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Sat, Oct 29


Merrimans' Playhouse

M.O.M / Moutin-Omicil-Moutin

Featuring Francois Moutin, Louis Moutin, and Jowee Omicil. The trio’s creativity appears to flow organically, just as fluid as it is jubilant. M.O.M.’s music is altogether joyful, intense, deep and spontaneous.

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M.O.M / Moutin-Omicil-Moutin
M.O.M / Moutin-Omicil-Moutin

Time & Location

Oct 29, 2022, 7:00 PM – 9:00 PM

Merrimans' Playhouse, 401 E Colfax Ave, Suite 135, South Bend, IN 46617, USA


About the Event

TICKETS are $20 General/$10 Student. End time is estimate.

Concerts and events made possible, in part, with support from the Wells Philanthropic Services provided by grants from the John, Anna, and Martha Jane Fields Memorial Trust Foundation, Stanley A. and Flora P. Clark Memorial Community Trust Foundation, and the Florence V. Carroll Charitable Trust, The Esther and George Jaruga Charitable Foundation, the Community Foundation of St. Joseph County's ArtsEverywhere initiative, and the Arts Project Support Grant and Arts Recovery Grant through the Indiana Arts Commission. Special concert event support provided by the Arts Midwest Grow, Invest, Gather (GIG) Fund grant (2022-2023 season).

Francois Moutin - acoustic bass

Jowee Omicil - saxophones/clarinet

Louis Moutin - drums


M.O.M, understand Moutin / Omicil / Moutin, is the assembly of three « mômes » (French slang for “kids”) determined to confront everything this music can offer. The genesis of the trio is an unplanned encounter on the set of the Netflix show “The Eddy”. Between Jowee Omicil and Louis Moutin, the connection is immediate and instinctive. François Moutin happens to be traveling through Paris around the time of the end of the shooting. He joins Jowee and Louis for a few home sessions. The trio improvises with a completely frameless approach, driven by the thread of its collective imagination and by its individualities’ mutual listening. A singular sound emerges, melodies get created on the spot. A whole world blossoms at the point of equilibrium of the three personalities. The trio’s creativity appears to flow organically, just as fluid as it is jubilant. M.O.M.’s music is altogether joyful, intense, deep and spontaneous.





About saxophonists, there is one who isn’t yet super famous in France but whom the disc “M.O.M” should help emerge from anonymity. M.O.M are the initials of the Moutin Brothers and of Jowee Omicil, Canadian with Haitian origins. They met on a film set and, after a few home sessions during which their sauce quickly reached its texture, they got into a recording studio to immortalize an encounter as jazz is able to generate. If we’ve long known the high quality of the rhythmic pair formed by the twins, we discover in this disc a saxophonist who has integrated multiple influences, some historic (Parker, Ornette, Wayne Shorter) some contemporary (soul music, hip-hop, world music and Roy Hargrove whom he’s worked with). His melodic focus and his authenticity are riveting and should take him very far. Fans of the saxophone-bass-drums trio format to which Sonny Rollins gave its first glorious moments at the end of the 50s must catch this generous and exciting trio (New Morning and La Rochelle Jazz Festival in October, Limoges Jazz Festival in November).





Laborie Jazz

Does the Moutin brothers’ duo need to be presented anymore? François the contrabassist and Louis the drummer have formed for so many years the rhythm section of the greatest such as Martial Solal, Jean Michel Pilc (two trios having passed through the Liège Jazz Festival) or also Michel Portal. François having settled in New York where he has been working with Mike Stern, Randy Brecker, Lew Soloff, Billy Hart, Jeff Tain Watts… without however stopping to play with his brother on both sides of the Atlantic with the “Moutin Reunion Quartet”. Definitely a brotherly duo well prepared to any of jazz’s possibilities. Here, with M.O.M, it will be this of a trio with the blower (saxes and clarinet) Jowee Omicil, the “O” in between both “M”s. “O” encountered by Louis on the shooting of “The Eddy” for Netflix. Adding the other “M” was enough to allow “M.O.M”’s birth. Of Haitian origins, born and grown in Montreal and staying in Paris these days, Jowee Omicil is what one can call a complete saxophonist, navigating with verve and ease between all three main saxophones, soprano, alto and tenor. This helps tracing the diversified listening trajectory that has brought him today to a very personal sound. One perceives the dancing and swaying charm of Sonny Rollin’s Caribbean melodies on “A.M.” or Miles period Wayne Shorter’s sonorities on “Fly With The Wind”, mingled with Albert Ayler’s flashes in the piece’s development… All of which coming down to assimilation as opposed to servile copying. And what about the shimmering dressing provided by the Moutin brothers, as two designers who assemble, cut and rebuild with a relentless intensity. This album is, from its start through its very end, filled with verve, joy and energy, including in its most tender moments as is this delicious “Caresse” on clarinet. A record steeped in tradition, in the spontaneity of improvisation, to be listened to as if you were in a club.


