the band playing. I became a captive of Beginning with the Municipality Band and then moving to the National the music world, and interrupted my schooling. The reason that I was recruited Theatre, I spend seventeen years all in all. I advanced in my mastery of music. to the Orchestra from the marching band was because I stood first in the exams, Therefore, I was asked to transfer to the Police Orchestra, both as teacher and and I showed greater passion for music than my other youthful peers. The se- as regular employee. Also, I worked as an assistant to the faranji (foreign) in- cond reason was that I was the first to record Ethiopian melody. I was thought structor, as well as other routine work. I played with great singers like Tlahoun of as a promising lad, and then selected to join the Orchestra. Gessesse, Alemayehu Eshete, Hirut Bekele, Ayalew Mesfin. Starting from 1955, I worked for some thirty-seven years all in all in the Police Orchestra until I got After a little while, I interrupted my training in the Orchestra and joined the pensioned. I have been in the music profession for fifty-seven years. I am get- boarding school at Tesfa Kokeb school. Again, I interrupted my studies at Grade ting to be seventy now. I joined the municipality music band as a a twelve or 8 and joined the National Theatre Troupe. Some of us were selected to join thirteen year old boy. I have been working in the music world since then. When the National Theatre. The Municipality Orchestra was disbanded. While others I got pensioned, I was later approached by the Sheraton Hotel in Addis Ababa were dispersed to the various armed forces, those of us selected to join the to play there. Sheik Muhammed Al Amoudi had me called and he bought me a National Theatre started work there. The National Theatre used to be called the saxophone and I have been working there since. They appreciate and admire Haile Selassie 1 Theatre at the time. It was opened in 1948. I was an actor and my talent. a musician, I there played Hannibal, Othello, Julius Caesar. When in 1951, I interpreted the role of a supposed warrior to kill a quantity of Italian soldiers, I acquired my own saxophone only recently, about eight years ago. Then I

12 got my own, old saxophone. Then, Sheik Muhammed Al Amoudi bought me with that of others. I have my own technique, my own creativity. There may a new saxophone. Before, the saxophones I had were always owned by the be others who are better than me, but my style is unique and therefore, I have government. many admirers. That is how it is! My own way of playing that springs from deep within me. It is what I myself create. American Jazz music has had no influence Actuality, I was also a boxer in the Municipality. That was earlier (-laughter-). on me at all. In all my music, I use Ethiopian jazz. While in the Municipality, my friends and myself used to box. Now, practically all of my friends are dead. Only a few of us are left: Abdissa, another friend, Ethiopian music, whether mine or that of others, did not come from the music of and myself. Abdissa was a tough boxer. There were others like Tamirat Hassan the faranjis (foreigners). It began with the (5-string harp), the masinko (one- and Seifu. Half of them broke their hands, half died. I chickened out and quit string lyre) and the begena (big 10-string Ethiopian harp). All of these traditional boxing. That is the story of my boxing... (-laughter-). musical instruments of ours were played by krarplayers, masinko-players, and begena-players in the Hager Feker Mahber Theatre (Theatre of the Patriotic As- There are many good musicians, of course. But I have my own style. The sociation Theatre). From 1940 on, I was around when very good vocalists and reason is, because I create it myself by improvisation. Therefore, my style of very good instrumentalists played in the Theatre. Some are deceased; some are playing is different from that of others. There are many good musicians. But I still alive. At that time, I started rendering those Ethiopian musical pieces into do not like to imitate other people’s way of playing methods. I am not ashamed saxophone melodies or some other European musical instruments. As I did this, to declare that I am the first person to render Amharic songs to saxophone people pointed out accusing fingers that I was an azmari. My relatives, inclu- music. Others followed after me. I am also the first Ethiopian to produce cassettes. ding my uncle, felt that I was spoiling the good name of the family by becoming Alemayehu Eshete and others like Tlahoun Gessesse did so after me. I was an azmari, a despised caste (of musicians). They distanced themselves from me. the first to do so. As to my own emotions, and my own style. I was the first in It was only when I was given a prize by the Emperor Haile Selassie, that they Ethiopia to produce solely instrumental music. Even now, it does not connect revised their earlier attitude and started to wonder that it might after all be a

