[Column] What is Ethio-Jazz (Ethiopian Jazz)? A trajectory of innovation etched in the history of African music

Column en 50s 60s Ethio Jazz Jazz

01 Dec 2025

[Column] What is Ethio-Jazz (Ethiopian Jazz)? A trajectory of innovation etched in the history of African music

How was Ethio-Jazz born?

Text: mmr｜Theme: The origins of Ethio-Jazz, techniques, historical background, masterpieces, and influence on today

Ethio-Jazz is a music genre that is unique in the history of African music. The symbol of this is Mulatu Astatke.

He established his own style in the 1960s by fusing traditional Ethiopian scales, Golden Age musical culture, Western jazz education, Latin music, and modern arranging techniques.

Ethiopia has had a multi-layered musical culture since ancient times, including Ethiopian Orthodox chants (Zara), the Azmari culture of local bards, and the urban music of the capital Addis Ababa.

Particularly famous is Ethiopia’s unique modal system called ““qenet.’’ There are four typical Kinets:

Tizita: A melancholy mode, the central mode of Ethio-Jazz.
Bati
Ambassel
Anchihoye

These have a unique scale movement that is different from Western major/minor, It later became an important foundation for Mulatu’s fusion with jazz.

# 2. 1950–60s: Mulatu Astatuke’s overseas study and musical formation

Mulatu Astatuke (1943–) was born in Jimma, Ethiopia. At a young age, he chose to study abroad, first traveling to England where he was exposed to the jazz and Latin music of the time. He then moved to the United States and became one of the first African students to study jazz and arranging at Berklee College of Music.

▼ Elements of musical formation

Ethiopian traditional mode
Jazz theory (especially modal jazz)
Latin music rhythm
American Soul/R&B
Experience with various musical instruments such as vibraphone and conga

These became the foundation for the creation of the unique genre that would later become known as ““Ethio-Jazz.’’

# 3. Late 1960s: Birth of Ethio-Jazz

Mulatu is known as the first person to start calling his music “Ethio-Jazz”. In the late 1960s, he attempted to modernize Ethiopian traditional music by fusing the Ethiopian scale (kinet) with jazz improvisational and arranging techniques.

Representative early works include:

《Afro-Latin Soul (1966–67)》 Series
《Mulatu of Ethiopia (1972)》

Examples include.

# 4. Golden Age (1960–70s): Addis Ababa’s urban culture and music industry

In the 1960s and 1970s, urbanization and international exchange progressed in Ethiopia, and the music scene in Addis Ababa was revitalized, centered on clubs, hotels, and players from military bands.

Main features:

Big band jazz orchestra
Cultural support during the era of Emperor Haile Selassie *Many singers appeared and the recording industry flourished.
Improving the performance skills of the Ethiopian military band (Imperial Bodyguard Band), etc.

The main labels of this era were Amha Records and Kaifa Records. Many of the sound sources that were later reevaluated worldwide as the ““Éthiopiques’’ series were recorded during this period.

Ethio-Jazz music structure diagram

flowchart TD A["Ethiopian traditional mode
kinet (Tizita etc.)"] --> F["Ethio-Jazz"] B["Jazz Theory/Modal"] --> F C["Latin music rhythm"] --> F D["Soul/R&B"] --> F E["Urban Culture/Recording Industry of Addis"] --> F

After the Ethiopian revolution in 1974, club culture stagnated due to changes in the political situation, and many musicians moved abroad. The recording environment was also restricted, and Ethio-Jazz gradually went underground.

However, Mulatu himself continued to work abroad and made intermittent recordings.

# 6. Late 1990s: International reappraisal with the Éthiopiques series

The ““Éthiopiques’’ series (Buda Musique), which started in 1997, is This is a large-scale archive project that introduced the world to the sound sources of Ethiopia’s Golden Age.

Mulatu’s works, Ethiopian singers (Mahmoud Ahmed, Tilahun Gessesse, etc.), Military band recordings were reissued, and this triggered a worldwide re-evaluation of Ethio-Jazz.

