Oboman… the oboe of all music.

Eleven albums, an original orchestral colour, sparkling music, full of sensuality and beat. One of the most convincing artistic paths, a welcome change of scenery, the fruit of a subtle mixture of originality and perseverance.

A bold artist, he dares to cut his way through the heart of all that is possible, multiplying encounters, trying out and investigating original ideas. The mobility of his set, the range of colours and nuances which he displays, the brightness of his ideas all impose themselves : he exploits with great joy a whole range of ornaments and melismas.

A certain idea of contemporary jazz, that is intense, inventive and fresh; it is jazz, but not only …
“The fullness of their tone give these instruments – the oboe and the English horn – a place in jazz that double-reeded instruments rarely achieve.” Franck Bergerot.
“I used to think that every eccentric was sick or abnormal. But now I believe it’s normal for a man to be an eccentric”. Anton Chekhov.


Paris by Song

Paris by Song, Oboman
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Oboman plays Cole Porter

Oboman plays Cole Porter
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On the Reed...Again!

On the Reed...Again! Oboman
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Flea Market

Flea Market, Oboman
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English horn

Echoes of freedom

Echoes of Freedom - Oboman
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Choros do Brasil

Choros do Brasil, Oboman
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Oborigins, Oboman
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Oboa, Oboman
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Oboe d'amore

Aquarela - Outros choros do brasil

Aquarela - Outros Choros do Brasil, Oboman
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Oboreades, Oboman
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Duke (Echoes of Ellington)

Duke (Echoes of Elligton)
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L'instant d'après

L'instant d'après, Oboman Jazzogène
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  • Presentation
    A certified teacher from the Paris Academy, Oboman teaches jazz and improvisation at the national academies of Cergy-Pontoise and Mantes en Yvelines. The originality of his artistic path, that of a classical musician who, very early on, was attracted to different kinds of music (jazz, world music, improvisation), has today made him into a unique personality with extensive skills.

    His musical experience, his mastery of several instruments (oboe, English horn, bass clarinet, electric bass guitar and double bass) and his talents as a composer and conductor enable him to lead successful and enriching masterclasses. Oboman is particularly aware of the specific expectations that classically trained students who want to learn more about improvisation have.

    The main idea of these masterclasses can be summarized as follows :

    Orality => Improvisation => Jazz

    Or how, from the study of orality (skills, memory, acquisition, control, analysis and reproduction of sounds), we are able to move towards improvisation, and then progressively confront the specific and remarkable case of Jazz.
  • Educational objectives and content

    • - To identify the main issues raised by the practice and teaching of jazz and more generally improvised music.

    • - To illustrate the bridges between music from oral and written traditions and to highlight why mastering improvisation can help in teaching all kinds of music

    • - To give practical tools for discovering and mastering both individual and collective improvisation.


    • - Analyzing the fundamental principles which are necessary to master improvisation.

    • - Learning and mastering improvisation tools.

    • - Practicing individual and collective improvisation.

    • - Acquiring a hands-on approach to making progress.
  • Audience
    Educational interventions

    1) Oboe classes

    Giving young oboe players an insight into orality and improvisation through other musical languages can be extremely constructive in terms of their connection with their instrument.

    2) The woodwind section

    This section does not often have the opportunity to be asked to participate in improvisation or jazz projects. Oboman offers arrangements of some standard pieces for woodwind and rhythmic jazz ensembles.

    3) The jazz section

    Ex-leader of a Big Band, bass and double bass player, he is particularly capable of working with jazz groups, but also with Big Band for a more “traditional” approach.

    4) Train the trainers courses

    This Masterclass is more specifically tailored to teachers of “classical” music, who want to enlarge their teaching skills to orality and improvisation.
  • Testimonies
    Jean-Luc’s presence in the oboe class at Fontenay-sous-bois during a three month period was an enriching experience for my students. They were a bit worried before they started, wondering if they would be capable of improvising ! But from their first meeting with Jean-Luc, they were put at ease, thanks to the incredible contact that he created with them through musical games, memorizing simple tunes that they created themselves.
    He opened them up to an inventiveness that they didn’t realize they had and as a result this gave them self-confidence, a freedom with their instrument and a release from the written text. ! Jean-Luc’s visit gave them great motivation, which was materialized by a final concert where everybody took part, from students in their first year to the more advanced students. I would like to thank Jean-Luc for his kindness and human qualities.

    Jean-Michel Penot, Oboa soloist of the Orchestre National d'ile-de-France.


  • Presentation
    The idea for the Academy came about from a number of contacts that came from around the world – oboists who wanted to learn about improvisation, reputed Music Schools and universities (CNSM Lyon, HEM Lausanne and Geneva, University of New York, University of Austin,…), PhD students – and the desire to transmit a certain professional experience and musical knowledge.

    The Academy, based in Paris, is a place where the student is fully immersed in improvisation and artistic creativity, allowing top oboists to become all-round artists, and offering students the opportunity to exchange with each other.

    This course is becoming indispensable for all professions where a certain polyvalence is required from the musician : sight-reading, playing by heart, improvisation, stage sets, staging, using electronic effects… require at the same time, a certain rigour and flexibility.
  • Objectives and contents
    The course takes place in Paris over 1 or 2 years, at the end of which the student can obtain a degree in improvisation. The numerous lessons given during the course should enable the student to contemplate his or her artistic career in a global way. The teaching team is made up of Oboman – improvisation lessons on the oboe – and of other professional teachers who are competent in all the disciplines: improvisation, musical ensemble, harmony on the piano and rhythm with percussion instruments, vocal improvisation, theatre and stage presence, history / analysis of Jazz and World Music, arrangements / orchestration, Mao/Nao/ electronic effects, developing artistic projects, career management.
    A partnership with Music Schools and universities could be envisaged, in particular for foreign students who are staying in Paris.
  • Audience
    Applications to the Academy are open to oboe students who have obtained a DNSPM, a bachelor or masters degree, or for foreign students who have achieved the highest level in a higher education musical establishment. After a pre-selection process, the selected candidates are invited to take part in the admission examinations.
  • Testimonies
    The idea of inviting Jean-Luc Fillon to give a master class at the CNSMD in Lyon had been an idea we had had for a long-time with Jérôme. Jean-Luc’s artistic profile and achievements were what drew us in particular to this talented musician : a “jazz musician” initially trained as a classical musician on an instrument like the oboe, which is not particularly adapted to this repertoire, was intriguing to us. It was really an exceptional Master Class ! A skilled teaching experience, based on personal experience, full of humility and tapping into a large variety of musical scenes, which were both rich and diverse.
    A few years ago, I was honored to give a few pieces of advice to Jean-Luc when he was still a student and intent on pursuing a purely classical career. I have now found a Master ! His open and dynamic artistic path, has allowed him to develop very fast, by practicing some essential principles, such as oral character and improvisation, which the classical repertoire, and the way it is taught, does not generally make a priority. His targeted, efficient and direct demonstrations, peppered with playful exercises, both captivated and convinced the students, as well as the teachers! I could write many more pages on all the topics which Jean-Luc was able to touch on during his stay 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. They will live an unforgettable moment, both from an artistic and educational perspective, as well as from a human one. Many thanks go to Master Fillon, who will be coming to see us again very soon !

    Jean-Louis Capezzli, Professor at CNSMD Lyon and HEM Lausanne, ex soloist of the Radio France Philharmonic Orchestra.

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Phone: +331 39 75 98 08