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Mulatu Astatke & Black Jesus Experience "To Know Without Knowing"2020 Addis Ababa,Ethiopia / Australia,Ethio Jazz,World Music
full bandcamp
This is a great record and it’s cool.
It’s just a beautifully played, beautifully arranged and composed record.”
NPR - New Music Friday Top 6 Albums - John Morrison...~
★★★★ “An absorbing ride.
Collectivity, groove and a powerful live show are prized and shine through; perfect for the festival season we are sadly missing.”
The Observer – Neil Spencer...~
★★★★ “Beautifully layered and organic, trippy and hypnotic.
This is the good stuff, don’t waste a drop of it! ‘To Know Without Knowing’ reminds us that Ethio-jazz isn’t music that’s rooted in the 60’s but an ever growing, expanding art form that has such relevance today.”
Blues And Soul Magazine...~
“Lyrically inspired and musically assured, To Know Without Knowing, continues to expand the parameters of what Ethio-jazz can be in the 21st century.”
Bandcamp - Album Of The Day – Andy Beta...~
★★★★ “A startlingly successful marriage of old and new.”
Q Magazine – Steve Yates...~
★★★★ “An irresistible collective effort.
Volcanic.. fusillades of brass and percussion.. spiraling rhythms.. starkly hypnotic.“
The Times - Clive Davis....~
“Ancient to modern sensibility.
Rammed with more rhythm-stretching melody than its groove ought to have room for.”
The Guardian - Jazz Album of the Month- John Fordham...~
It’s just a beautifully played, beautifully arranged and composed record.”
NPR - New Music Friday Top 6 Albums - John Morrison...~
★★★★ “An absorbing ride.
Collectivity, groove and a powerful live show are prized and shine through; perfect for the festival season we are sadly missing.”
The Observer – Neil Spencer...~
★★★★ “Beautifully layered and organic, trippy and hypnotic.
This is the good stuff, don’t waste a drop of it! ‘To Know Without Knowing’ reminds us that Ethio-jazz isn’t music that’s rooted in the 60’s but an ever growing, expanding art form that has such relevance today.”
Blues And Soul Magazine...~
“Lyrically inspired and musically assured, To Know Without Knowing, continues to expand the parameters of what Ethio-jazz can be in the 21st century.”
Bandcamp - Album Of The Day – Andy Beta...~
★★★★ “A startlingly successful marriage of old and new.”
Q Magazine – Steve Yates...~
★★★★ “An irresistible collective effort.
Volcanic.. fusillades of brass and percussion.. spiraling rhythms.. starkly hypnotic.“
The Times - Clive Davis....~
“Ancient to modern sensibility.
Rammed with more rhythm-stretching melody than its groove ought to have room for.”
The Guardian - Jazz Album of the Month- John Fordham...~
Legendary vibraphonist and “Father of Ethio-jazz”, Mulatu Astatke joins forces with Melbourne-based eight-piece Black Jesus Experience on their latest album To Know Without Knowing, an absorbing nine-track assembly of majestic Ethiopian melodies and hip-hop-infused jazz and funk grooves, released via German imprint, Agogo Records.
Recorded between Addis Ababa and Melbourne and melding Astatke’s dexterous improvised stylings and Black Jesus Experience’s penchant for transcontinental and cultural exploration, To Know Without Knowing sees Mulatu Astatke and Black Jesus Experience (or BJX) expand on their unlikely yet formidable partnership, combining illuminating original compositions and exciting new arrangements of Ethio-jazz classics.
Since pioneering the “Ethio-jazz” sound in the late 60’s, Mulatu’s ascent in to the musical stratosphere is unparalleled. Born in Jimma, Western Ethiopia, Astatke moved to Wales to study engineering, before diverting his attention to music, moving to the US, and becoming the first student from Africa at Boston’s Berklee College of Music. Blending traditional Ethiopian scales with jazz arrangements, and Latin rhythms, Astatke pioneered the “Ethio-jazz” sound, which rose to prominence in the late 90s after the renowned Éthiopiques series, alongside the reissue of Astatke’s masterwork, Mulatu of Ethiopia. Having been sampled by the likes of Nas/Damian Marley, Four Tet and Quantic, as well as contributing a number of original compositions to the OST for cult director, Jim Jarmusch’s 2005 film Broken Flowers, Astatke’s influence on the wider music community and his unrelenting mission to bring the music/culture of Ethiopia to the world continues to this very day.
