LEGENDS OF THE FALL
CD / DOWNLOAD
recorded Studio LA BUISSONNE (April 2016 by Gérard de Haro)
Cover and booklet Emmanuel GUIBERT
Production Label Vision Fugitive
Distribution Autre distribution
Jean-Marc FOLZ et Philippe MOURATOGLOU
LEGENDS OF THE FALL
The encounter between a clarinet and a guitar, giving birth to an imaginary folklore, half way between the essence of the blues and the chiaroscuro of the Baroque.
Performance partners for ten years, Vision Fugitive label co-founders and featured artists with solo releases under their belts, clarinetist Jean-Marc Foltz and guitarist Philippe Mouratoglou first initiated their sophisticated dialog with the Steady Rollin’ Man (Vision Fugitive 2012.) Robert Johnson tribute CD, completely recasting themselves in new roles. Comfortable with ‘deviations from the norm’ and just as at ease with a post-romantic repertoire as with contemporary music or experimental jazz, Jean-Marc Foltz is a multi-faceted and inimitable clarinetist in the image of Michel Portal, who can finesse Gershwin with a flair all his own (Gershwin. Vision Fugitive 2016.).
Determined not to be defined by any particular musical style, Philippe Mouratoglou has managed to put his own personal stamp on ‘traditional’ Dowland, Britten and Brower compositions for classical guitar, as well as on the Schubert and Fauré adaptations in his recent release with soprano Ariane Wohlhuter (Mélodies et Lieder. Tròba Vox 2017.), while still mastering free improvisation on steel string guitar soundscapes that travel through familiar and unfamiliar terrain alike (D’Autres Vallées. Vision Fugitive 2016.).
Loosely and liberally inspired by Jim Harrison’s collection of visceral novellas, Legends of the Fall takes us to a land of dreams in ten sequences, carried by the riveting dialog between bass clarinet and its guitar foil featuring adept alternate tunings, the two adversaries aptly punctuated by the fabulous percussion of arbiter Ramon Lopez, guest artist on four tracks.
Music that is quite memorable yet subscribes to no particular genre or identity, Legends of the Fall stakes out its own territory between the sophisticated polyphony of Renaissance lutenists and the quicksilver riffs of Ornette Coleman, folk-like imaginings of Jimmy Giuffre and refined folk poetry of Joni Mitchell. Demonstrating a superior degree of focus, this variety of improvisation is admittedly also the finest of fine arts.•
COMPOSITIONS DE JEAN-MARC FOLTZ ET PHILIPPE MOURATOGLOU
1 – SOLAR WIND 4'22
2 – FATHERS TALE 4'17
3 - COLD BLUE 44 5'23
4 – HEAVENWARD 3'34
5 – MOUNTAIN GHOSTS 7'45
6 – GARLAND 3'12
7 – SCORPION'S BRUSH 4'12
8 – SITTIN STILL 3'11
9 – NIGHT HUNT 4'02
10 – LEGENDS OF THE FALL 4'13
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..
Guitar players have been an all too common feature on stages since the sixties. This may no be so true about classical guitarists, since most of them don’t go much out of their music conservatories. But if you want to talk about those who started from a classical upbringing, then fruitfully opened up to the folk and electrical aspects of the instrument, you might have a hard time finding many names.
In other words, Philippe Mouratoglou is a rare bird in six-strings country. All the more since he also improvises, and sometimes also sings along with his guitar or accompanies soprano singer Arianne Wohlhuter.
Philippe Mouratoglou’s teachers were Pablo Marquez, Wim Hoogewerf and Roland Dyens, but he soon felt the urge to extend his expressive range and his repertoire: from Renaissance to contemporary and traditional music, from the blues of Robert Johnson — that he revisits in a personal, inspired way along with Jean-Marc Foltz on clarinets and Bruno Chevillon on double-bass — to a dialogue around Isaac Albeniz with Pedro Soler’s flamenco guitar.
No wonder that his trio “So full of shapes…” plays John Dowland as well as Benjamin Britten, or that his “O Gloriosa Domina” record — issued in 2005 — encompasses five centuries of music.
No wonder either that Philippe Mouratoglou invited Jean-Marc Foltz and producer Philippe Ghielmetti to start Vision Fugitive, a new record label that blows a whiff of fresh air in a music world that’s often far too compartmentalized.
disc / booklet