KS KS

17 Terrie and Emma’s wedding, Addis Abeba, 12-10-2014. OD AM

big profession. We were reconciled as a result. You can thus appreciate how atre known as the ‘Big Band’. It became a really big orchestra. Many of my much of a despised profession it was in those days. Beginning in 1940, I really friends, some deceased, and some still alive, played there. Musicians like Tsige Feleke and Mammo Demisse, and many others from the Imperial Band Guard started playing Ethiopian and from the Army played in the Orchestra. A little time later, the Police Or- melodies well. As of 1941, chestra was established when I joined it, and continued afterwards. And it is we learnt how to play Eu- still around. Even though it cannot be exaggerated, I joined the Police Orchestra ropean melodies by reading and played music notes. Nevertheless, I there, and taught there many people, as well as myself. I admired the Orchestra. was inclined more towards playing Ethiopian melodies. In the Derg period, music was turned into an instrument for politics and it Like I said earlier, I began began to decline and fade. And now with the EPRDF government, it is practically playing since 1940, and the the same. The latter also uses it to extend its period of rule. It does not care for traditional music then was music at all. Therefore, I cannot say that music has developed in the current intricate and sophisticated. It EPRDF period. There are claims that music has expanded and developed. But I developed further. think it is music that does not deserve to be broadcasted. It’s all the same, the programs aired by the mass media. There are many who claim to be singers. Ethiopian music was deve- One cannot tell whether what they sing is Arabic or Ethiopian music. It is con- loping in a direction. It im- fused and chaotic. proved and developed little Nevertheless, a few talented female singers have appeared, as well as a couple by little. Not only the music, of male singers like Teddy Afro. Teddy is Kassahun’s son. Kassahun was the but also Ethiopia’s melodies one who used to present the Police Orchestra to the public. We were together. developed and culminated Such musicians like Teddy Afro, have appeared on the scene. Nonetheless, they in the formation of the Or- disappear to America. Anyone who has made a name does not stay around. chestra at the National The- OD There are now a few teachers at the Yared Music School who are up and co-

18 ming. However, their style is different. Mine is also different from theirs. I would not want to exaggerate about myself. Let the public itself do the admiring. Even if I may not consider myself a maestro, it is great that I have reached this stage and came so far. I am popular. Because people like my music, I play at the Sheraton although I am getting old. I cannot play enough when the public still likes me. And I have promised the public, that I will continue playing till death.

I have gone abroad one or two times. But what really made me known as musician was the CD that Francis Falceto produced, and what he wrote about it in many books. There are others also who I met later. I was able to meet Terrie and the group The Ex. It is with them that I think I have made history. The Ex and horns, there are so many of them. I love them all. I feel like they are my own orchestra. I believe in them; I like them. Their swiftness in grasping things, the way they play, not only Ethiopian music but their own as well. They harmonize, work together, and produce. The Ethiopian music that has been produced was coordinated and arranged by them. It is on their account that it has been done. It is not mine.

I also work with traditional music and with players of traditional music. I work at parties and weddings, by mixing my music with traditional music. Following in my footsteps or imitating me, is again mixing the two types of music. He has copied and done many things.

EF

AM u GETATCHEW’S PHOTOBOOK Teenager attheMunicipalityBand 21 22 Getatchew with his father Mekuria Woldetekle on the right.

