Udin&Jazz – Interview with Mulatu Astatke

On July, 7th, 2017, we had the chance to have an absolutely inspiring talk with the father of “Ethio-Jazz”: Mulatu Astatke.
If you recognize his name, you know that he is a legend in the jazz all-of-fame. If you don’t know him, well, you should find out some time to meet his wonderful, passionate, intellectual and instinctive approach to music. Riccardo Del Fabbro interviewed him for us.

Have a seat and, Ladies and Gentlemen, enjoy the man from Ethiopia, Mr. Mulatu Astatke.

Mulatu Astatke

Ok so first of all thanks a lot for give us the opportunity to meet you and have an interview with you. Through your biography we found out that you spend your academic years between the Trinity College of Music in London and then the Berklee College in Boston.

And also Harvard and MIT as well.

And We also find out that at the beginning you went to Uk for studying engineering and then you change your mind. And so the first question is: Which were the motivation that you find out in music compared to the one in engineering?

Well, as you know, the problem was that I don’t know my talent. Probably because when you’re in your own country it’s very hard to find about yourself because of the subject that you get are very limited. But I had the chance to go to the Uk and over there question for me was: ”How do you create your personal behavior in another country?”. Because over there you have everything, specially in the Uk during that years. I had the possibility to discover the music, the theater, the dancing, physics, chemistry…you know everything… And in that background you have the chance to find out what’s yourself and what you really are. So at the university They used to test us every week to analyzes about ourself. And then they tried to said us in which profession we could be successful. An they told me that I was good in math and physics, but I could become a great musician. And at a certain point I took this advice from them. And It was a good advice because I found out about my talent, about myself and then I went to the Trinity College in London to study music and then after, more or less, one year I had the chance to move to Boston, to Berklee College.

Once in the Us I became the first African student in 1958.
That’s how I started to become a musician. Over there I started to going out listening and playing live music. At the beginning I was studying  and playing classic music, but later on was jazz. And then arranging, composing and also playing instruments.

I remember, it was quite fantastic at the time, all the professor told us “BE YOURSELF”. We had lot of homework on John Coltrane, Miles Davis, Duke Ellington and Gil Evans. We had to analyze their work. And while I was analyzing this musicians I was asking myself: “How this people could be theirself? And at the same time I was asking myself “ How I can be myself in music?”
This was one of the most important topic for myself at the time, and after a while I moved to NYC. In NYC I had the possibility to create this music called “Ethio-Jazz”, and it’s almost 55 years from now. And after this creation, the “Ethio-Jazz” I became myself, the father of this music. And suddenly I started recording songs, albums, playing in a lot of different places in the US, and finally this music became really famous.

Basically that’s how it happen.

Mulatu Astatke

Wow that’s amazing.
Let’s focus on your Berklee’ years. Again through your biography I read that when you were in Berklee you discovered the “latin music”. Is that true?How it happened? Did you find out some inspiration from this genre?

Nothing! No inspiration from “latin music”. I explain you why. Because all the rhythms that you find out from latin music it’s African! They’re all african rhythms!
I never thought was latin music because, for me, they were african rhythms, my rhythms. That’s our rhythm. You know, through the history of music, these rhythms probably travelled from Africa to Caribbean music, to Cuba, to Latin America. But originally I’m sure they came from Africa. And then these music was taken by latin people. You know I love latin people, they’re great musicians, they’re my brothers. But still, the rhythms and the feelings of latin music they’re africans! So when I was arranging and composing at the time, at the beginning, I was thinking always about Africa, about Ethiopia. That’s how it happen. But maybe at the time, the latin rhythms had the chance to travel all over the world because it started from NYC, that at the time was the center of the world. But if you study all of those you gonna find out that the roots starts from Africa.

Think about this: maybe, if we talk about Montunos in Latin America you should know that in Congo we have this thing called Kikiriki, centuries before this Cuban genre. If you listen to a latin arrangement called Mambo 1 and Mambo 2, one faster than the other. But if you go to Congo, to Kinshasa specially, the Kikiriki arrangements works in the same way, usually at the same speed. So finally, I think we should all think that music it’s a communications between friends and brothers all over the world.

Mulatu Astatke

I had a curiosity right now. How do you immagine the music of the future, and, in general the future of the music?