Having met Astatke at his nephew’s jazz club in Addis Ababa in 2009, BJX are one of the finest contemporary purveyors of Ethio-Jazz today. Bringing together artists from across Melbourne’s thriving scene and with members of Moroccan, Zimbabwean, Maori and Ethiopian heritage. Lead saxophonist and co-founder Peter Harper’s first introduction to Ethiopian music came from his father, a music teacher for the Ethiopian Navy band in the sixties, however it was upon meeting singer and future frontwoman of BJX, Enushu Taye that his love of the country’s vibrant music history really came to the fore.
Hailing from Ethiopia, Enushu began singing for her local community from a very young age. In 1992 Taye was forced to take refuge in Cairo and years later migrated to Australia, bringing her captivating voice and remarkable life story to Melbourne, and later forming the foundation of Black Jesus Experience with Harper, Ian Dixon (trumpet/flugelhorn), Pianist, Bob Sedergreen, and the “lyrical miracle”, Zimbabwean/Australian MC, Mr. Monk, amongst others.
Referring to the instinctual gathering of knowledge passed down, To Know Without Knowing marks BJX’s and Astatke’s second collaborative studio full-length, following the release of Cradle With Humanity in 2016 and a whole host of tours across Australia and NZ. The album kicks off with a rework of Astatke’s classic composition, the meditative Mulatu featuring LA-raised hip-hop MC, Elf Transporter, before moving into Ambassa Lemdi, a song taught to Enushu by her Grandmother about a mother singing for her daughter’s wedding, welcoming the groom and the joy of uniting their families.
Lead single, Kulun Mankwaleshi is an arrangement of a Ethiopian wedding song in the uniquely Ethiopian anchi-hoye scale and features a roaring saxophone solo from Harper, whilst the subsequent Stolen Land salutes the continued struggle for First Nations people of Australia with lyrical themes surrounding land ownership, displacement and colonisation and features a poignant vocal performance by Vida Sunshyne. The album’s title track riffs off the Ethiopian tezita minor scale, its deep and propulsive feel leads into Lijay (Lij means ‘Child’ in Amharic) a simple reggae inspired jam, before moving into Afro latin soul ballad Blue Light, featuring
the dynamic Astatke on vibraphone. East Africa and Cuba unite on Astatke classic Mascaram Setaba, featuring the brilliant jazz piano stylings of Bob Sedergreen and the lively Yoruba rhythms of afrobeat master (former long-standing Musical Director for Seun Kuti), Olugbade Okunade, before the blues-inspired album finale, A Chance To Give signs off a bold and vivid nine-track LP, reminding us that Ethio-jazz is not a music of the past but a continual source of inspiration and guidance for musicians across the globe...~
Recorded between Addis Ababa and Melbourne and melding Astatke’s dexterous improvised stylings and Black Jesus Experience’s penchant for transcontinental and cultural exploration, To Know Without Knowing sees Mulatu Astatke and Black Jesus Experience (or BJX) expand on their unlikely yet formidable partnership, combining illuminating original compositions and exciting new arrangements of Ethio-jazz classics.
Since pioneering the “Ethio-jazz” sound in the late 60’s, Mulatu’s ascent in to the musical stratosphere is unparalleled. Born in Jimma, Western Ethiopia, Astatke moved to Wales to study engineering, before diverting his attention to music, moving to the US, and becoming the first student from Africa at Boston’s Berklee College of Music. Blending traditional Ethiopian scales with jazz arrangements, and Latin rhythms, Astatke pioneered the “Ethio-jazz” sound, which rose to prominence in the late 90s after the renowned Éthiopiques series, alongside the reissue of Astatke’s masterwork, Mulatu of Ethiopia. Having been sampled by the likes of Nas/Damian Marley, Four Tet and Quantic, as well as contributing a number of original compositions to the OST for cult director, Jim Jarmusch’s 2005 film Broken Flowers, Astatke’s influence on the wider music community and his unrelenting mission to bring the music/culture of Ethiopia to the world continues to this very day.
