Mamer / 马木尔 -《雄鹰》(Eagle)[MP3]
专辑中文名: 雄鹰
专辑英文名: Eagle
艺术家: Mamer / 马木尔
音乐类型: 民乐
资源格式: MP3
发行时间: 2009年
地区: 大陆
简介:
简介 · · · · · ·
马木尔1970年生于新疆。哈萨克族。自幼学习哈萨克族民歌和冬不拉，后自学吉他、曼陀林、口弦等多种乐器。马木尔从小在新疆奇台县的东风牧场长大，就是游牧的哈萨克家庭，那里是一个辽阔的草原，他的爷爷、父亲以及哥哥都会弹冬不拉，也会做这个乐器，马木尔四五岁的时候就开始弹冬不拉了，在他们的牧场里，有很多唱民歌的阿肯和老艺人，他们的歌就是他们的生活。“小的时候，就是从广播里听老艺人的弹唱，都是传统的民歌，后来有电视就不好了，那些歌不好听了，都是导演的安排，他们把好听的音乐给变掉了。只有老的音乐是最纯的，我尊重我们民族的音乐。”马木尔说。他作为冬不拉高手、吉他高手，已经被看作哈萨克年轻一代的人才。在北疆，哈萨克人的生活中，马木尔是一位家喻户晓的名人，是哈萨克的东不拉英雄。
2002年马木尔来到北京，与他的伙伴组建了IZ乐队，并开始在北京各演出场地表演。IZ乐队立足... (展开全部) 马木尔1970年生于新疆。哈萨克族。自幼学习哈萨克族民歌和冬不拉，后自学吉他、曼陀林、口弦等多种乐器。马木尔从小在新疆奇台县的东风牧场长大，就是游牧的哈萨克家庭，那里是一个辽阔的草原，他的爷爷、父亲以及哥哥都会弹冬不拉，也会做这个乐器，马木尔四五岁的时候就开始弹冬不拉了，在他们的牧场里，有很多唱民歌的阿肯和老艺人，他们的歌就是他们的生活。“小的时候，就是从广播里听老艺人的弹唱，都是传统的民歌，后来有电视就不好了，那些歌不好听了，都是导演的安排，他们把好听的音乐给变掉了。只有老的音乐是最纯的，我尊重我们民族的音乐。”马木尔说。他作为冬不拉高手、吉他高手，已经被看作哈萨克年轻一代的人才。在北疆，哈萨克人的生活中，马木尔是一位家喻户晓的名人，是哈萨克的东不拉英雄。
2002年马木尔来到北京，与他的伙伴组建了IZ乐队，并开始在北京各演出场地表演。IZ乐队立足于哈萨克民间音乐的传统，同时又努力创造着属于自己的音乐语言。他们演奏冬不拉、库布孜等哈萨克传统乐器，同时也使用吉他、箫、笛等来自其他文化背景的乐器，但乐队始终坚持用哈萨克语演唱。IZ乐队的曲目中一部分由古老的哈萨克民歌改编，另一些为自己的创作。创作歌曲常常以寓言、谚语式的歌词表达哲理性的内涵，如“不要见了面就握手寒暄/而实际上什么都不干/不要在大街上只会炫耀自己/要知道你出自毡房/那才是你的根源。2004年，IZ乐队在上海、青岛举行了专场演出，04,05年并应邀赴法国参加了“中国音乐实验室”（CHINA MUSIC LAB TOUR）的巡演活动。哈萨克斯坦总统纳扎尔巴耶夫2004年5月访华时特别在北京约见了马木尔。2004年5月17日的《人民日报》采访了唱新疆民间歌曲的哈萨克族青年马木尔，那天哈萨克斯坦总统访华要亲自接见我们的民族歌手马木尔，马木尔以为是为总统的宴会去唱歌，拒绝了，《人民日报》的记者赶紧又找到他，最后，总统与他亲切交谈，说的是哈萨克的音乐，是一次很好的沟通。
任何录音都无法代替现场演出所能带来的那种震撼力。所有看过IZ或是马尔木现场演出的人，都无法忘怀他们的音乐的魅力。腼腆的马尔木不爱说话，而当他歌唱的时候，和着他的冬不拉，人们总能被他歌声背后深沉的情感所打动。无论是他改编的古老的哈萨克民歌，还是他自己谱写的歌曲，都能让人在喧嚣中沉静下来，他的歌中有无言的悲凉和忧伤，更有金戈铁马的激昂！
能让我们感动的音乐必须是真实自然的，因为真正的音乐没有界限。哈萨克人说：一切皆有生命和死亡。他们唱到：当水结冰的时候它死亡了，春天冰雪融化它的生命，开始流动；大地被白雪覆盖时它死亡了，雪融后的万物复苏使大地重获生命；当天空被乌云遮挡时它死亡了，乌云散去又是亮丽的色彩……
Real World Records是英国著名音乐人Peter Gabriel创立的专注于推广世界音乐的音乐厂牌，先后推出过Nusrat Fateh Ali Khan，Sheila Chandra，Geoffrey Oryema，Youssou N'dour，Tama，央金拉姆等五大洲各国音乐家的作品，即将于五月份发行马木尔专辑EAGLE（雄鹰）。 配合新专辑的发行，REAL WORLD RECORDS将同时安排马木尔欧洲巡演。
Eagles soar in the slipstreams of Xinjiang province, a windblown place way out in western China. A place where forests of stone jut from land carved by restless tectonic plates; where glacial waters flow into melon fields then disappear into deserts. A place where nomads herd sheep across grasslands and spirits dwell in rocks and trees, take shape of birds and animals. A place where everything - eagles, horses, wind, spirits - is represented in music.