The future of the music. First of all is to recognize and have respect and love for the bush people. That’ s what we should all be concerned about in music. The roots of our culture in music, and also in other aspects of the culture. So I’ll tell you what is about the future! The more you listen to this people, the more you work on this people, the more you gonna find out some new things in music, something different, something beautiful, that could probably change the nowadays music in something new.

For example let’s talk about the rhythms and the instruments of this bush people.
In africa we used to play with bamboo instruments. For example, in Zimbabwe you can find out the Mbira piano, that was used to play music centuries before the so called western music. So, once again, it’s all about the research of the roots in music. If you’re lucky through the research you can explore some new way to produce and play music, but you always have to think about the roots of the music, in my case through the African roots, from the bush people of Africa and sometimes from other part of the world. That’s where the roots, the creativity and the talent of music come from. So probably when you find out some strange instruments, some strange arrangements, is there that you should research and studying on, to discover some beautiful music to explore. So that’s what I suggest about the future.

So, last question: Can you think about your all-time top 3 album? Or some music that you fall in love with?

More than 50 years ago I did this album called “Mulatu of Ethiopia”, which was reissued in 2017. I was experimenting at the time, you know in Ethiopian music we have 4 different modes and 5 notes, pentatonic. In this arrangements we have the 4 modes all mixed together and this is one of my favorite compositions. In fact, I played this kind of arrangement also for Duke Ellington’s band. And Duke was so surprised because for him it was an “advanced music”.

Ellington said about this pentatonic: “ I was never expecting this from Africa”(Mulatu laughs). I wish I could say to him at the time the most of the roots are from Africa, as I told you before.
A part from that, I was in love with the music of Charlie Parker, what a great music, what a great jazz. I love Debussy, with his different scale of arrangements. And again, some amazing tribes from the south of Ethiopia, arranging music just with 12 notes, so beautiful and completely mysterious in producing it. But I’ll leave to the future the research of this wonderful and mysterious tribes(once again he’s laughing)


And then I asked him to sign me a vinyl and He wrote down “Music, love and Peace. Mulatu Astatke”

Interview by Riccardo Del Fabbro and Luca Pavan.

Thanks to the collaboration of  Udin&Jazz, Euritmica, Marina Tuni and Marco Saurini.

Mulatu Astatke

Mulatu Astatke (Gimma, Ethiopia, 1943), father of Ethio Jazz music in his resume we find several collaborations with John Coltrane, Miles Davis, Duke Ellington. He was the first African student of the prestigious Berklee College of Music in Boston, and in 2005 he was renowned worldwide for Jim Jarmush’s “Broken Flowers” soundtrack.

FROM KANDINSKY TO POLLOCK. The Art of the Guggenheim Collections – Florence (IT)

An unmissable chance to see the Guggenheim collection in Italy: Constraint Magazine attended the Palazzo Strozzi’s opening exhibition “From Kandinsky to Pollock, The Art of the Guggenheim Collections” in Florence.

Palazzo Strozzi
Palazzo Strozzi, outdoor detail. Photo by Jenny Stelmakh.

Constraint Magazine continues its tour in the Italian overview: it moves, investigates, picking new ideas to enrich his experience and, we hope, those of our readers.

Today we want to describe our experience in Florence, where we are for an exhibition’s opening, a major exhibition starting on Saturday, March 19.
We’re at Palazzo Strozzi, an historic palace of the Renaissance and an exceptional location, specifically chosen to host some of the works of the Guggenheim collections.
The exhibition is the result of a collaboration between the Palazzo Strozzi Foundation and the Solomon R. Guggenheim Foundation in New York, which presents more than 100 works including European and American Art, from the twenties to the sixties of the twentieth century.

Roaring Lion II, Mirko Basaldella (1910–1969), 1956. Bronze, 77 x 94 cm, Solomon R. Guggenheim Foundation. Gift, Vera and Raphael Zariski 2004
Photo by David Heald
Roaring Lion II
Mirko Basaldella (1910–1969), 1956. Bronze, 77 x 94 cm, Solomon R. Guggenheim Foundation. Gift, Vera and Raphael Zariski 2004
Photo by David Heald