23 Haile Selassie I Theatre Orchestra, with Franz Zelwecker

24 Police Band LM

25 26 Police Orchestra, 1966

30 In Asmara

31 u NICK HELDERMAN 47 48 49 70 71 u 87

89 90 91 114 115 u MATÍAS CORRAL 119 120 121 144 145 148 149 160 161 AM AM

STORIES preciation. After years of only playing for vip guests in a big hotel, Getatchew was back in the heart of the city, and being recognized for reinventing his music with a “Getatchew speaks Amharic and a tiny bit of English and we speak English and crazy farangi (foreign) band. It was a great moment to witness.” Dutch and a tiny bit Amharic. This made work in the rehearsal space a interesting -Joost. challenge. Somehow we figured out a way of communicating by gestures, pointing, “When you’re next to Getatchew when he using the word ‘solo’ a lot and a lot of laughing and misunderstanding. One of my plays, you realise how blowing into a wind favourite moments in an early rehearsal was when we were trying to set an arran- instrument had used to be. How breathing gement for one of the songs. We’d been talking for 20 minutes about it and finally was, way before microphones, amplifiers I read out the agreed arrangement to everyone. During all this time Getatchew said and concerthalls. A huge vibration. A breath nothing. After I finished he looked at us all and smiled and said: ‘look - listen - play!’ “ powerful and tender. Air. Diotime* and lions. -Andy. Ancient songs. The first jazz. I often had to think of Sydney “Getatchew is a real band leader. He’s very Bechet when listening to Getch.” much concerned and cares about the band AM -Xavier. *Diotime is a Greek goddess who had been fighting lions. She was also a strong doctor. members and if someone feels not well or unhappy he would sense it and try to find “Getatchew is never easy at customs. Somehow he doesn’t accept any authority. Fly- out what’s wrong. He listens very well and ing into Washington airport, the customs-officer had to look up and down quite a few is also critical about what we play and when times to compare Getatchew’s very expressive face with the photo in his passport. he likes what he hears he says exited and “You? Donkey?” Getatchew said without any hesitation but with great timing... encouraging ‘yes’! ‘yes’! ‘good’!! He dances I also have never met anyone who can be so and makes jokes and is truly happy. I always MC angry. We really had to warn him not to hit have much fun on stage when the sound is border-security when they would examine good, the song goes well and he gets into this great playing and dancing and he his saxophone case. A few times it wasn’t far comes towards me and we have this nice eye-contact and I swing along with him.” from it. “If you hit the guy, you will be in pri- -Katherina. son”, we warned. “No problem” Getatchew replied. “I just phone the Ethiopian Embassa- “In Februari 2011 The Ex went to Ethiopia dor!” He is not always practical, but I love it!” together with Mats Gustafsson. One of the -Terrie. AM shows we played at the university of Addis Ababa and Getatchew was also there to play “My favorite moment was when he played the Tezeta at Lincoln Centre in New York. some songs with us. Before the show we met To hear him play all alone, out doors, solo saxophone in front of 7 thousand people a group of students who were really excited who were completely silent, captivated by every note. There were many Ethiopians about the concert. Getatchew was their big in the front rows, who at times would sing along together, joining in for their favorite hero but they never saw him play live. We parts of the melody, which is always very moving. He rose to the occasion and be- AM found out that they were not the only ones. came a giant. The entire world stopped moving for those 5 minutes. I can’t imagine The university cultural centre was packed and when Getatchew started playing, the that there has ever been a more powerfully beautiful solo saxophone performance room exploded. I don’t think I ever saw so many smiling faces in one room before.” ever - and that was when Getatchew became -Arnold. my hero.” -Brodie. “In January 2007 we played in the famous Haker Fekir Theatre in Addis Abeba. A lot of musicians that Getatchew had played with were in the audience. We could all “One of the mysteries for me is how he is able feel that this was a special occasion and the room was buzzing with anticipation. It to read our language. In Ethiopia they’ve got turned out to be a wonderful night, Getatchew played great and people loved the an entire different writing and alfabet. But music. I particularly remember the moment when the singer Ayalew Mesfin walked when I want to explain the setlist to Getatchew up on stage, hugged Getatchew and put a pen in his shirt pocket as a sign of ap- AM he often says: I know.

