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  • Eleanora suite : a woman's love and life

     

     

    Jean-Marc Foltz        Clarinets

    Régis Huby               Violin

    Claudia Solal             Voice

     

     

     

     

     

    CD+ 40 pages original booklet:

    Cover and original illustrations

     of Emmanuel Guibert

    Of the many female singers that used to play on my father's vinyl record player, Billie Holiday is the one who touched my heart, deeply defining my quest for a sound both expressive and singular. I used to dream of performing with this idol, channeling Lester Young: "He plays like she sings, she sings like he plays..."

    Later, the cycle of romantic Lieder, Frauenliebe und Leben - which tells, in a  first person narrative, the life of a woman in eight episodes - reminded me of the singer I so admired and the way in which she hailed the listener by creating a character whose life and songs melded together. It is then that I started to imagine paying tribute to Billie Holiday with this piece of Schumman as watermark.

     

    If his heroine is fated to a linear and idealised path in which suffering arises only from the loss of the loved one, Eleanora Suite tells another story: the heart-wrenching tale of Billie, that resonates in me like an extraordinary lesson in resilience.

    I could hear a simple and narrative instrumental music , associating my clarinet to the violin of Régis Huby around chosen lyrics; to lend a voice to the words of my heroine, I invited Claudia Solal to evolve imperceptibly a work of storytelling towards song.

    These songs that had shaken me with Billie came back to stir my soul a few years ago during a concert by Linda Sharrock, organised by Philippe Ghielmetti at the Sunside. I had planned to make a record with her and Stéphan Oliva but it never saw the light of day and this other Billie, so very close, eluded me once again.

    Eleanora suite is my tribute to Billie Holiday. I hear it like a daydream laced with great tenderness and respectful modesty. I dedicate this record to Linda Sharrock.

     

    Jean-Marc Foltz.

    1 - CHAPTER I

    Schumman's song (from Frauenliebe und leben op.42, Schumann)

    Somebody's on my mind (lyrics : Holiday / Herzog)

    Eleanora (Foltz / Huby)

     

    2 – CHAPTER II

    Now baby or never

    (lyrics : Holiday) / Make up your mind (Foltz / Huby)

     

    3 –  CHAPTER III

    As evidence  (Foltz / Huby)

    My man ( Charles / Pollack / Williametz / Yvain)

    Billie's blues ( Ilove my man)  (lyrics : Holiday) /  Ain't good looking (Foltz)

     

    4 – CHAPTER IV

    (In my) Solitude (Delange / Mills / Ellington)

     

    5 – CHAPTER V

    Schumann's song

    Don't explain (Holiday / Herzog)

     

    6 – CHAPTER VI

    A letter to Lester ( Foltz / Huby)

    God bless the child (Holiday / Herzog)

     

    7 – CHAPTER VII

    A letter to her ( Foltz / Huby)

    Lady sings the blues (Holiday / Nichols)

     

    8 – CHAPTER VIII

    Trav'lin' light (Young / Mundi / Mercer)

     

     

     

    Enregistrement, mixage mastering en 2013 ;  Studios La Buissonne  , Gérard de Haro et Nicolas Baillard

    Production et direction artistique, Jean-Marc Foltz

     

    Une production Vision Fugitive

    Distribution Harmonia Mundi

     

    Egalement disponible en LP collector.

  • Jean-Marc Foltz

    Does the fact that you were born close to a border make your ears prone to openness?

    Jean-Marc Foltz grew up between the classical repertoire, vocal music and swing orchestras. He then went through a series of fruitful zigzags, triggered by his acute musical curiosity and favored by timely encounters. Widely experienced in classical interpretation, he was soon attracted by contemporary music.

    This brought him to enter, from 1988 on, the ensembles Accroche Note, Musikfabrik, InterContemporain or United Instruments of Lucillin (France, Germany, Luxembourg… the trans-border tropism?), which helped him to dig deeper into the instrumentalist-composer relationship and to develop his knowledge of the languages. Being open to the diversity of jazz “families”, he tied strong links — from 2000 on — with bassist Claude Tchamitchian (Grand Lousadzak), pianist Bill Carrothers (Armistice Band, Playday, To The Moon), clarinetists Armand Angster and Sylvain Kassap (Trio de Clarinettes), and overall pianist Stéphan Oliva and bassist Bruno Chevillon, who became partners and friends in duo or trio setting…

    Jean-Marc Foltz is a polyglot and has the stock of knowledge of an insatiable traveler. Hence his move towards traditional musicians Araïk Bartikian and Keyvan Chemirani, towards theater with Hanna Schygulla, or playing along with harpist Anja Linder. Hence his urge to develop his own compositions and to imagine “Visions Fugitives” — a new duo program — with Stéphan Oliva.

    The creation, in a “trio setting” initiated by Philippe Mouratoglou and with producer Philippe Ghielmetti, of Vision Fugitive, an eclectic record label, sounds like a logical follow up to Foltz’s intense, open approach to music.

     

    Thierry Quénum

     

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