Maria Faust: Machina
The award-winning Estonian saxophonist and composer Maria Faust (*1979) is a phenomenon. She grew up in the Soviet Union in Kurressare on the island of Saaremaa in the southwest of Estonia and completed her training as a classical conductor in Tallinn, after which she went on to intensify and develop her musical spectrum, studying jazz in Copenhagen. There, ensemble music and free improvisation converged and Jazz Catastrophe, her first ensemble, was born. Her numerous projects are characterised by disarming outspokenness, originality and non-conformism, and today Maria Faust has established her very own category in the jazz canon. In her most recent profound chamber music album “Machina”, she continues her search for the musical expression of the elemental sources and abysses of our existence and the exploration of our memory (Faust calls it Memory Analysis). The central elements are water and the ocean; for Faust they are “a symbol of the unpredictable forces of suppressed emotions such as rage and grief”. If you close your eyes, a form of Nordic saudade is brought to mind: the sound of waves, the chugging of an engine, a sudden silence, heavy fog and bursting light form a soulful, breathing, reflective entity.
Kara-Lis Coverdale: Shadow Encounter
Kara-Lis Coverdale (*1987), a Canadian with Estonian roots, is no longer an insider tip in the electronic music scene across the globe. Coverdale has received high acclaim as a composer – a sophisticated and artistically elaborate compilation of sound ignites the deep impact of her music. She has never been interested in beautifully flowing sounds. The electronic flow is deceptive. She uses the tonal realm beneath the surface to undermine and tilt the sound so subtly that it is not consciously perceivable, but instead evokes a vague surreal feeling. She adeptly smuggles foreign material into her compositions, leading her audience onto an uncannily shiny, smooth and steeply sloping sheet of ice. A quality which is especially effective during her live performances – for example, most recently in Berlin as part of MaerzMusik at The Long Now at Kraftwerk Mitte or at Atonal. She has been soaking up Nordic religious music ever since she was a teenager and has been pursuing this passion as a church organist and choirmaster at the Estonian Evangelical Lutheran Church of St. John in Montreal since 2010. In Berlin, she will finally be playing her original instrument, the church organ: “Extended Shadows” is a piece she specifically created for the Kaiser-Wilhelm-Gedächtnis-Kirche, and the intensely purifying force of Coverdale’s craft is sure to work its magic on the audience of Jazzfest Berlin.
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