CONNECT: NOVEMBER 1998

Mo Nazam: "Conformity is so boring!"

British Asian barrier breakers abound but Mo Nazam is exceptional in his quest to cross over as a jazz guitarist.

Born in Pakistan just over three decades ago, London-based Mo Nazam grew up in the UK where he found himself attracted to the guitar at age 15. Self-taught, Mo improvised his style to combine all the influences around him, from rock, soul and jazz to Bollywood film scores, a heady mix of east and west, the results of which are only too obvious in the now very trendy London dance underground. Only, its never been done in the jazz realm. Having performed live with a host of prestigious musicians in the UK, from pop stylists The Pasadenas to the Jazz Warriors and Percy Sledge, to name but a few, Mo formed his own group in 1995 focusing on the concept of mixing all his diverse influences, "from Jimi Hendrix to Ravi Shankar by way of Miles Davis." Amongst numerous performances across the UK, the band played the Royal Festival Hall in London, the recording of which has spawned Mo's debut CD. In the CONNECT interview, Mo shares his evolution as an artist of diverse cultures as he plans his first studio foray while hoping for a release of his CD in the Indian sub-continent in addition to possible live performances next year.

Typically, British Asian musicians have come from the usual mould of bhangra or Bollywood remixes. Did you find yourself in a difficult position trying to break down barriers within the British Asian community?

Breaking down barriers was one of the reasons I put together the band in the first place, and there's always resistance to something new but that's part of the challenge. I set out to combine all the different types of music that I'd grown up with and bring that to as wide an audience as I could find, Asian or otherwise, and I'm quite happy with the way things have progressed.

Next year we're playing at The Asian Music Festival in Henley which is the biggest of it's type. We were the first band to play live on Network East, the BBC Asian programme, so the community at large has been really receptive, but I think that's a sign of a general opening up to new things, especially amongst the younger generation. I think next year's going to see us make serious inroads to both the wider Asian community and a more mainstream public too. That's my aim.

Jazz has seen a host of east-west fusion experiments, with John McLaughlin and Zakir Hussain and even Ananda Shankar. What is your take on east-west fusion given your Asian heritage?

Well, Shakti is one of my favourite bands and Zakir's album "Making Music" was a real influence on me, so I love that kind of cross over thing. My parents actually had that Ananda Shanker album, so I grew up listening to sitar versions of "Jumpin' Jack Flash", which is probably where I get my sense of the surreal from. I love combinations of diverse influences in any context, as long as there's some substance to them. I've never been a purist.... interesting things can happen when people of different backgrounds come together, as long as they're on the same wave length in some way.

Britain today is seeing a fresh new wave of popular culture that seems to be more cosmopolitan and influenced by other cultures. The Asian underground is easily one of the biggest influences that's become the favourite of trendy magazines like The Face. Generally speaking, is the current fascination for all things British Asian a passing phase or does the new generation of British Asians have something to contribute for the long term?

Ithink it's a fairly normal sign of assimilation, the first sign that we're being accepted by mainstream society, or at least it's popular culture. You have to remember that we've only been here in the UK for a comparatively short amount of time, so our contribution to the diversity of British culture is only starting to be realised. It's also really an urban, city-based thing. We're very spoilt in cities... we see people from all over the world and it's no big thing... we embrace their contributions.... It looked like the whole Asian underground thing was a little media led because the magazines are always looking for a "movement". Once the dust had settled the artists who were really saying something turned out to be the ones who had already been saying something for a long time before the fashion police noticed them. The good thing is that the exposure has allowed them to move on to bigger things, which can't be bad.

The only other jazz artist of Asian origin that comes to mind is Nitin Sawhney. How would you compare your style to his? Does this mean that jazz is finally being considered by British Asians as a possible creative outlet?

There really aren't that many Asian band leaders in the Jazz world, but I think, and hope, that this will change gradually as more young Asians are exposed to Jazz based music. Nitin is a fantastic keyboard player and I still remember seeing him for the first time, just after his second album came out. It convinced me that putting my own band together was a good idea, because the time seemed right, people were ready, and Nitin led the way for those of us who came after him.

Stylistically, I think we're like chalk and cheese. Comparisons are always unfair. Nitin's music is more obviously classically Indian based, whereas mine is much more in your face, funk based and LOUD! I also think my background is more obviously a Jazzer's... I spent years playing standards and grappling with Be Bop so I've tried to take all the musical influences I've grown up with and incorporate them in equal measures. Also being an overt electric Jazz based guitarist playing funk/rock/soul grooves with an exotic Asian flava puts me in a totally different place to a keyboard based sound.