164 AM AM

And the same happens with his knowledge always imagined what a great meeting that would have been Rimitti and Mekuria. about English. First we communicated with Both passionate generous souls who never compromised their sound and gave there only a few words and hand and feet, but whole life to their music.” meanwhile I notice that he’s picking up more -Andy. and more words and everytime again I’m surprised how much he understands. Luckily “Towards the end of our live set Getatchew plays one song solo, it’s called Tezeta, he’s also a gifted actor and can make himzelf and it is a romantic song. With his saxophone he walks up and down the stage and understood with mimics very well. We’ve got bends over to the audience and makes eye contact. The young Ethiopian girls in the numerous moments of fun that way and this audience get special attention and when, at the end of the song, Getatchew walks will always be in my heart and memory.” AM to the vocal-mic and starts singing, he points them out one by one and winds them -Katherina. all around his finger. I think we all learn a lot from Getachew.” -Arnold. “After the concert in the Lincoln Center, New York, Getatchew got surrounded by famous people. Patty Smith for example and also Denardo Coleman, son of Ornette, “In Ethiopia they’ve got a different clock sche- the famous jazz-legend. ‘My father is inviting you for lunch tomorrow’. Getatchew dule. I remember one morning in the hotel in doesn’t know anything about jazz and is not easily impressed by people. A silence. Groningen. We arranged to be down in the ‘Ornette is very famous!’, someone mentioned. Getatchew, totally not interested, lobby at 12 o’clock and Getatchew was sitting shrug his shoulders and said: ‘I am also famous!’ The lunch did not happen...” in a comfortable chair, happy to see us but -Terrie. obviously tired. In Ethiopia 12 o’clock means 6 o’clock, so he sat there since the early mor- AM “On our first tour with Getatchew we found ning waiting for us, poor Getatchew! ourselves at a rather stiff French festival. Mo- Another time, in Canada during the Olympic games, I came down to meet in the hammed Jimmy Mohammed Trio were on lobby and it seemed he watched television all night! Of course! He’d never seen ahead of us and we were watching from the synchronized diving, swimming, trampoline, gymnastics on the vaulting buck...” side of the stage. Han Bennink was guesting -Katherina. on drums so Jimmy’s set of Tlahoun Ges- sesse classics was getting a pretty radical “And always this double meaning. This joking. With the Volkskrant, quite an im- PN makeover. Suddenly Getatchew shouted so- portant serious newspaper in Holland, he made believe the journalist that he was mething and dashed out from behind me on always eating raw meat. ‘Raw meat is good for your sound’, was the headline. to the stage. My first thought was he’d had enough and was going to have a go On the Canadian visa-papers there was only room for 10 children. Getatchew at Han for messing with the music, and sure enough he made straight for Han and has 16 and he was confusing the Embassy- picked him up off the drumstool, but then only to give him a giant bear hug of ap- woman, by only mentioning the names of the preciation! “ ones he had not filled in. With a red head she -Colin. finally said: ‘Please go! It’s all fine!!!’ Or the time at a festival in France where “Getatchew always sits in the front passenger seat of the van when we are touring they were going around with the local booze. and we try and choose music to play on the We didn’t want any before the gig. But Ge- CD-player that he will like. One time I put tatchew pretended to be completely drunk on a CD of Algerian music, mostly Rai and after a while. And kept it on for more than gasbah songs. He loved it and sang along to an hour! People were panicking. Only at the MC nearly every song though he’d never heard very last minute he gave in. the songs before. I realised what a great Or every tour he changes the roles of the bandmembers at one point. ‘You! Trom- ear Getatchew has for picking up tunes and bone’, while pointing at Kat, for example. ‘You! out!, You! stagemanager! You! catchy hooks. One of his favourite it seemed saxophone!’ Pointing at different bandmembers. Really every time so funny!” was a song by Cheikha Rimitti. After that I AM -Terrie.

165 COLOFON:

Photos by: The Ex & Getatchew Mekuria & Guests. Matías Corral (MC) ([email protected]) Andy Moor (AM) ([email protected]) Getatchew: Saxophone, clarinet (2004-2014) Nick Helderman (NH) (www.nickhelderman.com) Arnold de Boer: Trumpet, vocals (2008-2014) Andy Moor: Guitar (2004-2014) Katherina Bornefeld: Drums, vocals (2004-2014) Terrie Hessels: Guitar (2004-2014)

G.W.Sok: Vocals (2004-2008) Xavier Charles: Clarinet (2004-2014) Joost Buis: Trombone (2004-2014) Brodie West: Alto saxophone (2004-2014) Ken Vandermark: Tenor & baritone saxophone, clarinet (2011-2014) Wolter Wierbos: Trombone (2011) Colin McLean: Bass (2004-2012) Massimo Pupillo: Bass (2009) Joe Williamson: Bass (2009) Jasper Stadhouders: Bass (2014)