Having met Astatke at his nephew’s jazz club in Addis Ababa in 2009, BJX are one of the finest contemporary purveyors of Ethio-Jazz today. Bringing together artists from across Melbourne’s thriving scene and with members of Moroccan, Zimbabwean, Maori and Ethiopian heritage. Lead saxophonist and co-founder Peter Harper’s first introduction to Ethiopian music came from his father, a music teacher for the Ethiopian Navy band in the sixties, however it was upon meeting singer and future frontwoman of BJX, Enushu Taye that his love of the country’s vibrant music history really came to the fore.
Hailing from Ethiopia, Enushu began singing for her local community from a very young age. In 1992 Taye was forced to take refuge in Cairo and years later migrated to Australia, bringing her captivating voice and remarkable life story to Melbourne, and later forming the foundation of Black Jesus Experience with Harper, Ian Dixon (trumpet/flugelhorn), Pianist, Bob Sedergreen, and the “lyrical miracle”, Zimbabwean/Australian MC, Mr. Monk, amongst others.
Referring to the instinctual gathering of knowledge passed down, To Know Without Knowing marks BJX’s and Astatke’s second collaborative studio full-length, following the release of Cradle With Humanity in 2016 and a whole host of tours across Australia and NZ. The album kicks off with a rework of Astatke’s classic composition, the meditative Mulatu featuring LA-raised hip-hop MC, Elf Transporter, before moving into Ambassa Lemdi, a song taught to Enushu by her Grandmother about a mother singing for her daughter’s wedding, welcoming the groom and the joy of uniting their families.
Lead single, Kulun Mankwaleshi is an arrangement of a Ethiopian wedding song in the uniquely Ethiopian anchi-hoye scale and features a roaring saxophone solo from Harper, whilst the subsequent Stolen Land salutes the continued struggle for First Nations people of Australia with lyrical themes surrounding land ownership, displacement and colonisation and features a poignant vocal performance by Vida Sunshyne. The album’s title track riffs off the Ethiopian tezita minor scale, its deep and propulsive feel leads into Lijay (Lij means ‘Child’ in Amharic) a simple reggae inspired jam, before moving into Afro latin soul ballad Blue Light, featuring
the dynamic Astatke on vibraphone. East Africa and Cuba unite on Astatke classic Mascaram Setaba, featuring the brilliant jazz piano stylings of Bob Sedergreen and the lively Yoruba rhythms of afrobeat master (former long-standing Musical Director for Seun Kuti), Olugbade Okunade, before the blues-inspired album finale, A Chance To Give signs off a bold and vivid nine-track LP, reminding us that Ethio-jazz is not a music of the past but a continual source of inspiration and guidance for musicians across the globe...~
Like many great jazz originals liberated by the idiom’s openness to all manner of borrowings and hybrids, the Ethiopian multi-instrumentalist and composer Mulatu Astatke created a new sound by unlikely alchemy – between the Latin grooves and jazz-rock wah-wah guitars he heard as a student in the States in the 60s, and the wide-interval modes and fluid rhythms of his homeland’s ancient traditions. Astatke’s seductive “Ethio-jazz” fusions have made him a global-jazz star since his rediscovery after midlife obscurity by French producer Francis Falceto in the late 1990s.
Astatke’s partners since have unexpectedly included some of the UK’s most original free-jazz players, but in recent years the band best attuned to his ancient-to-modern sensibility has been Melbourne’s Black Jesus Experience, a collective of singers, rappers, and jazz improvisers of Moroccan, Zimbabwean, Maori, Ethiopian and Australian origins. On an old classic, Mulatu, the composer segues his glowing vibraphone sound into a bright trumpet theme and a floating drums/keys/wah-wah groove, before MC Mr Monk’s driving political rap. Ambassa Lemdi, an Ethiopian traditional song that mesmerising vocalist Enushu Taye learned from her grandmother, is delivered by her in Amharic with tone bends and drifting lines of solemn wonderment. The headlong wedding song Kulun Mankwaleshi is rammed with more rhythm-stretching melody than its groove ought to have room for, the polemical 10-minute Living on Stolen Land is a highlight, while Astatke’s racing Mascaram Setaba has a beguiling Afrobeat bounce. The set feels like the band’s more than the veteran master’s, and the magnificent Taye’s singing balances better with the music than Mr Monk’s delivery, but To Know Without Knowing nonetheless confirms how brightly Mulatu Astatke’s Ethio-jazz vision burns on.
