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



"What are we guarding, Chura?

He answer back:

- the stones. There are Gods in them, Viracochas"


(Henri Gougaud, The Seven Feathers of the eagle, Publisher: Du Seuil 1995)




At the time when I was conceiving of this collection, I was preparing a trip to Latin America that was to take me on the trail of the Inca "Qhapaq Ñan"  to the ruins of Tiahuanaco. In the expectation of this journey, I had immersed myself in reading Henri Gougaud's fascinating account The Seven Feathers of the eagle. The shamanic mystique and the mysteries of the high Andean plateaux told in this magnificent book inspired the canvas and breath...


Then the time, the space and the road that unfold so very uniquely on the altiplano gave birth to a musical universe half-way caught between dream and reality. I no longer distinguished between the realm of fantasy and the journey itself, and those compositions blended from a melange of authentic and fictional are the memories that in effect shaped a journal of intimate mythology.


During a time, this music, conceived originally for a trio, remained in suspense. When it came to recording , the guitar combined like a precious colour, closely bound to the story  but up to then kept between the lines. This album is an invitation to travel, conjuring up a civilisation that fascinated me as a child, its profound wisdom anchored in mother Earth and its vestiges: the majestic ruins and their stone loaded with memory...





disc / booklet


Booklet photos : Nicolas Bruant

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