p Andy with Getatchew by Matías, Nick (top) and Matias by Andy Melaku Belay: Dance (2007-2014) Zenash Tsegaye: Dance (2007) Other photos: Bertrand Lasseguette (BL), Kevin Saborit (KS), Leul Mekonnen Mesay Abebaye: Dance (2012) (LM), Shemelis Desta, Emma Fischer (EF), Nanni Angeli (NA), Barka Fabianova (BF), Paul Till (PT), Pierre Nocca (PN), Fred Lorident (FL), Olivier Dintinger (OD). Also thanks: Francis Falceto, Florent & Soyouz, all at Fendika, all at Baro Hotel, Artwork & Layout: Emma Fischer Getatchew’s family, Henok Ashager, Kifle Shirga, Seyoum Endale, Girum Mez- Text & Editing: Terrie Hessels mur, Henok Temesgen, Tino Weber, Yvonne van Haperen, Jonathan Schaible, Interview 2006: Emanuel Gebreyesus / Hailu Habte EBS, all venues and festivals, Allicance Francaise Addis, National Theater Ad- Interview 2012: Simeneh Betreyohannis / Zerihun Engidashet dis, Getatchew Debalke, Shegger FM, Fenan Restaurant Amsterdam, Jeroen Cover photo: Matías Corral Visser, Gavin McDowell, Emanuel Gebreyesus, Afework Negussie, Lena Abeba Hessels, Mahmoud Ahmed, Han Bennink, ICP, Ab Baars, Cor Fuhler, Rozemarie terp B-28/EX 146-B Heggen, Mats Gustafsson, Paal Nilssen-Love, Mulugeta Asmellash, Mintwab ISBN: 978-90-826066-0-7 Aliyou, Hager Fekir Theater, Friso Heidinga of Amsterdam Winds, Mesele As- Ⓟ&Ⓒ Terp Records / The Ex 2016. mamaw, Tsege Asmellash, Charles Sutton, Elektra Music-shop Addis, Konkur- All rights reserved. rent, Jottem!, Bimhuis, Banlieues Bleues Festival, Gilles Fruchaux of Buda Mu- [email protected] sique, Sala Rossa Montreal, Jan Willem & Paradiso, Tony Vander Eecken, Jair www.theex.nl Tjong, Bill Bragin.

