To some, the term "Ethiopian jazz" might seem impossible; after all, it's a very American form. But what's truly surprising isn't the fact that these musicians play jazz so well, but the range of jazz they manage, from the George Benson-ish guitar workout of "Munaye" to the twisting sax of "Tezeta." Really, though, it's more Jimmy Smith than Duke Ellington in its aim (although Ellington is on the cover, on stage with Mulatu Astatke, the bandleader behind all these selections). The grooves often smoke rather than swing, with some fiery drumming, most notably on "Yekermo Sew," and throughout the guitar is very much to the fore as a rhythm instrument. Perhaps the most interesting cut, however, is "Yekatit," from 1974, which is Astatke's tribute to the burgeoning revolution which would oust Emperor Haile Sellassie. Some of these pieces, certainly "Dewel," has seen U.S. release before; the track appeared in 1972 on Mulatu of Ethiopia, which was Astatke's third American LP, showing that jazz aficionados, at least, had an appreciation for what he was achieving in the horn of Africa. Given that many of his musicians had graduated from police and military bands, they knew their instruments well, and had plenty of practice time, which shows in the often inventive solos that dot the tracks. Varied, occasionally lyrical, but interesting throughout, this shines a fabulous spotlight on a hidden corner of jazz. © Chris Nickson /TiVo

This disc offers 22 tracks from the man once known as the Ehtiopian James Brown. Like the others in the series, the music here is funk-tinged with Armenian overtones. Like most of the other volumes, this one is a stone blast all the way through. Eshete was a soul singer in the classic tradition. He didn't so much sing to his audience as seduce it, working himself and his fans into a sweat-soaked frenzy. Fans of the series might remember this man from Volume 8. If you liked the sound of that, give this a try. If you haven't been hipped to this series yet, there are worse places to start. This disc is a perfect example of what the rest of the series has to offer; ferocious horns, groovy guitar licks and a definite Mideast influence that reminds one of the early days of rai, back before they discovered the synthesizer. Anyone with a passion for funk or the sound of '70s Africa should pick up this set. © Rob Ferrier /TiVo

The Ethiopiques series of world music keeps slowly widening its arc, and this time around it's come up with some very interesting vintage (circa 1972) material. Ethiopiques, Vol. 14: Negus of Ethiopian Sax features Getatchew Mekurya, a sax player whose inspiration comes from traditional warrior music: the kind meant to whip soldiers into a frenzy before battle. And frenzied his playing truly is, with several shades of free jazz at its most abandoned (which, curiously, he claims never to have heard). It's wild stuff -- but wild only on the sax. The band behind him exists strictly for melodic and rhythmic function. While they perform admirably, they add little to the music itself, while the sax takes off on weird and wonderful paths. It's stirring, and demands a lot of a Western listener unfamiliar with the tradition. But it's perhaps best ingested in small doses. And while it's interesting, certainly, it's not on a par with the rest of the series. © Chris Nickson /TiVo

It's easy to wonder about the liner note proclamations that Tlahoun Gèssèssè is "the Voice of Ethiopia." If he's the man, why wait until Vol. 17 to dedicate a full disc of the exemplary Ethiopiques series to his '70s hits? It's not that Gèssèssè isn't a strong, expressive singer, but his voice is thinner than Mahmoud Ahmed's. That may boil down to a pop vs. roots soul/blues debate, since the arrangements here are very controlled and in the pocket. It sounds more like genuine Ethiopian pop music in the sense of well-crafted professionalism without many rough edges, so maybe Gèssèssè rates as "the Voice" by virtue of his ability to reach a mass audience. Another possibility could be that Gèssèssè latched onto his groove thing and worked it. Bookended by "Sego Mènor" and "Ras-Hen Betcha," at least half a dozen tunes here are peppy, uptempo Ethio-pop with answering horns, soul-style guitar comps, organ blankets, and Gèssèssè occasionally cutting loose but usually playing it cool. The ballads "Lantchi Biyé" and "Sethéd Sekètèlat" may be the strongest selections musically, with a very deep, dark moody aura created by minor-key piano, vocal melisma, and an up-and-down rolling bass riff. "Yèné Mastawèsha" is a lightweight pop ballad with a near-Indian feel, and "Sèlamtayé Yedrès" dips into the classic soul ballad bag with trumpet responses. The songs that leap out are the ones that sound different, and usually on the rougher or rowdier tip. "Aykèdashem Lebé" sports rapid-fire jazz-inflected guitar soloing through a more complex arrangement, punchier drums, and stronger horns playing off Gèssèssè's affecting melisma. "Ené Nègn Wèy Antchi" falls closer to his usual vein, but it's a pretty happening uptempo James Brown sound with a roving bassline, snappy horns, and the drums chop-funking up a storm. "Kulun Mankwalèsh" gets some of that smoky Ethiopian trance mojo working via a repetitive riff, wah-wah guitar, and flute for spice. Stronger horns adorn the looping octave drop riff to "Tezalègn Yètentu." Tlahoun Gèssèssè doesn't impress as a particularly daring artist on these tracks, more like one who found what works and stuck with it, relying on excellent craftsmanship and pop professionalism to get over. Early Motown on an Ethiopia-scale might be a reasonable analogy. There's a lot of good music here but also moments when attention flags and whole tracks pass by without registering, something uncharacteristic of the better volumes of Ethiopiques. © Don Snowden /TiVo

Asnaqetch Werqu first found fame as an actress and dancer, and became the first female actress in her country to be acknowledged as a star in the 1950s. However, she was also very much a musician, and her music -- which was always very distinctive -- was associated with a specifically Ethiopian tradition, that of Azmaris, or the artist caste, who improvised songs with their instrument, the krar. Perhaps unsurprisingly, artists (especially female ones) were looked down upon, making Werqu's life a very hard one -- and this she put into song. Her recordings are literally a record of her struggles against the prevailing establishment, to be seen as a moral person claiming a just place in society (which makes the whining of most Western singer/songwriters seem very irrelevant in comparison). She could be poignant or sarcastic, but every piece is from personal experience -- and she finally did achieve recognition. © Chris Nickson /TiVo

This is another great entry in the Ethiopiques series. Subtitled "The Harp of King David," Alèmu Aga sings accompanied only by his harp, which is really closer to a kora than what Westerners might consider to be a harp. "The Harp of King David" has a darker, more buzzing sound compared to a kora, and it suits Aga's rich voice beautifully. This is a lovely, intimate recording that stands apart from others in the Ethiopiques series in its general tone and stripped-down elegance, as opposed to the swinging cosmopolitan sounds of many of the others in the series. Recommended. © Sean Westergaard /TiVo

A popular Ethiopian jazz singer active since the '60s, this heartfelt, raspy voiced soul singer has earned himself many interesting nicknames based on his funky, ethnic soul-jazz over the years. These include the "Ethiopian James Brown" and the "Abyssinian Elvis". With his dazzling stage presence, nimble voice box, and unmistakable pompadour, he's an unabashed show-off, the African equivalent of a cat out of American Graffiti or Saturday Night Fever. Ranging from busy funk-jazz fusion to more eloquent, small ensemble and brass enhanced pieces, this 18-track collection shows the still active vocalist at his best, a man now in his sixties who represents the explosive myths of the '60s, when he lit up the wild nights in the capital city Addis Ababa. This is the 22nd volume in Budamusique's fascinating Ethiopiques series, which also includes spotlights on other top names from the country's musical history, including Getatchew Mekurya and Mahmoud Ahmed. © Jonathan Widran /TiVo