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MASTER-CLASS
JAZZ & IMPROVISATION
Who is Jean-Luc Fillon, alias Oboman?
Oboman
Oboman
Improvisation
Jazz & World Music
Oboe, Oboe d'Amore, English Horn
​
“Artist-teacher” is the perfect title to sum up what Jean-Luc Oboman Fillon stands for. Alongside a brilliant artistic career [17 albums as a leader, numerous concerts and festivals in France and abroad, as well as several radio broadcasts], Jean-Luc has always pursued an intense teaching activity. Jean-Luc holds the Certificat d'Aptitude and the Diplôme d'État in jazz, and teaches improvisation at the Conservatoire à Rayonnement Régional de Cergy-Pontoise and the Conservatoire à Rayonnement Départemental de Mantes-en-Yvelines.
The originality of his background, that of a classical musician who was attracted to other musical genres (jazz, world and improvised music) from an early age, makes him a unique personality with a wide range of skills.
His musical experience, his mastery of several instruments (oboe, English horn, bass clarinet, electric bass and double bass) and his talents as a composer and conductor enable him to lead his masterclasses with ease. Jean-Luc Oboman is particularly sensitive to the specific needs of students with a classical background wishing to tackle improvisation.
The guiding principle of his Masterclasses can be summed up in the following formula:
Orality => Improvisation => Jazz
Or how, starting with work on orality, one can approach improvisation and then gradually become interested in the original and remarkable aesthetics of Jazz.
Who this master-class is for?
To oboe classes
Introducing young oboists to oral expression and improvisation through other musical languages can greatly enrich their relationship with the instrument. As a result, it's not uncommon for a student to reveal unsuspected talents and regain self-confidence.
In the woodwind department
This department doesn't often get the opportunity to be invited on improvisation/jazz projects. In addition to collective work on improvisation, J-Luc Fillon proposes a few arrangements of standards for woodwind ensemble and jazz rhythm section. A performance can be arranged at the end of the session(s).
In the Jazz Department
Leader of the Jazzogenic Big Band for 20 years, bassist and double bassist, Jean-Luc Fillon also led the Yvelines Departmental Big Band. He is particularly qualified to work with jazz combos as well as big bands, working on traditional repertoire or more avant-garde works.
To the teachers
Jean-Luc Fillon has regularly delivered trainer training sessions for various organizations. Appreciated for his interpersonal skills, he creates a climate of trust conducive to learning. His approach is not intended to challenge traditional classical teaching, but to offer a complementary perspective that can enrich teachers' pedagogy. This masterclass is intended for classical music teachers wishing to integrate oral expression and improvisation into their teaching.
Public cible
What are the objectives?
Starting from work on orality, approach improvisation and gradually become interested in a given aesthetic.
For that :
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Acquire practical keys to discover and master improvisation, both individual and collective
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Practice the tools of improvisation through individual and collective improvisation situations
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Identify the fundamental questions raised by the practice and teaching of Jazz and more generally of improvised music
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Illustrate the bridges between music from oral and written traditions and highlight the importance of mastering improvisation for the teaching of all types of music
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Acquire a concrete methodology for improving yourself
What is the content?
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Analysis, through listening, of the fundamental principles necessary for the practice of improvised music
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Knowledge, learning and mastery of the tools of improvisation​
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Example of improvisation procedures
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Speaking, individual and collective listening skills
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Individual and collective improvisation exercises
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Acquisition of a concrete methodology for perfecting skills
Objectifs et contenu
Périodicité
How often?
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One-day intervention: example 10 a.m./12 p.m. – 2 p.m.-5 p.m.
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Over 2/3 consecutive days with possible restitution at the end of the course
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In residence for a period and content to be determined; returning several times allows for real in-depth work to be developed in collaboration with the professor(s) concerned.
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Finally, as far as possible, it is desirable to supplement this educational work with a concert by the artist during the cultural season of the conservatory, the city or a partner festival, a concert in which one could consider integrating a first part presenting the work of the students or the workshops of the conservatory.
What do we hear about it?
Jérôme and I had long had the idea of inviting Oboman to give a master class at the CNSMD in Lyon. We were particularly attracted by Jean-Luc's artistic profile and background: a jazz musician with an initial classical training on an instrument like the oboe, which is not necessarily renowned for its ease of adaptation to this repertoire, intrigued us. It was a truly exceptional masterclass! A great moment of pedagogy based on personal experience and evolution, full of humility and research into broad and richly diverse musical horizons.
A few years ago, I had the great honor of giving some advice to Jean-Luc when, still a student, he was destined for a totally classical career. I rediscovered a Master! His artistic path, so open and dynamic, has enabled him to evolve very quickly by practicing essential principles such as orality and improvisation, which the classical repertoire and the way it is generally transmitted do not prioritize.
His targeted, effective and direct demonstrations, enhanced by playful exercises, captivated and convinced students and teachers alike! I could go on and on about all the subjects Jean-Luc touched on during his time with us, but I could never be as convincing as the artist himself. I can only advise my colleagues to invite him to their classes. It will be an unforgettable experience, both artistically and pedagogically, as well as on a human level. Many thanks to Maître Fillon, who will be visiting us again very soon!
Jean-Louis Capezzali Professor CNSMD de Lyon and HEM de Lausanne, former soloist with the Orchestre Philarmonique de Radio France
Jérôme Guichard Professor CNSM de Lyon soloist with the Orchestre National de Lyon
Jean-Luc Fillon's presence in the Fontenay-sous- bois oboe class for three months was an enrichment and an eye-opener for my students. Before starting, they were quite worried about whether they would be able to improvise! But from the very first meeting with Jean-Luc, they were completely at ease, thanks to the wonderful contact he created with them through musical games and memorization of simple themes they invented themselves.