168 PHOTO INDEX

NICK HELDERMAN 102. 23/02/2011 Addis Abeba - Kokobe Tseba School, Kebena. 46. 15/08/2008. Arriving in Boston (USA). + Terrie. 103. 23/02/2011 Addis Abeba - Kokobe Tseba School,Kebena. + Arnold in the bar. 47. 20/09/2007. Paradiso Amsterdam. + Terrie, GW Sok & Colin. 104. 22/12/2012 Addis Abeba. In Cafe Oslo. 48. 07/02/2009. Meeting Mahmoud Ahmed and Alemayhu Eshete in The Hague (NL). 105. 18/06/2011 Villeurbanne (France) - Les Invites. Backstage + Xavier, Joost and Katherina. 49. 13/08/2008. Black Cat, Washington (USA). 106. 18/10/2014 Addis Abeba - Alliance Francaise. + Fendika. 50. 18/08/2008. Chicago (USA). + Terrie. 107. 11/10/2014 Addis Abeba - Baro Hotel. + Melaku and Ken. 51. 18/08/2008. Millenium Park, Chicago (USA). + Katherina & GW Sok. 108. 07/07/2012 Kongsberg (Norway) - Jazz Festival. Backstage. + Ken. 52. 08/2008. USA Tour. +Terrie. 109. 07/05/2008 Vandoeuvre (France) - 25th Musique Action festival. + Wolter Wierbos. 53. 18/08/2008. Chicago (USA). + Terrie. 110. 15/08/2008 Addis Abeba. At home. 54. 17/08/2008. Logan Square Auditorium, Chicago (USA). 111. 13/09/2009 Toronto (Canada) - Polish Combatants Hall. After the gig. 55. 17/08/2008. Logan Square Auditorium, Chicago (USA). 112. 07/05/2008 Vandoeuvre (France) - 25th Musique Action Festival. 56. 14/08/2008. Ottobar, Baltimore (USA). 113. 24/11/ 2004 Lyon (France) - C.C.O. Ex Convoy Tour. + Xavier. 57. 13/08/2008. Black Cat, Washington (USA). 114. 14/10 /2014 Addis Abeba - National Theatre. Backstage. 58. 17/08/2008. Chicago (USA) 115. 11/10/2014 Addis Abeba - Baro Hotel. + Melaku. 59. 18/08/2008. Millenium Park, Chicago (USA). 116. 23/05/2009 Ljubljana (Slovenia) - Druga Godba Festival. Backstage / 07/04/2006 Paris (France) - Banlieues Bleues 60. 20/08/2008. Lincoln Center, New York (USA). Festival. Soundcheck. 61. 17/08/2008. Logan Square Auditorium, Chicago (USA). 117. 18/10/2014 Addis Abeba (Ethiopia) - Alliance Francaise. After the very last concert. 62. 14/08/2008. Ottobar, Baltimore (USA) / New York (USA). 63. 14/08/2008. Baltimore (USA). + Joost, Terrie & Melaku. MATÍAS CORRAL 64. 20/08/2008. Audience at Lincoln Center Out of Doors, New York (USA) 118. 01/05/2012. Addis Abeba. Getatchew’s home. + Ayalech. 65. 20/08/2008. Lincoln Center, New York (USA). + Colin, Melaku, Andy. 119. 03/05/2012. Addis Abeba. Fendika. 66. 20/08/2008. Audience at Lincoln Center Out of Doors, New York (USA) 120. 16/06/2011. Allones (France), Sall Jean Carmet. Soundcheck. 67. 20/08/2008. Lincoln Center, New York (USA). + Xavier. 121. 16/06/2011. Allones (France), Sall Jean Carmet. + Katherina, Terrie, Andy & Colin. 68. 22/12/2007. Pont Sainte-Maxence. La Mannekine. + Brodie. 122. 16/06/2011. Allones (France), Sall Jean Carmet. + Xavier, Brodie, Joost & Katherina. 69. 18/08/2008. Millenium Park, Chicago (USA).+ Brodie, Joost & Terrie. 123. 16/06/2011. Allones (France), Sall Jean Carmet. + Arnold, Xavier, Brodie & Joost. 70. 13/10/2014. Photos at home in Addis. 124. 16/06/2011. Allones (France), Sall Jean Carmet. + Joost & Terrie. 71. 11/10/2014. Arriving at Baro Hotel with Melaku / 14/10/2014. National Theater, Addis. + Melaku. 125. 16/07/2012. Nijmegen (NL), De Affaire. + Brodie & Ken. 72. 13/10/2014. Rehearsal at the Alliance Francaise, Addis. 126. 16/06/2011. Allones (France), Sall Jean Carmet. + Joost & Colin. 73. 13/10/2014. In the taxi with Kifle. 127. 16/06/2011. Allones (France), Sall Jean Carmet. + Terrie, Katherina, Melaku, Colin & Andy. 74. 13/10/2014. At home in Addis / 08/2008 USA. 128. 16/06/2011. Allones (France), Sall Jean Carmet. + Terrie, Melaku, Colin, Arnold & Andy. 75. 12/10/2014. Dancing at the Wedding in Addis Abeba Restaurant. + Olivier, Andy, Lena, Mesele, Melaku, Emma, 129. 16/07/2012. Nijmegen (NL), De Affaire. + Ken, Emma, Terrie, Katherina, Brodie, Colin & Mesay. Paal & Iepke. 130. 16/06/2011. Allones (France), Sall Jean Carmet. + Brodie, Arnold, Xavier, Katherina, Joost, Melaku, Colin, Andy & Terrie. 