Considering jazz appeals to a select audience in the mass music market, would you like to attempt the sort of cross-over Vanessa Mae managed for classical music with her turbo violin playing and slick videos?

Absolutely and categorically YES! The idea of being a well regarded underground figure that no one really knows about, barring a handful of obsessives, is not an appealing image to me... I think what I'm doing has the potential to reach many, many people and there's nothing wrong about selling lots of records. It would mean a bigger audience for Jazz based music. It would be cool if there was a major label that was willing to promote me in the same way as people like Vanessa. Don't forget she is a fantastic player, as well as a babe!

In terms of expanding your reach in the Indian sub-continent, would you look at a project which fuses Indian lyrics and vocals with your jazz instrumentation?

Well, I'd rather appeal to the Indian market on my own terms, but that doesn't mean that my own terms don't include more overtly Indian/Asian elements. This is only my first CD, and it's live. It's a statement about who I am and where I'm coming from, but what's really important is where I'm going. My next CD, which will be studio based, will have more vocals both Western AND Indian. But I want to stay away from cliches. It would be really easy to get a groove going and get an Indian female singer to blast over it but I'd like to do something more song based,where the vocals won't sound like an obvious attempt to woo listeners.

The evolution of my music will see me doing more music with vocals and club based grooves, but that's down to the fact that I love that kind of music, rather than a cynical attempt to appeal to the masses. I love Goan Trance and ambient dance and Jungle so my writing will reflect what I'm listening to, as it will continue to reflect Jazz and Asian sounds. I'd also like to work with more musicians from India. I met a percussionist called A. Shivamani who is incredible. Playing with him would be a pleasure.

Your CD has moments of wild rock guitar tinged with some tablas and an overall exotic flavour. Is your guitar style more partial to Prince vis-a-vis the jazz greats?

Where do I start? Any great musician's style is an extension of his personality and that means it reflects ALL the influences in his life. That includes art, movies, books... any work of the imagination. So my influences range from Salvador Dali to Raymond Chandler to Phillip K. Dick, even though that may not be obvious in my music, they've all contributed. Musically, I'd say Led Zeppelin, Marvin Gaye, Stevie Wonder, Aretha Franklin, Todd Rundgren, Ravi Shankar and Beethoven have all inspired me.

Talking about the guitar specifically, everyone from George Benson to Peter Green. I've listened to so much music it's hard to say who sticks out. The obvious influences are John McLaughlin, George Benson, Mike Stern, John Scofield, Al DiMeola, Jimmy Page, Pat Metheny and of course Jimi Hendrix. And, yes you were right, Prince. They are all amazing players who caused me many sleepless nights practising my ass off. They still do!

I'm totally self taught and I started at quite a late age, so I had to really work hard to learn the guitar and music generally. Playing Jazz becomes an obsession, and when I see a killing player I still go home and wood shed!

What sort of Indian musicians have influenced you?

Ravi Shankar of course, but I'll never forget a record by a guy called Paul Horn. He was a Jazz Flute player and he did an album in India sometime in the early 70's that was fantastic. I also adored Nusrat Fateh Ali Kahn... he was so special and had the ability to take you to another place... amazing. Zakir was another major influence... but I'm still learning about Indian music. I spent so long immersed in Jazz that I have a lot of catching up to do. I'd like to play with some of the new Indian rock bands.I've heard some really good stuff from people like Vital Signs.

What impact did Bollywood have on your work?

When I was a kid, every Sunday we'd go on a family outing to see an Asian movie at the local flea pit. I loved the movies I saw as a kid. "Hathi Mere Saathi", "Boot Polish"... I still love that scene in "Mughal-e-Azam" where the two groups of women are sitting singing to Dilip Kumar. It's one of the most beautiful songs I've ever heard. So I think those experiences added to my love of music, but I guess I'm not so keen on modern day Bollywood... all great fun but a little like eye candy. The music is still great fun though. I love Asha Bhosle and Lata Mangeshkar... I really enjoyed the CD called "Rahul and I". I think watching those films probably gave me a love for movies in general... I'm a movie obsessive... I stay right to the end of the final credits! Very sad.

Growing up in multi-cultural Britain, what sort of social changes have you noticed in the last decade or so? Is the new generation of both English and ethnic groups better versed with each other's culture compared to the previous generation?

