Kazak Eagle: A Conversation with Mamer

"You can’t make good music if life is too much of a comfort."

I have to admit that when people say "Xinjiang", I automatically think of "Uyghur" (could be "restaurant" for some people). My event listings have been referring Mamer (www.myspace.com/mamermusic1)'s show as "Uyghur dobura hero plays home tunes", which is terribly incorrect because he's from a Kazak origin and apparently there are more than 30 ethnic groups besides "Uyghurs" living in Xinjiang. I won't blame the press for this, they look like an easy target. The fact is, being a Han Chinese and all, it can be the general ignorance in me when talking about "ethnic minority cultures". After all, the whole misinterpretation looks no different than what we accuse of "the West" for "not understanding China".

I started this self-criticism during my interview with Mamer last night, right before his two shows at Mako Live House (Apr 2) and Jianghu Liveshow Bar (Apr 4). We met in a Nanluogu Xiang bar hidden in a dark hutong which is narrow enough to be mistaken as a private residence. They were playing Mamer’s “Mountain Wind” when we got in - an acoustic version I’ve never heard elsewhere. “I prefer this version to the one on the album,” said Mamer in a deep voice.

He was referring to his solo debut Eagles under Real World Records, a world music label founded by former Genesis member Peter Gabriel. In that album, Mamer collaborated with banjo maestro Bela Fleck in “Celebration” and French producer Hector Zazou in “Mountain Wind”. “Bela Fleck was in Beijing three years ago, and we had fun playing music together, he’s truly a legend," Mamer recalled. "But with this album, they added some effects I wouldn't want in the mastering stage. I do understand why they did that though, because we are living in a different era now, traditional Kazak songs may not appeal to listeners in the city. Plus, the Real World people are good at marketing and promotions, so it’s also a good thing that they can introduce my music to a wider demographic.”

Mamer just got back from The U.K. with his five-piece alt rock band IZ (www.douban.com/artist/iz), which is why he was here in Beijing for visa application. “I’m leaving for Urumqi on Monday, my band IZ have left Beijing already, so the two shows over the weekend will more likely to be my own jam sessions with musicians here in Beijing. For this British tour, we played in London (see live review here), I can’t remember the names of the other cities.” Last year, he also performed at WOMAD festival in The U.K. and many cultural exchange concerts in Europe. “I think in the West, people in the music industry are much more professional, they really know what they are doing, and they respect musical originalities. I did this recording on BBC Radio 3, and it was only one take, all they asked me was ‘are you satisfied with it?’ I said ‘yes’, then it was done. They have lots of radio shows solely dedicate to world music. That’s different in China. I remember when I was little, there were still some regional radio stations in Xinjiang playing the most original recordings of Kazak folk, but nowadays they are nowhere to be found.”

“The audiences are different too,” he continued. “When I perform in Europe, most people in the audience are over 60 and 70. They sit right next to the stage, despite we are actually playing really loud. Here in China, people of their age are probably popping pills or getting heart attacks. People in the West come to see me play because they heard my CD and saw my names on the poster, but in China, they just randomly run into my shows. I’m talking about loyalty to what you love - say you loves football, and your dad or grandfather is a Man Utd or an Arsenal fan, that will make you support these teams, it doesn’t change that easily.”

Mamer started playing dobura (a Kazak instrument that looks like a guitar) since age four, growing up listening to ancient Kazak folk songs from his father and on local radio. It was a generational tradition in the Kazak region to play the instrument, and whoever plays the best gains deepest respect from the locals, Mamer is one of the few who can master it to that level. “It’s not enough to make a living though. There are a lot of people in my hometown who can play incredible dobura, but most of them work for the government art troupe. Believe me, that is no place for creativity. It constrains your mind and shuts your views for new possibilities. ”

While we were talking, his agent was on the phone, arranging interviews on the next day. “Busy, huh?”I asked. “Well, interviews are not really my thing, sometimes journalists make things up, and they know nothing about my music,” said Mamer. “There was this Chinese journalist wrote ‘Mamer loves John Cale and The Velvet Underground’, I never said that. I don’t like their music, but I admire their philosophies.”

The background music changed to a song from Huun-Huur-Tu, a band from Tuva. So I asked whether he gets inspirations from other ethnic music besides Kazak. “Not really, ” he said. “Well, if you have to say so, I got inspirations from Kyrgyz music as well. In IZ, I do experiments with loop machines, and I make guitarists play bass and percussion. They were originally guitarists in rock bands, but the way they play does not fit into my music, so I make them play something else, and it works out quite well. I listen to a lot of western music too, some of my major influences include Plastic People of the Universe and King Crimson. Actually I was hoping to get the King Crimson people to produce my album, but the record company thought they were too artistic. They want things in their ways, and I’ve got my own ways. So I’m hoping to record albums on my own. ”

“Why are you not living in Beijing then?" I asked. "You probably get more chances to get that done.” Mamer took off his baseball hat, gazed outside for a while and put it back on. “Beijing has a better environment for live music, and Xinjiang is better for writing songs and practice, and that’s more important to me so I choose to live there,” he explained. “In Urumqi, we refurbished a garage into a rehearsal room, and it’s free. It’s more convenient too. For example, in Beijing, I might have to spend two hours on the subway to meet you here, whereas in Urumqi, it takes maximum half an hour.”

So there’s the paradox, and it all depends on what you want in life. "There aren’t that much I’m asking for really," said Mamer, again he took his hat off. "Some people say you got to have money to make music, that’s true in a way. But there are things money can’t buy, and you can’t make good music if life is too much of a comfort.”

Mamer told me he likes to watch sports on TV when not playing music. "I love football, and I’m a Chelsea fan. Barcelona are good too! Next to football, boxing is my favorite sports." Then we talked about football for about 20 minutes, which probably shouldn't be written in here.

We finished the interview after about three beers, and Mamer only had some hot water. His agent started to talk about another interview, and he started yawning. Probably a good time to leave then - so I left the bar with the 45-minute-long footage on my recorder. There has been too much talking here, time to see him live.

Mamer improvises with Wu Junde, Song Yuzhe (of Dawanggang) and Zhou Laoer at Mako Live House on April 2 (Friday). RMB 50, RMB 40 (advance, students). 9pm. Inside Hongdian Art Factory, Courtyard 36 (500m south of Carrefour Shuangjing, inside small alley), Guangqu Lu, Chaoyang District (5205 1112/3) 朝阳区广渠路36号院红点艺术工厂内（幸福贝贝南边）

If you missed the Friday show, there's another chance to catch him at Jianghu Liveshow Bar on April 4 (Sunday) before he leaves for Xinjiang, Dawanggang tabla player Tato supports. RMB 40. 9.30pm. 7 Dongmianhua Hutong, Jiaodaokou Nandajie, Dongcheng District (6401 4611) 东城区交道口南大街东棉花胡同7号