76. 14/10/2014. Backstage National Theater, Addis / + Lena. 131. 16/06/2011. Allones (France), Sall Jean Carmet. + Terrie & Katherina. 77. 14/10/2014. National Theater, Addis. + Melaku & Katherina. 132. 16/07/2012. Nijmegen (NL), De Affaire. + Ken. 78. 14/10/2014. National Theater, Addis. + Brodie, Terrie & Ken. 133. 16/07/2012. Nijmegen (NL), De Affaire. + Terrie & Andy. 79. 14/10/2014. National Theater, Addis. + Terrie & Jasper. 134/135. 16/07/2012. Nijmegen (NL), De Affaire. 80. 14/10/2014. National Theater, Addis. + Jasper, Andy & Terrie. 136. 2012/2014. Addis Abeba. Alliance Francaise + Terrie & Katherina / Fendika +Terrie, Lena, Melaku, Emma & Matías. 81. 14/10/2014. National Theater, Addis. + Arnold, Jasper, Endris, Melaku, Andy, Terrie, Katherina, Misale, Xavier & 137. 10/07/2012. Paris (France), Gaite Lyrique. + Katherina. Joost. 138. 03/052012. Addis Abeba. Fendika. + Fendika Girls. 82. 14/10/2014. National Theater, Addis. After the concert audience. 139. 03/052012. Addis Abeba. Fendika. + Kibret. 83. 14/10/2014. National Theater, Addis. After the concert audience. 140/141. 03/05/2012. Addis Abeba. Fendika. Recording + Terrie & Arnold. 84. 14/10/2014. National Theater, Addis. After the concert. + Paal & Lena. 142. 03/05/2012. Addis Abeba. Fendika. + Mesay. 85. 21/09/2007. Rasa, Utrecht (NL). Andy showing his guitar. 143. 03/05/2012. Addis Abeba. Fendika. + Fendika crew. 144. 03/05/2012. Addis Abeba. Fendika. ANDY MOOR 145. 03/05/2012. Addis Abeba. Fendika. 86. 07/04/2006 Paris (France) - Banlieues Bleues Festival. + Joost, GW Sok. 146. 11/12/2014. Addis Abeba. Baro Hotel. + Katherina / Andy, Arnold & Emma. 87. 13/11/2008 Villeneuf d’Ascq (France). With Terrie in combat. 147. 11/12/2014. Addis Abeba. Baro Hotel. + Andy & Melaku / Terrie & Paal. 88. 09/11/2008 Nurnberg (Germany) Desi Center. + Brodie backstage / 07/05/2008 Vandoeuvre (France) - 25th 148. 14/10/2014. Addis Abeba. National Theater. + Terrie, Jasper & Andy / Arnold, Xavier, Brodie, Joost, Ken, Terrie & Jasper. Musique Action Festival. 149. 14/10/2014. Addis Abeba. National Theater. + Endris, Jasper, Andy & Terrie. 89. 08/06/2008 Laval (France) - 6x4. 150/151. 14/10/2014. Addis Abeba. National Theater. Backstage + Joost & Xavier. 90. 7/05/2008 Vandoeuvre (France) - 25th Musique Action Festival. + Katherina backstage. 152. 14/10/2014. Addis Abeba. National Theater. Backstage. 91. 27/05/2009 Amsterdam - Bimhuis. + Terrie and apple. 153. 14/10/2014. Addis Abeba. National Theater. Backstage + Lena. 92. 10/06/2010 Diksmuide (Belgium) - 4AD. Backstage. 154. 16/10/2014. Addis Abeba. Jazzamba. Taitu Hotel. + Terrie, Arnold & Jasper. 93. 22/05/2009 Bologna (Italy) - Angelica festival. Backstage. 155. 16/10/2014. Addis Abeba. Jazzamba. Taitu Hotel. + Andy. 94. 26/12/2009 Addis Abeba. A meal at Getatchew’s house. 156. 16/10/2014. Addis Abeba. Jazzamba. Taitu Hotel. + Terrie, Katherina, Endris & Jasper. 95. 10/06/2010 Diksmuide (Belgium) - 4AD. + Joost 157. 16/10/2014. Addis Abeba. Jazzamba. Taitu Hotel. + Endris, Zenash & Jasper. 96. 12/06/2010 Miramont De Guyenne (France) - Abracadasons Festival. + Colin. 158. 16/10/2014. Addis Abeba. Jazzamba. Taitu Hotel. + Terrie & Ken. 97. 08/05/2009 Addis Abeba - Hager Fekir. + Silent Block. 159. 16/10/2014. Addis Abeba. Jazzamba. Taitu Hotel. + Arnold, Brodie, Joost & Ken. 98. 13/09/2009 Toronto (Canada) - Polish Combatants Hall. + Brodie. 160. 16/10/2014. Addis Abeba. Jazzamba. Taitu Hotel. + Lena & Bess. 99. 07/01/2012 Addis Abeba - + Terrie, outside Getatchew’s house. + Jaap Blonk. 161. 16/10/2014. Addis Abeba. Jazzamba. Taitu Hotel. + Ken. 100. 30/05/2008 Mulhouse (France) - Jazz à Mulhouse Festival. 162. 18/102014. Addis Abeba. Alliance Francaise. + Katherina, Arnold, Jasper & Andy. 101. 08/05/2009 Addis Abeba - Baro Hotel + Seyoum and daughter. 163. 18/102014. Addis Abeba. Alliance Francaise. + Joost, Brodie, Ken, Terrie & Katherina.

169