When I first laid ears on Hailu Mergia & His Classical Instrument, an odd yet familiar sensation washed over me. The familiar components - Moog synthesizer, Rhodes electric piano, drum machine, and the classical accordion - were combined in a way I'd never encountered before. My lack of familiarity with Ethiopian music didn't dampen the allure; Hailu Mergia, born in 1946, infused his country's traditional songs into the weaving, hypnotic melodies.

From Walias Band to Solo Stardom

In Ethiopia, Hailu rose to prominence as part of the seminal Walias Band during the Ethiopian Golden Age. Loving music from a young age, he sang as a child and later learned piano and accordion in the army music department. Even under the harsh rule of the Derg military dictatorship from 1974 to 1987, the Walias Band found ways to be creative. With a residency at the Hilton Addis Ababa and late-night performances during curfews, they kept the music alive. When the band toured the US in 1982 and 1983, Hailu and some members defected. After that, he played in the Zula Band but in 1985, he recorded Hailu Mergia & His Classical Instrument as a one-man affair, a significant departure from his group days. Made in Washington D.C. and released via Kaifa Records in Ethiopia, it unexpectedly became popular for its strange charm.The usual big brass band elements and passionate singing were absent; instead, traditional Ethiopian melodies were transformed through synths and drum machines into something dreamy and disconcertingly comforting.

The Impact of the Album

Hailu stopped performing in the early 1990s but kept a keyboard in his trunk for practice. In a remarkable turn of events, Brian Shimkovitz found His Classical Instrument during a visit to Ethiopia and rereleased it in 2013, receiving critical acclaim. Since then, Hailu has returned to the stage and started making new music.This story emphasizes the importance of music discovery and sharing those special songs. Hailu Mergia & His Classical Instrument is a nostalgic exercise that draws from Amhara, Tigrinya, and Oromo melodies. By introducing modern elements, he created a unique sound. He eschews lyrics, and his vocalizations add rhythmic texture to songs like "Hari Meru Meru" and "Hebo Lale".The accordion on "Shemonmuanaye" gives it a film noir feel, while "Sewnetuwa" is gentle and sunny with space-y synths. "Laloye" is laid-back with clapping percussion, and "Wegene" ventures into jazz and funk territory. Side A ends with the bright "Hari Meru Meru", and Side B starts with "Amrew Demkew" and continues with a variety of moods and sounds.Each track on the album crafts an impeccable vibe without relying on lyrics or catchy hooks. It's a testament to Hailu's expertise as a multi-instrumentalist.Over a decade later, Hailu is still performing and his journey reminds us to keep seeking, loving, and sharing music.