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Ethiopia is a fascinating country that became the epicenter of a new musical genre during the second half of the 60s: Ethio-jazz. Emerging between the declining reign of Haïlé Sélassié and the sinister Derg dictatorship, this music of unparalleled freshness put the Abyssinian highlands on the map, on a par with Swinging London and the Californian pop scene. After it had fallen quickly into obscurity, this shape-shifting genre was revived in the early 90s by French producer Francis Falceto. Seduced by the genre, this member of the Surrealist group launched an important collection called Éthiopiques. This exceptional cultural collection is regularly updated and now distributed internationally, being admired by creators like The Ex and Elvis Costello.
Echoing the Champs Magnétiques (The Magnetic Fields) of poets André Breton and Philippe Soupault, the documentary Éthiopiques Suite Magnétique reveals the history of this label. A contemporary of Francis Falceto, Stéphane Jourdain describes the origins of the editorial project, starting with the association L’Oreille Est Hardie and its offshoot Le Confort Moderne, a music venue synonymous with innovation. This exploration of the discovery of Ethio-jazz recalls the emblematic Mahmoud Ahmed and the brilliant saxophonist Gétatchèw Mèkurya. The description of Françis Falceto’s first trips to Addis Ababa is eloquent; just like his trip to the United States, where he met Amha Eshèté, a leading figure of Amharic pop. Taking place before the fall of Mengistsu and Ethiopia’s opening to the world, this is the beginning of a unique adventure.
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