On Sketches of Ethiopia, Mulatu Astatke's first international release, the father of Ethio-Jazz's remarkably rich music reveals influences ranging from jazz and Latin American music to the traditional music of his homeland. Astatke has collaborated with numerous jazz legends such as Duke Ellington, and in 2005 was featured on the soundtrack for Jim Jarmusch's film Broken Flowers. Conductor, arranger, master of the vibraphone and conga drums, Astatke now plays with his England-based group Step Ahead. On his new album, Astatke's uniquely rhythmic and colorful music weaves a modern groove into age-old melodies, and blends western classical music with Latin and Afro funk rhythms into a heady musical brew.
Mulatu Astatke already has a legendary status as the father of Ethio Jazz. But he hasn't been content to rest on his laurels. Instead he's forged ahead. This album proves very different from his work with the Heliocentrics (some of whom do feature here), or with the Either/Orchestra – it's an album of what is essentially a meandering, laid-back groove that looks at music from two angles – the Western and the Ethiopian. The former gets to stretch out on cuts like the opener, the reflective "Radcliffe," and "The Way to Nice." Ethiopia raises its head on "I Faram Gami I Faram," which some luscious Addis Ababa singing, a reworking of the style that made Astatke's name, and actually of one of his old compositions.
The third in Strut’s Inspiration Information studio collaboration series brings together an intriguing pairing between one of Africa’s great bandleaders, Mulatu Astatke, with the next level musicianship of The Heliocentrics collective from the mighty roster of Stones Throw / Now Again. Known primarily through the successful ‘Ethiopiques’ album series and the film soundtrack to Jim Jarmusch’s ‘Broken Flowers’, Mulatu Astatke is one of Ethiopia’s foremost musical ambassadors. Informed by spells living and studying in the UK and the USA, his self-styled Ethio-jazz sound flourished during the “Swinging Addis” era of the late ‘60s as he successfully fused Western jazz and funk with traditional Ethiopian folk melodies, five tone scale arrangements and elements from music of the ancient Coptic church.