Ethiopiques, Vol. 21: Ethiopia Song

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An outstanding pianist and a remarkable composer, Emahoy Tsegu-Maryam Gubrou, now a Christian nun in a Jerusalem monastery, recorded her own piano solo works, seeped in Ethiopian culture. Their rich, personal poetry brings to mind Carlos d'Alessio's India Song. A rare curiosity indeed, with beautiful melodies and a charming interpretation. Excerpt from an interview with Norah Jones in the New York Times June 2, 2020 By Giovanni Russonello In a May phone call, Jones, 41, discussed the 10 cultural items, people and pastimes that are keeping her grounded during the pandemic. This is an edited excerpts from the conversation. 1. Emahoy Tsegué-Maryam Guèbrou I was at a party and somebody was playing something from the ''Ethiopiques'' series. And I'm like, OK, I have to go find that. It's this whole catalog of music from Ethiopia, mostly from the 1960s and '70s. It's this incredible compilation of music, all by different artists. And one that really stood out to me was this piano player. This album is one of the most beautiful things I've ever heard: part Duke Ellington, part modal scales, part the blues, part church music. It resonated in all those ways for me. .com ---- If the listener did not have the CD cover handy, it would be difficult to guess who this artist is or where she hails from. Emahoy TseguÈ-Maryam GuÈbrou was born into a prominent literary Ethiopian family in 1923 and partly educated in Europe. The lovely young girl studied piano and violin but political vicissitudes in her homeland led to an unsettled and peripatetic youth. Dispirited by events in her life, she found consolation in religion and became a nun. Although dedicated to teaching at an orphanage, she nonetheless found time to create a series of slightly jazz-influenced, neo-classical pieces, many of which are showcased here. The material is culled from two LPs that were released in 1963, when she was 40 years of age. Meditations on bible themes and the beauties of nature were her favorite subjects and her compositions were often built around recognizably Ethiopian melodic structures. But they also reveal refracted shards of what would certainly be cited as influences if only it could be established she had ever heard the works of Count Basie, O Peterson, Keith Jarrett, Abdullah Ibrahim and especially, Eric Satie. But ultimately, Sister GuÈbrou seems to be a lone reed -- but a very beautiful one. --Christina Roden