Samuel Yirga

Samuel Yirga

Samuel Yirga is an Ethiopian pianist and composer associated with jazz, post-bop and ambient dub, with strong ties to Ethiojazz and wider world music. He grows out of Addis Ababa’s musical scene and becomes known for combining Ethiopian roots with American jazz, Latin and classical influences.

Early life and training

Yirga grows up in Addis Ababa, Ethiopia, and wants to become a musician from an early age. His parents prefer him to study for a more conventional profession and try to stop him attending music school auditions. With help from his sister, he attends the auditions at Addis Ababa’s Yared School of Music, despite not having played an instrument before. He passes the entry exam by tapping rhythms on the top of a piano with a coin.

After being admitted, he chooses piano as his study instrument, even though he is told his hands are too small. He continues anyway and sets out to become one of Ethiopia’s leading pianists.

Career

Yirga develops quickly as both a performer and composer. He gains wider international attention through touring and recording with the Ethio-fusion group Dub Colossus. He also performs in the Samuel Yirga Quartet and with Nubian Ark.

Guzo

His debut solo album is Guzo, a title that means “journey” in Amharic. The album is recorded partly in Addis Ababa and partly in the UK at Real World Studios. It brings together Ethiopian musical traditions and influences from American jazz, especially Keith Jarrett and Herbie Hancock, as well as Latin and classical music. The record moves through traditional Ethiopian styles, modern Ethiojazz, big-band brass arrangements, soul, funk and solo piano pieces.

The album also features singers and instrumentalists from Ethiopia, Europe and the Caribbean. Among the vocal contributors are the Creole Choir of Cuba, Mel Gara and Nicolette. The record is produced by Dubulah, also known as Nick Page, who is associated with Transglobal Underground, Syriana and Dub Colossus.

Musical style

Yirga’s work centres on Ethiopian musical history and Ethiojazz, while also drawing on improvisation and orchestration from jazz and related genres. His solo piano writing is described through introspective and deeply felt pieces, alongside ensemble sections that broaden the album’s sound.