The Lost Ethio-Jazz Scene Collectors Love

It’s fitting to begin this list with the much-revered father of the genre’s debut, Mulatu Of Ethiopia. Mulatu Astatke was arguably the defining figure of the music, going so far as to describe in one interview the period in which he “came up with Ethio-jazz.” If you’re looking for an entry point in your exploration of Astatke’s remarkable body of work or, indeed, Ethio-jazz as a whole, this 1972  record is the perfect introduction.

Recorded in New York, Mulatu honed his fusion of Ethiopian modes and typical jazz instrumentation into something truly unique. The phrase ‘Ethio-jazz’ perhaps understates the breadth of influences here. In truth, the album owes as much to funk and Afro-Cuban rhythms as it does to jazz. In the words of producer Gil Snapper, “He has taken the ancient five-tone scales of Asia and Africa and woven them into something unique and exciting: a mixture of three cultures, Ethiopian, Puerto Rican, and American.” 

Released by Ethiopian label Amha Records in 1972, this compilation, featuring compositions by Mulatu Astatke, is most notably performed by the artist, offers an illuminating glimpse into the sounds of pre-Derg Ethiopia. After the coup, Amha was one of the casualties, shut down by the government in 1975.

Run by Amha Eshete, the label was at the center of the much-revered Golden Age of Ethiopian music, releasing 103 singles and 10 albums between 1969 and 1975. In the  words of prime Ethio-jazz chronicler and curator of the Ethiopiques series, Francis Falceto: “Without Amha Records  and Kaifa Records, there would have been no Ethiopiques.”

Among the Amhara population of the Ethiopian highlands, there’s a war cry known as Shellela. Saxophonist Getatchew Merkuria took this vocal tradition incredibly seriously, integrating its frenzied sounds and associated visuals into his artistic expression. He would often appear on stage in warrior’s garb, adorned with a lion’s mane headdress. His musical style followed suit, transposing the improvised, irrepressible tones of the war cry into stunning, freewheeling saxophone music. Some have compared his unique playing to free jazz leaders like Albert Ayler and Ornette Coleman, his particular tone is his own.

Mekuria even denied ever hearing their music before this release.

Mulatu Astatke is, in many respects, the Duke Ellington of Ethio-jazz. Along with crafting an entirely new, syncretic musical language, Astatke’s compositions and arrangements are ubiquitous across the Ethiopian music landscape. On this revered 1974 record, Ethio Jazz, released by Amha Records, he’s joined by a host of players, most of whom were members of the Walias band.

Alongside that reliably brilliant backing, this record also features the soulful accompaniment of Zimbabwean guitarist Andrew Wilson. Saxophonist and flutist Feqadu Amde Mesqel steal the show at points here, too. If you’re looking for some of the best horn arrangements and improvisations in Ethio-jazz, start here.

Known as one of the remarkable vocalists of Ethio-jazz, Mahmoud Ahmed deserves a place on any Ethiopian music fan’s shelf. Backed by the Ibex Band, this 1975 record was the first Ethio-jazz album to reach a global audience. Initially released domestically by Kaifa Records and later repressed in 1986 by French label Crammed Discs, Ere Mela Mela became the Western world’s first introduction to this remarkable sound. Ahmed’s voice is stunning, immediately commanding the listener’s attention and navigating over the distinctive groove of Ethiopian rhythms. Truly singular, Ahmed was soothing and tender at times, haunting and electrifying at others.

The first and only album from Aselefech Ashine and Getenesh Kebret’s first and only record, Beauties (sometimes printed as a self-titled record), is a must-have for fans of the Golden Age of Ethiopian music. Released in 1976 by Kaifa Records, the two remarkable singers take on arrangements by Teshome Sisay to excellent effect. The music here dances between the popular Ethiopian sound of the era (courtesy of the Army Band) and the jazzier tones of artists like Astatke. When Ashine and Kebret step aside, the iconic pentatonic melodies of Ethio-jazz come through in force. After the crackdown on musicians by the Derg, Ashine wouldn’t release any further music. Thankfully, Beauties slipped through the cracks and has more than retained its power.

From the 1990s through to his revival in the mid-2010s, Hailu Mergia had worked as a cab driver in Washington, D.C. His passengers wouldn’t know that their driver was one of the pivotal figures of modern Ethiopian music. The Walias, fronted by Mergia, were at their prime at a moment of intense turmoil for Ethiopia. In the aftermath of the Derg’s seizure of power in 1974, the Walias had been able to continue performing at the more cosmopolitan American-owned hotels of Addis Ababa.

All around them, authorities shut down venues and stomped out any Western influence. Despite this, the Walias found pockets where they could survive. One of the key recordings from that time is the magnificent Tche Belew, an album of funky instrumental jazz released in 1977. Much to Mergia’s shock, the original pressing has climbed beyond the $4000 mark at some auctions. The more reasonably priced 2014 repressing by Awesome Tapes From Africa comes at a more modest price, though.

This is arguably where Ethio-jazz’s renaissance started. Released in 1998, the fourth entry in Buda Musique and  Francis Falceto’s Ethiopiques series spread Mulatu Astatke’s music to the world. It was this compilation that caught the attention of filmmaker Jim Jarmusch, who went on to use several of Astatke’s tracks in his 2005 movie Broken Flowers, further boosting his international acclaim. You’ll struggle to find a more definitive collection of Ethio-jazz standards than are featured on Buda Musique’s most sought-after release. Indeed, “Yekermo Sew” and “Tezeta” stand out not just as crucial examples of Ethiopian jazz but as pinnacles of ’60s and ’70s jazz as a whole. 

You could be forgiven for thinking that Ethio-jazz and Dutch anarcho-punk are not a perfect fit. Inspired by hearing him on Éthiopiques 14, Dutch band the Ex had tracked down Gétatchèw Mèkurya to play at their 25th-anniversary show, which eventually led to this remarkable merger of disparate genres. Together they birthed some of the most electrifying jazz fusion of the decade. 

The artists had more in common than you’d suspect. Indeed, Mèkurya’s integration of traditional battle chants became all the more visceral and forceful when backed by the Ex’s aggressive guitars and pummeling drums. It’s stunning, arresting music that pushes the distinctive melodies and grooves of the Ethiopian sound into unforeseen territories. Though not as lilting as what many have come to expect from the Ethio-jazz scene, Moa Anbessa is a worthwhile departure for open-minded jazz fans. 

Ethiopian nun Emahoy Tsege-Mariam Gebru’s music inhabited a space between worlds. It was too free-flowing and loose to be considered purely classical music. It’s too indebted to the likes of Erik Satie, Claude Debussy, and familiar hymns to be considered purely jazz. Plus, she integrated Ethiopian Qanat scales into her improvisations and compositions. The result is a distinct sound that exists beyond traditional categorization. This collection, released in 2023 by Mississippi Records, is another essential entry in her discography, expanding our understanding of her holy world. She can be lyrical and melancholic, impassioned and dark; she even showcases her vocal strength on the wonderful “Quand La Mer Furieuse.”