Records THE “SHOCKS”

M.O.M - Louis Moutin Jowee Omicil Francois Moutin

1 CD Laborie Jazz / Socadisc

NOVELTY Jazz is an art of unprecedented encounters and unexpected exchanges. A proof with this triumphant trialog between the Canadian saxophonist of Haitian origins and the Moutin brothers, whose monozygotic complicity is one more time working wonders.

The Moutin having named a fair number of their groups with the word “Reunion” for more than twenty years is not a coincidence. Here, for the first time, they have chosen a triangular formula saxophone(s) / contrabass / drums, following a reciprocal thunderbolt. The birth of the trio M.O.M is in fact due to an unplanned encounter on the film set of the Netflix show The Eddy directed by Damien Chazelle. Between Jowee Omicil, whose sound on alto is fluid and singing, “Sidney-Bechet-like”and feverish on soprano, warmly woody on clarinet, with a wavy and joyous phrasing, and Louis Moutin, explosive behind his drums set, the connection is instantaneous. Coming from New York, François Moutin, passing through Paris toward the end of the shooting joins them to add some binder in the trio’s texture during a few passionate home sessions.

To prolong this festive “reunion”, give memory to the ephemeral, offer a future to the fleeting, the three accomplices have decided to regroup promptly in a studio to record an album in total freedom, without any premeditation or preconceived convention. Result: this new “Moutiny”, instantaneous and telepathic. A great M.O.Ment of open music, intense and vivid, damn playful, fiercely lyrical. Deep understanding of the triple kind at the apex of its urgency and incandescence.

Pascal Anquetil

Jowee Omicil (ss, as, clarinet), François Moutin (b), Louis Moutin (dms) , Malakoff, Studio Sextan, September 1st through 4th, 2020.



Two highly renowned brotherhoods enchant the La Rochelle Jazz Festival

The Moutin and the Belmondo were on the stage of La Sirène on Thursday October 14th

LA ROCHELLE – special correspondent

Twenty fourth occurrence of the La Rochelle Jazz Festival, five nights, from October 13th through 17th, well conceived by the festival’sbooking team with a focus on the vitality of the French scene (trumpetist Nicolas Folmer’s tribute to Miles Davis and this of saxophonist Julien Lourau to the legendary record label C.T.I., this by Arkhan, the group laureate of the Jazz Connection Program in 2020, to the staff of the Hospital of La Rochelle…) and a relevant choice of American international artists (drummer Makaya McCraven, female singer Robin McKelle).

Beneficial touring calendar alignment, the festival is hosting on Thursday October 14th two highly renowned brotherhoods. The Moutin (François on contrabass, Louis on drums) with saxophonist Jowee Omicil, and the Belmondo (Lionel on saxophone and flutes, Stephane on trumpet and flugelhorn), leading their long-haul quintet with pianist Eric Legnini, contrabassist Sylvain Romano and drummer Tony Rabeson. A perfect night at La Sirène, a rock concert hall whose acoustic response is a delight.

Melodic obviousness

M.O.M, name of the album released late September by the label Laborie Jazz, is also this of the trio formed by the Moutin brothers and Omicil. The music, very improvised, emerges from melodic fragments, or rhythmic elements, or from a sound texture. The timbres convey the intentions, Caress, Fly with the Wind, Ballade à Deux Notes (Two notes Ballad)… Born on December 24th, 1961, the Moutin are twin brothers, Jowee Omicil inserts himself so easily within their musical connection that he could very well be the third brother. This is M.O.M’s second concert after one at the New Morning in Paris on October 11th. It could be the twentieth, the hundredth one. From one to the next, nothing was the same, in the future, all will be different, in the mutual desire to be enchanted, allowed by jazz in the instant.

