Reissue revives the pulse of the ‘70s



Ethiopia’s modern music scene stands on the shoulders of giants. Among them, few loom larger than the IBEX Band and its successor, the Roha Band—groups that helped define the sonic signature of a nation during a turbulent yet culturally fertile era.

Emerging in the 1970s, the IBEX Band pioneered the “Chickchicka” rhythm and distinctive basslines that would come to shape the country’s contemporary musical identity. The group—later evolving into the Roha Band—was led by the creative visionaries Giovanni Rico and Selam Woldemariam. Together, they helped craft the musical backdrop for legends like Aster Aweke, Tilahun Gessesse, Girma Beyene, Mulatu Astatke, and Mahmoud Ahmed. Their work on the now-iconic album Ere Mela Mela cemented their place in the canon of modern Ethiopian music.

By the late 1970s, the Roha Band had grown into a formidable force, known for its technical polish, extensive studio sessions, and live collaborations with some of the country’s celebrated vocalists. Maestros note that the group not only elevated performance standards, but also helped forge a distinctly Ethiopian sound through disciplined musicianship and a tightly unified ensemble dynamic.

Music scholars have long emphasized the importance of continuity within the bands. A stable core of musicians, they argue, allowed the ensembles to evolve consistently while maintaining their artistic integrity—something rare in an industry often marked by transience.

Now, nearly half a century later, the legacy of IBEX is being reintroduced to a new generation.

A Sound Reborn: Protect the past, build the future

Muzikawi, a contemporary Ethiopian music label specializing in publishing, artist management, and event organization, has announced the global re-release of Stereo Instrumental Music—a pioneering album originally recorded by the IBEX Band in 1976. The album, available on streaming platforms starting April 11th, captures the instrumental brilliance of Giovanni and Selam at the peak of their innovation.

The album’s original production utilized then-cutting-edge four-track technology, making it one of the most sophisticated recordings of its time in Ethiopia. Muzikawi held a pre-release listening event at Tryst Addis Café in Kazanchis on April 10, inviting local fans to experience the album ahead of its global debut. A registration system has also been set up for fans to place pre-orders.

Muzikawi’s platform is structured to ensure both accessibility and respect for artist rights. “Copyright-friendly music,” Samuel Mulugeta, Chief Operating Officer at Muzikawi explained that it refers to content that can be legally shared and used without infringement—whether because it’s in the public domain, licensed under Creative Commons, or offered royalty-free through structured agreements.

Since its launch in 2022, Muzikawi has released three full-length albums and numerous singles that draw deeply from Ethiopia’s traditional music, including styles from Tigray, Gonder, and other regions. The IBEX re-release, he said, represents a renewed celebration of Ethiopian jazz, true to its original analog form.

“All tracks on the re-release are arranged and produced by Giovanni and Selam,” Samuel confirmed, adding that the vinyl origins of the album were preserved with great care. “This is not just a reissue—it’s a restoration.”

He emphasized Muzikawi’s broader mission to amplify Ethiopia’s musical heritage to audiences around the world.

“Ethiopia has an incredible wealth of musical styles,” Samuel said. “We built this platform to share that richness globally — but in a way that respects the rights of those who created it.”

Rico, one of the principal creative forces behind Stereo Instrumental Music, recalls the formation of the IBEX Band as a turning point in the country’s professional music history. Speaking to The Reporter, he described the group as highly organized and self-sufficient—a rare model at the time.

“We owned our own equipment, maintained strict internal discipline, and operated with a rotating leadership model,” he said. “Every six months, a different band member would take on the administrative responsibilities.”

The band’s first vocalist was none other than Mahmoud Ahmed, the storied singer who had previously performed with the Kebur Zebenya Band. IBEX produced Mahmoud’s first two albums, including the seminal Mela-Mela, which Giovanni described as “a timeless work that captured the soul of Ethiopian music.” Over the years, Mahmoud would go on to record more than 30 songs with the band.

But IBEX was not limited to a single star. The band’s influence extended to a constellation of legendary voices. “We also collaborated on Tilahun Gessesse’s Yetelash Yitela, Aster Aweke’s debut, and Mulatu Astatke’s Yekatit album,” Giovanni noted. Later generations of artists—Muluken Melesse, Teshaye Yohannes, Neway Debebe, and Amelemal Abate among them—would also record their defining works with the band.

The forthcoming re-release of Stereo Instrumental Music features live stage recordings associated with these iconic collaborations, offering fans both old and new a chance to reconnect with the golden age of sound. For Giovanni, the project is more than a historical nod—it’s a reaffirmation of the band’s enduring relevance.

“These recordings have always been a reference point,” he said. “They’ve set a standard—one that still resonates with today’s audiences, just as it did in the 1970s.”

Yet, for all its cultural significance, the band’s legacy has not been matched with institutional recognition. Both Giovanni and Samuel pointed to copyright enforcement—or the lack thereof—as a central issue plaguing the Ethiopian music industry.

“Copyright remains a challenge for everyone involved in music,” said Samuel. “Some policies are being enforced, but many others are ignored in practice. Despite recent improvements, consistent implementation remains elusive.”

As a stopgap, he encourages musicians to register their rights with international collective management organizations, which offer stronger protections and licensing systems. Still, the lack of domestic infrastructure and support from cultural authorities leaves a critical gap.

“We haven’t received any support from the relevant institutions,” Giovanni said. “But we remain committed to producing music and to building momentum until we do.”

A Broader Tapestry

Though the IBEX and Roha bands became dominant in the narrative of Ethiopia’s soundscape, they were far from alone. The 1970s were a rich and dynamic era for Ethiopian music, buoyed by a wave of influential bands that broadened the nation’s musical palette.

The Walias Band, renowned for its Ethio-jazz collaborations with keyboardist Hailu Mergia, helped bring jazz-inflected experimentation into the mainstream. The Black Lion Band was a powerhouse in the funk and soul scene, frequently performing alongside artists like Ayalew Mesfin. Addis Ababa’s nightlife was animated by hotel and nightclub staples such as the All-Star Band and the Venus Band. Meanwhile, the Shebele Band left its mark with Alemayehu Eshete, one of the era’s most electrifying performers.

State-affiliated ensembles—including the Army Band, the Police Band, and the Imperial Bodyguard Band—also played a central role in professionalizing music performance, often supplying the country’s top instrumentalists and composers.

Together, these groups created a mosaic of sound that continues to shape Ethiopian music to this day. And with efforts like the re-release of Stereo Instrumental Music, that history is being rediscovered—not only preserved, but played anew.