With virtuoso self-accompaniment on the beguena — an oversize ten-string lyre, the oldest instrument played in Ethiopia: religious songs as well as traditional fables, folk tales and poems.

The music of the Konso — a tribe from the Sudanese border country — to do with daily chores, sacred or ritual matters, and entertainment. Flutes, bells, harps, horns, xylophones, drums.

Another survey of the golden age of modern Ethiopian dance music — bound up with the production of vinyl records — between 1969 and 1978.

Starting in the early fifties, long before Ayler and Ornette, Mekurya’s stroke of genius was to give improvisatory voice on his saxophone to the ‘shellela’ singing style — epic, harsh, war-like.

Self-taught on krar-lyre, favourite instrument of the azmari; and — alternately poignant and sarcastic — the last great singer, story-teller and free-thinker to carry on their tradition of poetic cut-and-thrust.

For Ethiopians, their greatest singer of all time; with music arranged by Mulatu Astatqe for the Army Band, the Exhibition Band, the Police Orchestra, the Bodyguard Band.

The sequel to Volume 2 in this series, and featuring many of the same singers, accompanied by the messenqo (one-string fiddle), the krar lyre, the kebero drum and the accordion.

Alemye, from 1974.

The azmaris were originally wandering minstrels, roaming the Abyssinian countryside. These varied snapshots of the musical life of Addis Ababa in the 1990s are offered as a kind of homage to them.

Sublimely tilted like Sun Ra, rocking like James Brown at the Apollo, the tracks here by police bands are a reminder that Ethiopia at the time had no independent modern groups.

The music of Tigray and Eritrea — where the majorities speak the Tigrigna language — is rhythmically and melodically different from Ethiopian music.

His first LP, Almaz, originally released in 1973.

Frantic rock and heartrending ballads from this showman with the Little Richard pompadour.