Maria Faust - Bitchslap Boogie (+Interview)

MARIA FAUST - BITCHSLAP BOOGIE

Bitchslap Boogie indicates that Denmark-based Maria Faust is one of the most promising young jazz musicians hailing from Estonia. Even though the material on the record sounds more restrained than can be expected from this outstanding octet onstage, nonetheless we can conclude that Faust (alto saxophone) is a composer and arranger of formidable talent.

On one hand, Faust's music refers to the American progressive big band jazz traditions, as exemplified by Gil Evans, Charles Mingus, Carla Bley, even Frank Zappa's jazzier output. But on the other hand, the blend of angular brass harmonies, counterpoints, complex rhythms, free improv, rock elements and classicism draws parallels to the British avant-garde jazz scene such as Graham Collier, Keith Tippett and Chris McGregor.

Nonetheless, Maria Faust has developed her own unique approach. She is able to make her complex, multi-layered compositions sound romantic, tender, womanly and empathic. First half of the album tends to be mainly introverted, restrained and melancholic ("Dreams", "Lonely Woman"), while on the second half one can recognize the composer's swinging and sassy side ("New Panties and Boots", "Dance Dance"). It is certainly recommendable to keep an eye on her further creative activities.

Maria Faust - Estonian Jazz Ambassador In Denmark

Maria Faust (29) is a jazz saxophonist and composer born in Saaremaa, Estonia, who is making music in Denmark. Her octet has achieved a good reputation among the jazz circles throughout the world. Recently Faust unleashed her debut album "Bitchslap Boogie"

When did you start learning music? Why did you eventually choose to play the saxophone?

I started piano lessons at 7. I already knew I wanted to be a musician at 4. I don't know why did I eventually choose to play saxophone. I suppose it just suits my nature. Since it is useful to play well at least two instruments, I still practice the piano.

You studied conducting the brass band in the Estonian Music Academy. Whence the decision to depart for studies in Denmark?

I felt that I was starting to lose myself. I realized it is not possible to play two kinds of music (classical, jazz) at once, but sadly the possibilities to study jazz in Estonia were meager. I needed to practice and play as much as possible.

As you play in a horn-heavy octet, what are the advantages of the bigger line up as well as its challenges?

Regarding challenges, first it is expensive. Second, it takes time for the band to develop their own sonic language. It is also important to observe that the music does not degenerate into noise. The importance of pause in music is understood by many, practiced by few.

Still the lineup has justified itself, it sounds just like I have always wanted it. The musicians are to me like a family, we have common dreams and viewpoints.

There are apparent feminist tendencies in your work. How do you associate feminism with jazz?

Indeed, I am a feminist, my work is inspired from women. I'm also worried about the shortage of jazz instrumentalists. There are only four female jazz students (excluding singers) out of 200 in the Copenhagen Rhythm Conservatory.

There are hundreds of reasons why there are few women in jazz. A sixteen year old boy and a girl from the same age just cannot find common ground during jam sessions, so the girls start avoiding jam sessions, their growth as a musician is stunted and only few decide to become professional musicians.

Even though your pieces are instrumental, they nonetheless appear to have their own story.

Music is indeed full of imagery, each piece is about some kind of experience. "New Panties and Boots" is about my stay in New York. I deliberately used overwriting to illustrate the essence of the city. I was about to go buy an iPod, but instead I walked in to Victoria's Secret and bought a bunch of panties.

Several of your pieces have left a lasting impression live. Still, they sound somewhat different on the record.

We had to change a lot of our material. Nonetheless we strived to retain the basic live feel. Most of the stuff were recorded in only a couple of takes, I've deliberately left in some mistakes, everything remained authentic. I like the dry sound, natural timbres, the art to me is promise of the beauty. I can't stand perfectionism, I don't understand those who polish, prepare and practice. I need action, right here and now. No excuses!

Is it possible to survive as a musician?

Just as there is applied art, there is applied music. Playing that enables you to get by. Unfortunately I am too sensitive for that, I cannot play five hours in a row for dance. It kills creativity. Somewhere the line is drawn how much one can afford to make music solely for money.

Review and interview translated from an Estonian article in Postimees.