Polish pianist Marcin Wasilewski’s imaginative trio meet US sax giant Joe Lovano on Arctic Riff (ECM), an ethereal, tonally luxurious meeting of hearts and minds including two accounts – one dreamy, one free-rhythmically restless – of the Carla Bley classic Vashkar. New York-based saxophonist Ingrid Laubrock and pianist Kris Davis commune together on Blood Moon (Intakt), on subtly sinewy originals and free improv. Brad Mehldau’s Suite: April 2020 (Nonesuch) is an unaccompanied lockdown meditation of pensive and restrainedly playful originals, and understated covers of Billy Joel, Neil Young and Jerome Kern classics. And UK bassist/composer Misha Mullov-Abbado gives his harmonically lustrous sextet music more of an as-live edge on his Jasper Høiby-produced third album....... Guardian Review....~
Astatke’s partners since have unexpectedly included some of the UK’s most original free-jazz players, but in recent years the band best attuned to his ancient-to-modern sensibility has been Melbourne’s Black Jesus Experience, a collective of singers, rappers, and jazz improvisers of Moroccan, Zimbabwean, Maori, Ethiopian and Australian origins. On an old classic, Mulatu, the composer segues his glowing vibraphone sound into a bright trumpet theme and a floating drums/keys/wah-wah groove, before MC Mr Monk’s driving political rap. Ambassa Lemdi, an Ethiopian traditional song that mesmerising vocalist Enushu Taye learned from her grandmother, is delivered by her in Amharic with tone bends and drifting lines of solemn wonderment. The headlong wedding song Kulun Mankwaleshi is rammed with more rhythm-stretching melody than its groove ought to have room for, the polemical 10-minute Living on Stolen Land is a highlight, while Astatke’s racing Mascaram Setaba has a beguiling Afrobeat bounce. The set feels like the band’s more than the veteran master’s, and the magnificent Taye’s singing balances better with the music than Mr Monk’s delivery, but To Know Without Knowing nonetheless confirms how brightly Mulatu Astatke’s Ethio-jazz vision burns on.
Polish pianist Marcin Wasilewski’s imaginative trio meet US sax giant Joe Lovano on Arctic Riff (ECM), an ethereal, tonally luxurious meeting of hearts and minds including two accounts – one dreamy, one free-rhythmically restless – of the Carla Bley classic Vashkar. New York-based saxophonist Ingrid Laubrock and pianist Kris Davis commune together on Blood Moon (Intakt), on subtly sinewy originals and free improv. Brad Mehldau’s Suite: April 2020 (Nonesuch) is an unaccompanied lockdown meditation of pensive and restrainedly playful originals, and understated covers of Billy Joel, Neil Young and Jerome Kern classics. And UK bassist/composer Misha Mullov-Abbado gives his harmonically lustrous sextet music more of an as-live edge on his Jasper Høiby-produced third album....... Guardian Review....~
‘To Know Without Knowing’, Mulatu Astatke and Black Jesus Experience’s 2020 album is their second together. A grooving transcontinental gem, recorded in Melbourne, Australia and Addis Ababa, Ethiopia. Filled with the warmth of the mentorship and friendship of their creative partnership honed over a decade of performing together in Africa, Australia and UK/Europe.
Mulatu Astatke is the Father of Ethio-Jazz and one of Africa’s most influential and enduring musical figures.
Black Jesus Experience is a community of artists, centred around a twelve piece global-funk-machine born of Australia’s vibrant multiculturalism.
Mulatu and Black Jesus Experience met in Addis Ababa in 2009, embarking on both a musical relationship and a friendship that has led Mulatu Astake to describe Black Jesus Experience as, “My favourite backing band” and, “… they’re family.”
Mulatu’s great contribution to music has been to to combine Jazz and funk grooves with Ethiopia’s distinctive pentatonic scales. His musical genius is the sensuality and sophistication with which Mulatu contrasts these minimalist scales with richly chromatic harmony.
~But Mulatu’s equally great contribution has been to share both his enduringly unique modernity and Ethiopia’s timelessly spiritual music with the world. Black Jesus Experience treasure the special relationship of generosity, mentorship and collaboration they have been privileged to share with this master musician...~
Mulatu Astatke is the Father of Ethio-Jazz and one of Africa’s most influential and enduring musical figures.
