Meklit Hadero combines folk, jazz and East African influences to create a sound she calls Ethio-jazz. But the artist and TED Fellow draws inspiration from more than those disciplines might suggest.

By Taylor Mayol |

I meet Meklit Hadero at her house in Berkeley, California, which looks about like you’d expect a global singer’s house in Berkeley to look: packed with plants, mirrors, rugs — cosmopolitan trappings of the eclectic traveler variety. Fresh-faced with a scattering of barely-there freckles and wearing a red terry cloth dress and beaded leather sandals, Hadero puts on coffee — Ethiopian grounds — and we move into her backyard recording studio. It’s a tiny cave of cool: blue walls, keyboard, drums. This is where the singer-songwriter practices, when she’s not eavesdropping on the natural world around her.

Hadero combines folk, jazz and East African influences to create a sound she calls Ethio-jazz. But the artist and TED Fellow draws inspiration from more than those disciplines might suggest. She writes the notes of her surroundings into her tracks, whether that’s birdsong or the sound of a pot of lentils simmering on her stove. The 36-year-old has released two solo albums, hosted a world tour and collaborated with Quinn DeVeaux of the Blue Beat Review on Meklit & Quinn, a soul album. She’s an interdisciplinarian, dipping into academia, performance and production. She’s co-founder of an East African musicians’ collective, sits on the board of the Yerba Buena Center for the Arts and works with physician Charles Limb studying music and the brain. Hadero is “a very rare artist who is full of integrity and brings an enormous amount of soul … not only to her music but to collaboration in general,” says Deborah Cullinan, CEO of Yerba Buena Center for the Arts.

The Ethiopian-American has heard melodies in everyday sounds since she was a child. Born in Addis Ababa, she thought of Amharic, her first language, in terms of its singsongy cadences — you can hear them in her TED talk. When Hadero was 2 years old, her family fled the oppressive regime and landed in smallish-town Iowa. Even as her spoken Amharic faded, its melodies remained an anchor, allowing her to interpret what was being said around her. The following years took Hadero to Brooklyn, where the clanking of the subway enchanted her, and to North Florida, where American racial dynamics added another layer to her experience. By age 24, when she launched her music career, she had already lived in 11 places.

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