Mulatu Astatke, widely recognized as the father of Ethio-jazz, recently reflected on his musical legacy following a performance at London’s Royal Festival Hall in June, which is anticipated to be his final show in the United Kingdom. At 82, Astatke has left an indelible mark by pioneering a genre that seamlessly merges traditional Ethiopian music with Western jazz, funk, and Afro-Latin rhythms.
Born in Ethiopia and educated abroad, Astatke’s journey began at a boarding school in Wrexham, north Wales, where he learned to play the trumpet. He later attended London’s Trinity College of Music and became the first African student at Boston’s Berklee College of Music. In the late 1960s, he oscillated between New York City—where his group, the Ethiopian Quintet, recorded influential albums such as Afro-Latin Soul 1 and 2—and Addis Ababa, where he was a prominent figure in Ethiopia’s burgeoning music scene, recording singles for Amha Records, the country’s first independent label.
His sound is characterized by the use of pentatonic scales unique to Ethiopian music, overlaid with jazz harmonies, and enriched with traditional instruments like the krar (a lyre), masenqo (a one-stringed fiddle), and kebero (drums). Astatke also integrates ancient religious chants dating back to the fourth century, creating a distinctive fusion he describes as a "beautiful science."
Astatke’s career developed during a vibrant period under Emperor Haile Selassie’s reign, a time known for its lively nightlife and flourishing music culture, featuring artists such as saxophonist Getatchew Mekurya and singer Mahmoud Ahmed. However, the 1974 overthrow of Selassie and the subsequent rule of the Marxist Derg regime brought severe political repression. When questions arose regarding his experiences during this period, Astatke remained cautious, emphasizing his political neutrality and focus on peaceful living.
Throughout the 1990s, Astatke deepened his connection to Ethiopia’s cultural roots by engaging with indigenous communities, including the Derashe in the south and the Nilotic Anuak people of Gambella. He credits these groups as formative influences in his development as a musician, particularly through their traditional music. Video recordings of his collaborations with these communities showcase the foundational role their sounds have played in his work.
Astatke plans to return to Addis Ababa, where the African Jazz Village, a club he established in 2013 and now managed by his son, continues to celebrate Ethiopian music and draw international visitors. He is considering new projects that would blend musicians from both indigenous communities and urban centers of Ethiopia, though details remain in the early stages.
His latest album, “Mulatu Plays Mulatu,” revisits classic compositions with his UK band, while future efforts aim to further spotlight Ethiopia’s diverse musical landscape. For Astatke, promoting Ethiopian culture and honoring its traditional peoples remain central to his artistic mission. “Promoting Ethiopia, promoting our cultural people to the world, that’s what makes me so great and happy,” he said, underscoring the importance of respect for Africa and its indigenous communities.