Artist: Stauss, Markus
Label: Fazzul Music
Release: 2004
Rating: 4/5
Neolithicum is Markus Stauss’s solo project, where he plays nothing but saxophone (and a bass one at that) and occasionally throws in an effect or two to spice things up. Still, most of the effects come straight out of the sax, which at times feels almost otherworldly in how expressive it is.
The music on this album is sometimes composed and sometimes completely improvised. In the “tidy” parts, you can once again hear what a good ear for melody Stauss has. The guy just knows how to write a great jazz melody. You can’t learn that, you’ve got to have it in your blood. Once again he mostly mixes jazz with avant-garde, and among the avant-garde stretches you get some downright unbelievable saxophone sounds. Every now and then an effect pops up to add some extra atmosphere, but mostly it’s just Stauss and his bass sax.
I have to admit the idea of reviewing an album with nothing but a saxophone on it didn’t exactly thrill me. But since I’d already gotten to know Stauss’s other projects, I figured the Swiss guy might surprise me this time too. And he doesn’t disappoint. This really is more than just a pile of saxophone noises. Stauss also brings some interesting melodic ideas, cooks up a few tempting effects and some ominous silences.
This album might be the least interesting entry in Stauss’s rich career, but it shows his depth as a sax player. He’s not afraid to try something new, and he usually hits the bullseye. This record may not be a great introduction for anyone wanting to explore this wonderful musician’s work, but it shows off the man’s talent. He manages to build a fascinating wall of sound with basically nothing but a saxophone.
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Neolithicum is Markus Stauss’s solo project, where he plays only the saxophone (and only bass at that) with the occasional effect thrown in for good measure. Still, most effects seem to come from his saxophone, which seems almost otherworldly in its expression on occasions.
The music here is sometimes composed and at other times completely improvised. During the composed segments, we can again her Stauss’s typical good ear for melody. The man simply knows how to make a good jazz melody. That can never be taught, you have to have it in your blood. Once more, he mixes mostly jazz with avant-garde, with the avant-garde segments providing some absolutely astounding sounds emanating from the saxophone. There are also some effects, which add some atmosphere, but it’s mostly just Stauss and his bass saxophone.
I have to say that the prospect of just a saxophone album didn’t sound all that inviting, but after hearing some of Markus’s other work, I figured I’d be in for a surprise here as well. And he doesn’t disappoint. Again, he comes up trumps. This is more than just a collection of saxophone sounds. Stauss also provides some interesting melodic ideas, creates some intriguing effects and ominous silences.
This album is perhaps the least interesting in Stauss’s illustrious career, however, it shows his depth as a saxophone player. He’s not afraid to try anything new and he usually delivers the goods. This record isn’t really a good starting point for anyone wanting to explore this great musician’s music but it just exhibits the talent of this man. He’s able to create such a fascinating wall of sound with basically only the saxophone.
Line-up
Markus Stauss – Bass saxophone, Korg Digital Delay SDD 3000, Akai Sampler S 612
Production
Markus Stauss
Track list
1. Gallarate Statione
2. for Jean
3. Spastic Funk
4. Alles bleibt?
5. Intermezzo
6. Mysterium G ‘n’ R
7. Immergrün
8. Konstruktion
9. Strahlen
10. Glück
11. Promenade
12. Skyline
13. Erntedank
14. Happiness IV
15. Der Urloop
