MARIA FAUST SACRUM FACERE – Organ
Stunt Records: STUCD 20072
Emanuele Maniscalco (organ) Maria Faust (alto sax) Ned Ferm (tenor sax) Francesco Bigoni (clarinet) Tobias Wiklund (trumpet) Mads Hyhne (trombone) Jonatan Ahibom (tuba) with Ulla Krigul (organ) Recorded at the St Nicholas Church, Tallinn, Estonia. No date given
Some pundit once spoke of the “basic human hunger for the unseen”, a universal quality of being that seeks transcendence, often defined as spirituality, through the contemplation of nature, devotional texts and works of art with music, being -from the earliest times in human history - one of the most potent sources of inspiration.
Estonian born alto sax player, Maria Faust is the leader of the musical collective, ‘Sacrum Facere` (Holy Work) and composer of pieces which might be categorised as `spiritual jazz`, although I’m pretty sure she would not wish her music to be defined by this rather nebulous term. In this, her eleventh album as leader, she utilises a magnificent church organ situated in Tallinn in a series of monumental, trance -like pieces scored for organ, wind and brass instruments which draw heavily on the early music forms and modes we associate with the medieval church.
The overall effect is powerful, sombre and minimalist bringing to mind the work of French composer, Olivier Messiaen and in particular his monolithic religious organ pieces with their huge blocks of sound`. Like these Faust’s music can sound cold and intimidating invoking a sense of other worldly awe, the sonorities of the organ sending shivers down your back. In contrast, but not that much, the `jazz` element is provided by Maria’s alto and Ned Ferm, on tenor with Tobias Wiklund on trumpet. Their solos, which emerge from the dense backdrop, are modal and progress towards a hysterical catharsis, amplifying the often threatening atmosphere. Added to this we have some rather disconnected Don Ellis style hand clapping measuring out time signatures which run counter to the prevailing stasis.
These pieces will probably appeal to those who normally satisfy their spiritual hunger by listening to the music of Arvo Pārt, Henryk Gὁrecki, or Jan Garbarek’s work with the Hilliard Ensemble, although their music is more luminous and somewhat quieter. Personally I found it all rather harsh and forbidding even allowing for the fact that one always has to take account of the circumstances that influence the artist’s vision which in this case is said to be the memory of the threats to Estonian religious freedoms posed by Soviet communism and the feelings of alienation arising as a consequence
Reviewed by Euan Dixon
Stunt Records: STUCD 20072
Emanuele Maniscalco (organ) Maria Faust (alto sax) Ned Ferm (tenor sax) Francesco Bigoni (clarinet) Tobias Wiklund (trumpet) Mads Hyhne (trombone) Jonatan Ahibom (tuba) with Ulla Krigul (organ) Recorded at the St Nicholas Church, Tallinn, Estonia. No date given
Some pundit once spoke of the “basic human hunger for the unseen”, a universal quality of being that seeks transcendence, often defined as spirituality, through the contemplation of nature, devotional texts and works of art with music, being -from the earliest times in human history - one of the most potent sources of inspiration.
Estonian born alto sax player, Maria Faust is the leader of the musical collective, ‘Sacrum Facere` (Holy Work) and composer of pieces which might be categorised as `spiritual jazz`, although I’m pretty sure she would not wish her music to be defined by this rather nebulous term. In this, her eleventh album as leader, she utilises a magnificent church organ situated in Tallinn in a series of monumental, trance -like pieces scored for organ, wind and brass instruments which draw heavily on the early music forms and modes we associate with the medieval church.
The overall effect is powerful, sombre and minimalist bringing to mind the work of French composer, Olivier Messiaen and in particular his monolithic religious organ pieces with their huge blocks of sound`. Like these Faust’s music can sound cold and intimidating invoking a sense of other worldly awe, the sonorities of the organ sending shivers down your back. In contrast, but not that much, the `jazz` element is provided by Maria’s alto and Ned Ferm, on tenor with Tobias Wiklund on trumpet. Their solos, which emerge from the dense backdrop, are modal and progress towards a hysterical catharsis, amplifying the often threatening atmosphere. Added to this we have some rather disconnected Don Ellis style hand clapping measuring out time signatures which run counter to the prevailing stasis.
These pieces will probably appeal to those who normally satisfy their spiritual hunger by listening to the music of Arvo Pārt, Henryk Gὁrecki, or Jan Garbarek’s work with the Hilliard Ensemble, although their music is more luminous and somewhat quieter. Personally I found it all rather harsh and forbidding even allowing for the fact that one always has to take account of the circumstances that influence the artist’s vision which in this case is said to be the memory of the threats to Estonian religious freedoms posed by Soviet communism and the feelings of alienation arising as a consequence
Reviewed by Euan Dixon
