Ras Deshen: Ras Deshen: From Ethiopian Music to Contemporary Jazz (2006)
The opening "Anchi Hoye, written by Abatte, is named for one of the four modes of Ethiopian music. Abatte plays the tenor with a measured tension and clear tenderness that manages to reference both Pres and Trane. Yedid's brooding timbre, interior dialogue and chord progressions are so reminiscent of Keith Jarrett that his solo could be dropped seamlessly into the grooves of The Köln Concert.
On "Batti, Abatte enhances his soprano saxophone with soaring vocals in Amharic. When he performed this song at the reception, his voice cut through the conversation and, at least momentarily, demanded everyone's attention. Abatte's tenor on "Yehar Shererit has a palpable R&B/gospel tinge, with an occasional gutbucket growl added for good measure, working in tandem with Yedid's playful boogie-woogie chaos. "Fikir is a beautifully ruminative discourse that sounds quite Middle Eastern in its execution, with Abatte's serpentine tenor weaving around Yedid's lush, symphonic piano riffs.
Yedid lays out on "Birtukane, giving the floor to Fentahon Malessa on krar, an Ethiopian lyre that sounds close to a guitar and gives the music another rich dimension. On "Ambassel, another modal tune, Abatte solos powerfully over Malessa's repeated figure. Yedid lays out again and one can only wonder how all three instruments would have sounded together.
Perhaps the disc's most arresting tune, however, is "Behatito Kadus Kadus. With Yedid vamping in a Fats Waller vein, Abatte lifts his voice again and could be singing about a hellhound on his trail, instead of invoking a prayer. Abatte's tenor grooves between Ethiopia and the Mississippi Delta, ending this excellent disc on a high note.
Track Listing: Anchi Hoye; Batti; Yehar Shererit; Fikir; Birtukane; Nafkote; Ambassel; Behatito Kadus Kadus.
Personnel: Yitzhak Yedid: piano; Abatte Barihun: saxophone and voice; Fentahon Malessa: krar.
Record Label: AB
Style: Fringes of Jazz