João Paulo : piano
Frédéric Eymard : violin alto
Oboman : Oboa, Oboa d’amore, English horn

“Jean-Luc Fillon” is mad about double reed instruments, and in particular, the oboe. It is no coincidence that he has earned his nick-name thanks to this instrument, which he puts in contrasting settings depending on the project he has. This time, he brings together in a personal and original arrangement the great classics of Cole Porter in a “chamber” trio. The union of oboe/English horn and viola (Frédéric Eymard) are particularly pleasing to the ear. The remarkable Portuguese pianist, Joao Paulo, draws an intricate harmonic rift for this music which is by essence tuneful.”


“Everybody knows Cole Porter, even youngsters. His songs travelled around the world between the twenties and the fifties, their renderings engraved in the memories of those that made them famous in Hollywood. Take for example Marilyn with “My Heart Belongs to Daddy” in Let’s Make Love or Fred Astaire with “Night and Day” in one of his more glamorous settings with Ginger Rogers in the Gay Divorcee. Sometimes we do not know that it is him, but often the title is on the tip of our tongues… that’s what happened to Oboman himself before recognizing “Easy to love” and adding, not without humor that “Love is everywhere”… with Cole Porter, even if we could add that it is also all about painful love, desperate or despairing, like in “Love for sale”, “What is this thing called love?” Cole Porter knew how to use music to bite reality which could at times escape him, revealing himself often as vulnerable and yet strangely familiar. Cole Porter had a sound classical training, but quickly fell in love with jazz, the music of the era and he became famous in musicals, with several great successes at Broadway, like “Anything goes.”
Twelve titles, amongst hundreds of songs : the choice was difficult to make for the trio with no percussion, made up of Joao Paulo on the piano, Fred Eymard on the viola and Jean-Luc Fillon on the oboe. “A trio with romantic instrumentation, to serve the lyricism of the poet of Broadway”, classical music reverberating in jazz, the highbrow music of the 20th Century.
With the memory of this musician, a story begins… Even if the melodies are still there, the harmonics are revisited and the arrangements are sufficiently rhythmic to draw you onto the dance floor and invite you to dance… That is one of the characteristics of Cole Porter’s music.”

SOPHIE CHAMBON, Les Dernières Nouvelles du Jazz