The exhibition’s uniqueness is not only guaranteed by the unquestionable importance of the works or the exceptional names, cornerstones of the avanguards of the twentieth century. The exhibition creates a thread, a story with images, a network of narratives that describe the life and passions of Peggy and the uncle Solomon, the biography of the artists, their relationship with collectors as well as the development and maturation of the art in the season of the avantgarde.
The story tells about an eclectic uncle and an ambitious nephew linked together by the taste and love for contemporary art: the story of Solomon and Peggy Guggenheim, the bulwarks of modern art patronage.
That’s right. The patronage of the past, the one of Florence during the Renaissance, from Cosimo “Il Vecchio” to his nephew “Lorenzo il Magnifico”, that blends and takes on a new role and recurs to our eyes.
Different artistic movements are then confronted: the masters of modern art (from Marcel Duchamp, Max Ernst, Man Ray, Pablo Picasso), informal art (Europeans informal as Alberto Burri, Emilio Vedova, Lucio Fontana, Jean Dubuffet) until American art of the fifties and sixties (like Jackson Pollock, Mark Rothko, Willem de Kooning, Alexander Calder, Roy Lichtenstein, Cy Twombly).

Roy Lichtenstein, Preparedness, 1968
Roy Lichtenstein, Preparedness, 1968. Photo by Jenny Stelmakh.

The exhibition takes place in nine rooms: in addition to the Guggenheim collections room, the second room has particular importance on the relationship between the two continents, “Europe and America”. This room tells us about the new avant-garde birth; then continue in a space (room 3) entirely dedicated to the artist Pollock, strongly supported by Peggy.
The journey between the images leads us then in the 4th room, dedicated to abstract expressionism (especially important the works of William de Kooning); then along the 5th hall dedicated to the new trends in the 2nd post-war scenario; the hall 6, however, is the one that opens the season’s exhibition at the Guggenheim Collection in Venice at “Palazzo Venier dei Leoni” (at the end of World War II, Peggy bought Palazzo Venier where he decided to open one of his private collection to the public).
Going beyond the magnificent room 7 entitled “the great American painting”, the next room consecrates the iconic figure of Mark Rothko (Peggy was a great admirer, so much so to dedicate an exhibition at her gallery called “Art of This Century”, around the middle of the Forties).
The tour ends in room 9, entitled “The sixties. The beginning of a new era “: in this room you can admire one of the greatest works of Lichtenstein, “Preparations” which opens a new art period, the Pop Art.

Jackson Pollock - The Moon Woman 1942
Jackson Pollock, The Moon Woman, 1942. Photo by Jenny Stelmakh.

An itinerant journey. Entering the first room (Room 1. Guggenheim and their collections) there are some of the works presented in an original and at the same time familiar scenario. The feeling is in fact to be in the spaces of the two New Yorkers collectors: on the left is presented a picture from the “Art of This Century” show, the Peggy’s museum / gallery opened in 1942, while to the right there’s a photo of Solomon R. Guggenheim Museum, an internationally renowned place, known by everybody.
The observer is brought into a spatial and temporal dimension far away from reality, certainly imaginary, but that somehow brings him closer to the Peggy and Solomon’s life spaces and places.
We believe this is one of the most significant features of the exhibition: it encourages the visitor to produce with a bit of imagination a credible scenario that in some way creates a bond, an intimate relationship by perceiving that sense of closeness to the taste and passion of both collectors.
Thanks to this travel with the imagination, we can project ourselves into Peggy’s living room, while she cuddles her Pekingese Twinkle, sitting on her sofa, maybe enjoying the discovery of a new artist with the uncle Solomon. Both seduced by the beauty surrounding them, never satiated by art and newness, always curious and inspired to amaze and surprise.

Vasilij Vasil'evič Kandinskij, Dominant Curve, 1936
Vasilij Vasil’evič Kandinskij, Dominant Curve, 1936. Photo by Jenny Stelmakh.

In the same days of Palazzo Strozzi’s opening exhibition a new documentary on Peggy Guggenheim’s life is being released, directed by Lisa Immordino Vreeland. One more opportunity to learn about this emblematic figure of the twentieth century.

Address: PALAZZO STROZZI: Piazza degli Strozzi, 50123 Firenze
Period: 19 March-24 July 2016
Full price € 12,00
Reduced and groups € 9,50 e € 4,00
Advance sale charge per ticket (excluding schools) is €1.00.
More information

To make a reservation please contact
CSC Sigma
Dal lunedì al venerdì
Monday to Friday, 9.00-13.00; 14.00-18.00
Tel. +39 055 2469600 / Fax +39 055 244145
[email protected]

Review by Chiara Tomè (Twitter @ChiarTom Instagram @chiaratm)
Photos by Jenny Stelmakh (Instagram @ssovietica)