By BEN SISARIO (NYT); The Arts/Cultural Desk

Mulatu Astatke, Photo by NYT

From the moment Mr. Jarmusch first heard it, about six years ago, the music got under his skin, he said, and he began seeking it out wherever he could find it. "When I was writing 'Broken Flowers,' " he said by phone from his home in the Catskills, "I was listening to a lot of his music, and I was thinking, 'How do I get this music into a film that's set in suburban America?' It even led me to make the character of Jeffrey Wright of Ethiopian descent." In the film, Mr. Wright's character, Mr. Murray's next-door neighbor, gets him started on his journey and hands him the disc. Several songs by Mr. Astatke are used prominently in the film, and are on the soundtrack album, released by Decca.

 by Jesse Kornbluth, for HeadButler.com

Broken Flowers

I'm not seeing the Jim Jarmusch film until tonight, but acting on a tip from a friend with great taste, I bought the soundtrack yesterday. Talk about 'heavy rotation' --- I'm already in danger of wearing this CD out. And all because of an aging Ethiopian musician I'd never heard of!

Bear with me on this, because the ingredients sound...odd. Mulatu Astatke grew up in Ethiopia but went abroad to study jazz in America. He was influenced by Miles Davis and John Coltrane --- and by the organist Jimmy Smith. What he brought back to Ethiopia was a blend of soul and jazz. Which he then proceeded to blend, once more, with traditional Ethiopian music.

The result is easy to listen to and hard to describe. The horns play cool jazz figures; you could almost mistake them for clarinets. But under that is a groove that could have been created by Booker T and the MGs. And connecting the two are some Ethiopian chords that sound exotic, space-changing, hypnotic.

Think desert cha cha. Cuba goes to Memphis. Desert trance music.

Like nothing you have ever heard before.

By Bill Beuttler, Globe Correspondent
The Boston Globe 

Mulatu Astatke

It's been decades since Mulatu Astatke has performed his so-called Ethio Jazz in the United States, back when he toured and recorded in the 1960s with his Ethiopian Quintet. But the arranger-composer will be doing so again Wednesday in Arlington at the Regent Theatre, in the first of three concerts with the Either/Orchestra.

A fusion of the traditional music of Mulatu's native Ethiopia and the jazz and Latin influences he picked up as a student in London and Boston in the late 1950s and early '60s, Ethio Jazz enjoyed its short, largely unnoticed heyday between Mulatu's return to Ethiopia from New York in 1968 and the rise of the Marxist dictatorship there in 1974, after which the recording industry in that country remained shuttered for years.

By then, Mulatu had become a major figure in Ethiopian music. He had done so by bringing home and introducing such Western instruments as a Hammond organ, vibes, congas, and timbales, and, more important, by adapting to traditional Ethiopian melodies the composing and arranging skills he had studied under Herb Pomeroy and others during a short stretch at the Berklee College of Music.

Miles Davis, John Coltrane, and others were experimenting with modal jazz at the time

Mulatu was studying jazz, and that and other influences shaped his Ethio Jazz.