# 7. 2000s: Breakthrough with the movie “Broken Flowers”

In 2005, as the music for the film Broken Flowers directed by Jim Jarmusch. Many of Mulatu’s songs were used, and it attracted a lot of attention.

After this event, collaborations with European and North American artists increased. Ethio-Jazz once again becomes recognized as an international music genre.

# 8. Music Theory: Techniques for composing the sound of Ethio-Jazz

Here, we will organize the sound structure based on facts.

■ 8.1 Modes

Typical example:

Tizita minor (Sadness mode/Symbol of Ethio-Jazz)
Ambassel, Bati major/minor etc.

Similar to Western durian and mixolydian, There are unique semitone progressions and modal changes.

■ 8.2 Rhythm

6/8 series
Latin syncopation
March elements derived from military bands
Dance rhythms of Amhara region

■ 8.3 Organization

Vibraphone (Mulatu signature)
Horn section (trumpet, tenor saxophone)
Conga/Bongo
Electric bass
Organ/electric piano (especially Farfisa and Rhodes)

▼ Mermaid: Ethio-Jazz composition flow

flowchart TD Vibes["vibraphone"] --> Mix["Ethio-Jazz Ensemble"] Horns["Horn section"] --> Mix Keys["Organ/Rhodes"] --> Mix Bass["Electric bass"] --> Mix Drums["6/8 Rhythm/Percussion"] --> Mix Trad["Traditional mode"] --> Mix

# 9. Introduction of major artists

■ Mulatu Astatke

Founder of Ethio-Jazz. His representative works were released in the late 1960s and 1970s. He is internationally recognized as a vibraphonist and composer/arranger, and in recent years has been involved in music research at Harvard University and other institutions.

■ Mahmoud Ahmed

A singer representing Addis Ababa in the 1960s and 1970s. Reevaluated internationally with the Éthiopiques series.

■ Tilahun Gessesse

A singer known as the “King of Ethiopian Music.” He is a former military band member and has advanced singing skills.

■ Hailu Mergia

Accordion and organ player. Active with Walias Band in the 1970s, It was later rediscovered in Washington, D.C., and toured the world.

# 10. Masterpiece guide

Mulatu of Ethiopia (1972) / Mulatu Astatke
Ethiopiques Vol. 4: Ethio Jazz & Musique Instrumentale
Hailu Mergia & the Walias Band – Tche Belew (1977)
Alemayehu Eshete – Éthiopiques Vol. 22

# 11. Ethio-Jazz’s influence on the world

■ Jazz/Funk/Hip-hop

Expanding the interpretation of jazz modes
Frequently used as sample material in hip-hop
Influence on Afrobeat/Afrofusion

■ Movie music

After ““Broken Flowers,’’ its use in movies and TV has increased.

■ Europe’s new generation band

The Heliocentrics
Black Flower (Belgium) etc. develop music that references Ethio-Jazz.

# 12. Chronology

flowchart TD Y1943["1943 Birth of Mulatu"] --> Y1960["1960s Early Activities"] Y1960 --> Y1966["1966–67 《Afro-Latin Soul》"] Y1966 --> Y1972["1972 《Mulatu of Ethiopia》"] Y1972 --> Y1974["1974 Revolution/Scene Decline"] Y1974 --> Y1997["1997 Éthiopiques series started"] Y1997 --> Y2005["2005 『Broken Flowers』"] Y2005 --> Y2010["2010s Re-evaluation and International Tour"]

# 13. Inheritance and future of modern Ethio-Jazz

Currently, Ethio-Jazz is

Europe’s cutting edge jazz
Afrofuturism
Global Beat
Lo-fi/beat music culture

It is intersecting with others and showing new expansion.

Mulatu himself continues his music research and educational activities. Efforts to bridge traditional scales and modern music are still ongoing.

# 14. Summary: What Ethio-Jazz leaves behind

Ethio-Jazz is not just “ethnic music + jazz.” Deep history of Ethiopian music, Western jazz education, urban culture, political changes, international reappraisal —It is a complex musical phenomenon born from the intersection of all of these things.

At the heart of this was Mulatu Astatuke’s innovative vision.