Black Jesus Experience is a community of artists, centred around a twelve piece global-funk-machine born of Australia’s vibrant multiculturalism.
Mulatu and Black Jesus Experience met in Addis Ababa in 2009, embarking on both a musical relationship and a friendship that has led Mulatu Astake to describe Black Jesus Experience as, “My favourite backing band” and, “… they’re family.”
Mulatu’s great contribution to music has been to to combine Jazz and funk grooves with Ethiopia’s distinctive pentatonic scales. His musical genius is the sensuality and sophistication with which Mulatu contrasts these minimalist scales with richly chromatic harmony.
~But Mulatu’s equally great contribution has been to share both his enduringly unique modernity and Ethiopia’s timelessly spiritual music with the world. Black Jesus Experience treasure the special relationship of generosity, mentorship and collaboration they have been privileged to share with this master musician...~
BLACK JESUS EXPERIENCE (BJX) is a ten piece band playing an irresistibly danceable alloy of traditional Ethiopian song and 21st Century groove. Like the diverse backgrounds of its members members, BJX’s music reflects the multicultural vibrancy of the band’s hometown, Melbourne, Australia.Singer Enushu began entertaining her local community as a child in Addis Ababa. Forced to leave Ethiopia, Enushu migrated to Australia bringing hauntingly beautiful compositions inspired by her remarkable life story and the unique vocal traditions of Ethiopia. Enushu is joined on vocals by poetic giant and lyrical miracle Mr Monk, Zimbabwe born and Outback bred. When not touring BJX run a weekly session at cultural hub The Horn creating new songs live on stage featuring guest artists from all walks of life. The facility BJX has with this practice lies in the improvising traditions of that feed BJX including Hip Hop, Jazz, Azmari and Funk.Black Jesus eXperience’s latest release is their 7th studio album, Good Evening Black Buddha, adding to a catalogue which includes two collaborations with their long time mentor, the inventor of Ethio-Jazz Mulatu Astatke (To Know Without Knowing and Cradle Of Humanity). BJX’s albums have been recorded and mixed across 3 continents, and have received awards including Music Victoria Best Global Album, The Guardian Jazz Album of the Month, Bandcamp Album of the Day, and NPR 6 Best new Albums.The rhymes and chimes of Black Jesus Experience deliver the power and beauty of Africa through the vocal prism of Hip-Hop and freedom of Funk.....~
Credits:
Mulatu Astatke: vibraphone, wurlitzer electric piano, congas.
Bob Sedergreen: grand piano.
Enushu Taye: vocal.
Liam ‘Monk’ Monkhouse: MC.
Elf Transporter: MC.
Vida Sunshyne; vocal.
Peter Harper: tenor saxophone.
Ian Dixon: flugelhorn, trumpet.
Dominique Chaseling: flute.
Zac Lister: guitar, voc chorus.
Robbie Belchamber: guitar.
Richard Rose: bass.
James Davies: drumkit.
Haftu Reda: masinko.
Olugbade Okunade: congas, shekere.
Kahan Harper: shakers, woodblock.
Mearge Abate, Addisalem Taye, Corry Harper: vocal chorus.
Mulatu Astatke: vibraphone, wurlitzer electric piano, congas.
Bob Sedergreen: grand piano.
Enushu Taye: vocal.
Liam ‘Monk’ Monkhouse: MC.
Elf Transporter: MC.
Vida Sunshyne; vocal.
Peter Harper: tenor saxophone.
Ian Dixon: flugelhorn, trumpet.
Dominique Chaseling: flute.
Zac Lister: guitar, voc chorus.
Robbie Belchamber: guitar.
Richard Rose: bass.
James Davies: drumkit.
Haftu Reda: masinko.
Olugbade Okunade: congas, shekere.
Kahan Harper: shakers, woodblock.
Mearge Abate, Addisalem Taye, Corry Harper: vocal chorus.
Tracklist
A1 Mulatu 6:21
A2 Kulun Mankwaleshi 7:47
A3 To Know Without Knowing 7:35
B1 Mascaram Setaba 5:53
B2 Living On Stolen Land 10:26
B3 Ambassa Lemdi 5:52
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