On the surface everything is slightly homogenised. All the young Asians wear street clothes and baseball caps, but I think again that's another urban thing. I think it's also indicative of the gradual integration of those elements of Western culture that are easily within everyone's reach and don't clash with traditional values. I suspect deep down there's still an adherence to religious and social mores.

On a wider level, I still get funny looks when I go to some small villages in the countryside, but then maybe ANY stranger would. When I was growing up in the 70's racism was much more overt and I became politicised very early on. The changes in people's attitude have been quite profound, but I think there's still a way to go before Asians are truly accepted as British, if indeed that is what they want. Racism is still a problem here, but it's on a more institutional level, rather than on the street, though that does exist too, but not to the extent that I experienced when I was younger. I think most people accept that we're all from different places with different outlooks but it's our differences that make for an interesting mix. Conformity is so boring!

From your point of view, do you think jazz can play as much a role in breaking cultural barriers as the new wave of Asian flavoured dance music from the likes of Talvin Singh?

Talvin is an amazing player with a truly innovative concept and a fascinating personality with something unique to say. I'm gob smacked when I see him play and I'm glad to say that he has asked me to contribute some guitar to a few of his projects. I love his new CD... and he's a bit eccentric... I love that... it makes him interesting. Due to it's inherent nature Jazz will always be somewhat on the sidelines, but I think that it's focus as a compositional and interpretive medium it can touch people in truly profound ways. Music to dance to is fantastic, but ultimately it's about dancing and everyone loves to dance. Jazz is a multi faceted thing that requires something from the listener, and not all listeners are willing to give that. We accept that fact but work towards encouraging more people to give to the experience, as well as take something from it.

You have performed with some well known jazz and other artists. Can you share some of your experiences? What have you learnt most from them and from whom?

I've been very lucky. I've spent my formative years as a musician playing with people like Steve Williamson and the Jazz Warriors, leaders in their fields and ground breaking artists. Touring with players of that calibre is a humbling experience and it's also taught me that you HAVE to strive for excellence. You have to be good to play their music, due to the fact that it's so challenging. If you mess up, you'll never live it down... everyone's watching!

The pop sessions have been great too. The Pasadenas were a great bunch of guys to work with and lots of fun. Great singers and dancers. But I've had to lay back on the session work so I could devote more time to my own music and it's payed off so far.

Did you ever think that you would make it as a jazz guitarist? What sort of family pressure did you endure to realise your dreams?

Well, my mum still wonders when I'm going to get a proper job! I always wanted to be good at what I do, so playing Jazz seemed the ultimate goal, and I'm glad that I've reached it, although it's a never ending journey. There's so much to learn...

My parents never really understood what I was up to, but that seems to be part of the parent/child deal... like it's in the "contract"... I wasn't really encouraged to play music, but then I suppose they'd left their homeland to give us a brighter future and so to see us growing our hair long and smoking was probably quite a jolt to their system. I did go to college and I did very well academically, but I guess I was destined to be a guitar player. I had long hair years before I even picked up the guitar!

Having been in the music business for a while now, do you have some sort of game plan for the immediate future?

I tend not to make grand plans, but next year I really want to play in Asia and more in Europe. I think India would love my concept and I'm told that the audiences are really receptive to guitar music. I'm also working on a studio album incorporating more vocals and dance rhythms into the music, without forgetting Jazz and the Indian element. I just want to make sure my music reaches people all over the world. That will probably mean finding a major record company with the business clout and the creative vision to see what I do as an international proposition. I'm sure that will be hard, but it's achievable.

One of the tracks on your CD is called "Jihad". What is that all about?

I wrote that at a time when tensions between the Middle East and the western world were really running high, although thinking about it now, the tensions never seem to stop. It really seemed like we were heading for an apocalyptic showdown, and as eshcatology (end of the world scenarios) are a particular hobby of mine, I was really intrigued by how passions can be aroused by the manipulative use of words that are very simple but carry massive emotive meaning.

The word "Jihad" conjured up all sorts of intense emotions and I thought it really fitted that tune, which is based on the conflict between the first, intensely grooving section and the more laid back bridge section. It's also the first tune I wrote for the band and it summed up my intentions, which were to mix the grooves and harmonies of Western music with the melodic and emotional moods of Indian music and to show that mixing different cultures can have a positive result.

Visit Mo Nazam's site : http://www.nazam8.freeserve.co.uk

Back To November Contents