Ethiopian Golden Age of music

[citation needed] Central innovation was the "Ethio-jazz" music and musicians Alemayehu Eshete, Tilahun Gessesse, Mahmoud Ahmed, Mulatu Astatke and others were prominent in this era.

After the downfall of the Derg, the music industry revitalized; in 1998, Éthiopiques reestablished with collaboration to Mahmoud Ahmed, Tilahun Gessesse and Mulatu Astatke.

[1] With Ethiopia becoming increasingly modern under the reign of Emperor Haile Selassie from 1930 to 1974, media such as radio, television, and records were crucial in communicating Western music to the country.

[2] Jazz, blues, and funk records from America were popular due to their wide distribution and radio broadcasting stations limited listeners to only foreign or Ethiopian-Western hybrid music.

Using the five-note pentatonic scale and asymmetrical rhythm from Tizita Qenet and his technical skills from New York, allowed him to create a unique sound he called "Ethio-Jazz".

Beginning in 1960, a growing number of people began to feel as though Western traditions were contaminating the national identity of Ethiopians.

[6] These groups opposed Mulatu's radical style of music that used his 'signature vibraphone' and conga's which contrasted the traditional Masenqo and Washint of Ethiopia.

Ethiopiques used such styles which borne numerous prominent artists of the time including Tilahun Gessesse, Alemayehu Eshete, Hailu Mergia, and among others.

After the coupe of Haile Selassie and the rise of the Derg in 1974, the exciting Addis Ababa city life was put on curfew and most music was censored or limited to patriotic songs.

[8] Instead of returning to Ethiopia's oppressive regime, Hailu and three other members decided to stay in Washington D.C. where they continued playing as The Zula Band.

Sabisa Film Production manager Sewmehon Yismaw told EBR, "Instead, artists are choosing to reach more people with less expense way by singles.

Sewmehon added the problem of music industry when distribution consisted of analogue formats like cassette tapes, copyright issues was highly prevalent.

[15] In 1998, Ethiopiques reestablished its existence bringing long-term collaboration with musicians like Mahmoud Ahmed, Mulatu Astatke and Tilahun Gessesse to musical scene.