The singer/songwriter Mamer was raised in Xinjiang, one of ten children for whom singing and playing the two-string dombra lute was as much a part of life as sunrise. Out here - in this land of Turkic tongues and ethnic minorities - traditional music flows from yurts and across the sparsely inhabited steppes. And Mamer's voice, a low, resonant, magical thing, still joins it.
"The great old Kazak folk songs were born when people were shepherding," says the boyish thirty-something. "Living in cities we are often too busy to allow this sort of tranquillity to enter our lives. I have to return to the grasslands once or twice a year. That is where I get my inspiration, my creativity."
He pauses, smiles. "I always stay awhile with the old people in the mountains, learning their songs and traditions," he continues in his native Kazakh. "Without this a whole way of life will be lost to the young generation. I want to breathe new life into the poems and songs I grew up with. "
Mamer's stunning debut album Eagle does precisely that, revitalising the ancient songs and instruments of his heritage with an alt-country aesthetic that's part Townes Van Zandt, part Huun Huur Tu. This is Chinagrass: simple, honest, direct music with one foot in the past and another in the future. Folk (not folkloric) music with punk's do-it-yourself ethos. Folk (not folkloric) music with a kick and a twist.
"I play a lot of the music on acoustic guitars but I use open tunings," says Mamer. "So although the sound is louder and more resonant the guitar becomes like a dombra - a grassland instrument - to me."
Grassland instruments are prevalent in Xinjiang's capital, Urumqi. For much of the year Mamer lives in this city of faith and mosques, knives and scarves, golden teeth and cologne. It was here that he once listened to Xinjiang folk music on Chinese Central Radio broadcasts: music variously played, as his is, on flute, jew's harp, kobyz violin, sherter bass, ghijek spike-fiddle and the ubiquitous dombra - decorated with eagle owl feathers out of respect to the Koran, and by way of shamanic protection.
Mamer tells stories about the birth of the dombra. Stories of love: a cedar tree comes alive in the hands of a craftsman so that he may woo his sweetheart. Stories of the natural world: a lonely young shepherd fashions a dombra from the dried, wind-whistling carcass of a sheep. Stories of, well, reality: the traditional instrument of nomadic Central Asia, the dombra is found all over Kazakhstan, Kyrgyzstan and Uzbekistan as well with Kazakhs living in China.
Mamer tells, too, of the first Western music he fell for: Yes, King Crimson, Television, Pink Floyd. Of his formal music education at Urumqi's music college, which - without guitar lessons - he swiftly quit. Of his job doing voiceovers at the local TV station ("I used to dub the baddies in American films and Chinese soap operas") and time spent as lead guitarist in an Eighties covers band: "We'd play songs by Michael Jackson, The Police and Metallica. Our singer didn't speak English but he sang all the lyrics. We made a good living."
In 2002 Mamer moved to his second home in China's musical centre, Beijing; to a bungalow with a small courtyard from where he could see the sky. He put together IZ - a band whose name translates as 'footprints left by tradition' - and began delivering Kazak-language songs that both respected and updated tradition. Mamer became a fixture of the Beijing folk circuit, a star of venues including the legendary River Bar in Sanlitun. He also single-handedly kick-started China's alt-country scene.
Executives took notice: Mamer was invited to record albums, perform on television, tour the country. But because each golden carrot involved a compromise - relinquishing control, say, or adding beats and singing in Chinese - Mamer resisted. In the process he has evolved into a cult figure, an underground hero playing, as he still plays, the hole-in the-wall venues of Beijing's leftfield music scene.
Two years ago Mamer met Englishman Robin Haller, a producer and musician who was presenting a folk music show on Chinese radio. "I was really struck," says Haller. "Mamer's musical ideas were the most original I'd come across. It was all string instruments and this great austere sound; he kept things as close as he could to tradition."
