Mulatu Astatke, the creator of Ethio Jazz, views music as a science, much like chemistry, where sounds combine to form melodies and harmonies. Mulatu’s unique style blends Ethiopian musical modes with jazz, funk, Latin rhythms, and even psychedelic rock. He says that the "bottom" of his music is always Ethiopian, built upon the four qeñets, or modes.

In an exclusive interview with our deputy editor-in-chief, MICHAEL GIRMA, Mulatu shared insights into the traditional communities who crafted Ethiopian instruments and musical modes, acknowledging them as the true scientists of his musical world and accentuating their deserving of respect and recognition. He draws inspiration from instruments like the embilta, krar, masinqo, begena, and zumbara, and considers those who created them his heroes.

He was exposed to traditional Ethiopian music as a child, but it was during high school in England that he began listening to international music, ultimately leading him to study at renowned musical institutions. There, he made a conscious decision to develop his own unique sound rather than just transcribing the works of others, leading to the creation of Ethio Jazz. Despite the global recognition he has achieved after decades of work, Mulatu remains grounded in his roots, emphasising the need to appreciate and develop Ethiopian musical traditions.

Fortune: Which musical instruments do you play?

Mulatu: I play the vibraphone, piano, and conga drum. I am a percussions guy, I do not play string or wind instruments.

How did you become synonymous with the vibraphone?

It is a beautiful instrument. I love it so much.

What is the most difficult and most impactful musical instrument?

They are all not easy because music is a science. You have to think about harmony and melody and putting it together to make music.

How is music a science?

Europeans take music as a science. Just like they mixed ingredients to make aspirin, they have deeply analysed music to make it a science, mixing sounds to manufacture music. So, to me there is no difference between music and science.

But we Africans gave them the ingredients to make musical science. Traditional communities, the scientists, gave them the ingredients.

You are a role model to many. Who is your role model?

Traditional societies who have created the embilta, krar, masinqo, begena, and zumbara. These are my heroes, the people that created the music that inspires me.

Even though I have given Ethio Jazz to the world, I ask myself who created me. It is those people who created and play traditional instruments. Those are the people who formed me. So, I stand for those people. I give respect and love for those people that created Mulatu.

They are the scientists of my world. We must give respect to our scientists.

What is your favourite concert?

I love them all. But my concerts in La Villette, in Paris, are special because the French follow and understand music deeply. I have played there several times.

What was your earliest musical exposure?

It was various traditional and local music as a child. Once I started high school in England, I started listening to international music.

How did your childhood contribute to the Mulatu of today?

I was lucky my family sent me to high school in England. Otherwise, I would have become a pilot because I was good in physics and maths. In Ethiopia, you must become an engineer, or a doctor, or something similar, to align with familial expectations.

But what happens if that just does not fit you? There are so many genius people that do not go in the right direction for that reason.

So, upon graduation, my principal told me that I should become a musician. He thought I would be successful if I did so. I have big respect for that school and the principal. After studying me for four years, they said I should become a musician.

The school gave importance to the arts.

I then went on to Trinity College in London and started studying classical music. That is how I became a musician.

What contributions has Ethiopia made to the world's musical heritage?

Africans have contributed so much to global musical culture in general. The same is true for Ethiopia. Take the masinqo; it’s similarity with the cello is amazing. Take the mequamia (the Ethiopian Orthodox Church’s standing stick) and its similarity with the baton used by orchestras and march bands.

Band conducting is Ethiopia’s gift to the world.

What inspired you to fuse jazz with Ethiopian music?

The four modes are my foundation and jazz happened to nicely structure around Anchihoye, Tizeta, Ambassel, and Bati. The bottom is always Ethiopian; you hear that when you listen to my music.

I was then lucky enough to be called the father of Ethio Jazz.

What is the largest instrumental ensemble you have composed for?

I have composed for big bands of about 50 to 60.

What is your favourite of the four Qignet or modes of Ethiopian music?

Tizeta. But it is a difficult choice.

It pains me, however, whenever I think of who created the four modes of Ethiopian music. They are the mountains of our society, yet anonymous.

I was once invited to Kombolcha [in Amhara Regional State]. I asked members of the music school there if they knew who created these modes but they had no clue.

We do not take care of our greatest scientists who created these modes. We have disregarded them, it is a big shame.

Our greatest singers, from Tilahun Gessesse to Bizunesh Beqele, are always singing around these four modes.

What is your perspective on the current state of music education?

I used to have a music school around Old Airport but it could not work out for various reasons.

It hurts me to think of how many genius kids we lose because they are not going in the right direction. Music is a science, but in Africa we take it as wasting time or for dance only.

So, it must be included in the curriculum, along with other arts.

What is your most wished-for collaboration?

It took many years and effort, but I have curated myself. I am open to work with anyone who wishes to enter that world.

 What is it like to work with younger artists like Jemberu Demeke?

His manager is close to me and he requested a collaboration. It’s nice to work with youngsters because I like to instil in them to have pride in their identity. I tell his types: ‘be proud because your forefathers created this.’