He revealed to them an inventiveness they hadn't known they had, and with it self-confidence, freedom on the instrument and liberation from the written text! Jean-Luc's visit was a great motivation for them, culminating in a final concert in which everyone took part, from the first years to the most advanced students. I'd like to thank Jean-Luc once again for his kindness and sense of contact...
Jean-Michel Penot, principal oboist with the Orchestre National d'ile-de-France.
The “classical” students change world. Jean-Luc talks about unwritten music and improvisation, explains a few basic jazz principles, and we're already trying our hand at our first blues. That's the magic of his teaching: everyone can try, according to their means and desires. You don't really dare? We'll leave you alone - it'll come, it always does. Do you do anything at all? Good, we'll frame it all. And in the end, everyone participates, inspired by the many examples Jean-Luc, the bulimic and insatiable improviser, gives us. After two days of work... let's say play, everyone's smiling and discovering their improvisational talents. Goodbye to the bar!
Roland Perrenoud, Professor at the HEM in Geneva, former soloist with the Orchestre de la Suisse Romande.
In the performing arts, cultural cross-fertilization is very much in vogue: sometimes there's an exchange, but often there's only juxtaposition, the “world musician”, the ‘star’, using the classical “musicians” to have a carpet of strings on which to shine. This is why the meeting with Jean-Luc and his trio 15 days ago was an exceptional musical and human moment, which will remain engraved in the minds of all the musicians in the orchestra (as evidenced by the texts of satisfaction received after the concerts).
We were first invited, without obligation, to a 2-day improvisation workshop; the generous teaching adapted to each individual made our mouths water, and taught us a lot. A few colleagues and I took up the challenge of doing a little chorus during the concerts (crazy me!!!). From the very first half-hour of rehearsal, we were able to taste the quality of the arrangements, each one bringing out the best in the other. The acoustic balance was achieved without the need for a microphone at each desk: the mayonnaise had taken.
What can we say about Jean-Luc's talent: a transcendent technique at the service of a form where sterile chatter is outlawed, as is a catalog of effects. Yet the “master” knows all about micro-intervals, multiphonics, etc... and uses them to good effect with a powerful but never distorted sound: invention, sensitivity: great art, I tell you. The same goes for his friends. My dearest wish is to be able to play this program again, which enchanted the audience and the musicians with its quality and originality."
Alain Hervé, oboe soloist with L'Ensemble de Basse-Normandie.
Regarding your participation in the Oboe Festival Palma, I can only say wonderful things. The students learned so much from you, not just about playing, but also about harmony and performance skills. Some of them had struggled with stage presence, and after your concert, they overcame those issues with incredible progress. That was truly helpful.
The harmony concepts you shared are valuable across all repertoire, and your presence, your character, and the atmosphere you created were unforgettable. Personally, it was an extraordinary experience for me. I’ve never seen an artist use the stage the way you do, the podium seemed to respond to your command. Simply amazing.
I sincerely thank you for your time. It was one of the greatest gifts I’ve received in life.
Bruno Lucas, Principal professor at the Conservatori Superior de Música de les Illes Balears and the General Manager of the Oboe Festival Palma
Avis
What venues have already hosted these masterclasses?
​HEM de Lausanne: Vincent Gay-Balmatz and Jean-Louis Capezzali
HEM de Genève: Roland Peyrennoud and Alexei Ogrintchouk
HEM de Lugano: Fabien Thouand
CNSM Lyon: Jérome Guichard/J-Louis Capezzalli
Muri International Competition: Renato Bizzoto
IDRS: Austin College of Music, New York University, Ithacca University, Birmingham Conservatory, Granada.
University of Aveiro (Porto): Jean-Michel Tavernier
Festival Oboe Paris: Marika Lombardi / Antoine Lazenec
Conservatoire Supérieur and Festival Oboe de Palma de Majorque: Bruno Lucas
CRR de Clermont-Ferrand: Alain Blanc-Brud
CRR de La Rochelle: Frédéric Oster
CRR de Poitiers : Sophie Brière
CRR de Toulon : Marc Badin/William Sanchez
CRR de Tours : Christine Asso
CRR de Châlons Sur Saône : Edith Rambault
CRD de Bourgoin-Jallieu : Département Jazz
CRD de Calais : Département Jazz
CRD de Villeurbanne : Sophie Brière
CRC de Bry-sur-Marne : Département Jazz, Héri Paredes
CRC de Cébazat : Agnès Demeulenaere
CRC de Charenton : Département Jazz, Ludovic Montet
CRC de Châtillon-Montrouge : Anna Cavalli
CRC de Corbeil-Essonne : Antoine Sébillote
CRC de Coutances : Philippe Arnault
CRC de Fontenay sous Bois : Jean-Michel Penot
CRC de Joué les Tours : Alain Milani
CRC de Laon : Christel Brévot
CRC de St-Cyr sur Loire : Véronique Gayat
CRC de Trappes : Jazz Department, Didier Large
CRD de Guyancourt: Jazz Department, Brice Martin
ADDM 49
ADIAM 78, 94
AFH CRR de Rouen
ARIAM Il
Lieux passés
Master class
Master classe Lausanne novembre 2021
Master class
1/2
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