… (about the Belmondo…) SYLVAIN SICLIER

La Rochelle Jazz Festival, at La Sirène, 111 Bvd Delmas, until October 17th, from 19 euros to 33 euros.


Joli M.O.M. Louis and François Moutin in a trio with saxophonist Jowee Omicil


Published on September 25 2021 –Nbr 292

Louis and François Moutin, the inseparable twins of the hexagonal Jazz scene, present the trio they have created with saxophonist Jowee Omicil.

The encounter between Louis Moutin and Jowee Omicil happened in an informal manner on the shooting in Paris of Damien Chazelle’s TV show “The Eddy”. During each time out, the drummer and the saxophonist got into the game of free improvising… and of discovering over the unfolding of these impromptu duets a mutual connection which was just waiting to grow and blossom. Louis, the drummer who’s been forever leading his project in a tandem with his contrabassist twin, François, couldn’t help but inviting the latter to take part in the exchange. So was born a trio, adopting the name M.O.M., acronym for two Moutin positioned as a launch pad for an Omicil.

Piano-less trio

No need to restate, indeed, that the pair formed by Louis and François Moutin is, for many years, a formidable rhythm section whose propulsion capabilities inspire numerous soloists. For Jowee Omicil, who had never yet experimented the piano-less trio format, to which Sonny Rollins, among others, gave its letters of nobility, the twins’ telepathic complicity conveys a power as communicative as it is energizing, that stimulates the improviser’s imagination. The Canadian saxophonist of Haitian origins, presently Parisian, takes advantage of it to deploy his playing on alto, on tenor (on which he had been less heard until then), on soprano and on clarinet. Based on collective interaction and on the instant’s inspiration, their music’s rise builds itself through the triangulation of theirs exchanges and the fortunate chances of improvisation.

Vincent Bessière






Masters Of Melodies

When one listens to the Moutin Brothers, one inevitably and strongly hears a unique connection, a connection which is the fruit of an entire life of music and shared moments, a connection that seems to take precedence over all others.


The first seconds of “Let’s Talk” trigger dizziness, the two brothers have brought us in an instant into high altitudes above the void, in equilibrium on a drumstick and a string snippet. How could one fit in, meddle in, join such a duo without sounding off, without seeming awkwardly out of the story, out of the moment? It appears to be obviously easy for Jowee Omicil. The saxophonist seems to be perfectly at ease in the midst of this communion of intermingled sounds, whether he be in the “Caresse” or in a “Cosmic Dance”. The alchemy is here, and one felt it at work as soon as in the first instants of “A.M.”, the opening piece of the goldsmith’s treasure that M.O.M is. On “Fly With The Wind”, we reach one of the, if not the, apex of the album, in which Omicil integrates his instrument into himself and seems to deliver, literally give birth, to the sounds coming directly from his own body, with no transition through any external transformation whatsoever. His voice transpierces us, perfectly sharpened by the drums and contrabass of Louis and François Moutin. At the end of “Soixante Neuf”, closing track of the album, one wants more, one wants to discover more of this, differently, prolonging the bliss, again and again.






(Laborie Jazz)


October 11th, Paris (New Morning)


Deli Express



From 12pm to 1pm, it’s everything that’s new in Jazz that one can taste well cooked.

From 12pm to 1pm, it’s everything that’s new in Jazz that one can taste well cooked. Those who make the headlines of today’s Jazz come by the daily broadcast of TSF JAZZ, live at lunchtime for interviews and live sessions.

Jolis M.O.M


Jubilant! Explosive!! So evident!!!

Each of our three guests have such freedom of spirit, such desire to move the boundaries, such a touch of madness that their encounter was inevitable. On one side two bros, or rather two twins! François and Louis Moutin have performed brilliant high level studies and then quit it all to fully live their musical passion. For more than 20 years they’ve been designing together an intense, profound and unique work of creation! Neither does the third guy’s music resemble anyone else’s! Nothing stops Jowee Omicil! Saxophonist, clarinetist, singer, cornetist, keyboardist, overactive, with a boundless creativity and who imposed himself within a couple of years as a surprising, astonishing personality… Like some preventer of spinning in circles. Those three were thus meant to get together. And when Louis and Jowee crossed paths on the shooting of The Eddy, you know, Damien Chazelle’s TV show, it naturally went “Zip Shebam Pow Blop Wizz!”

It worked so well between these two that they decided to organize an informal home session and to invite François…

And then again it went “Zip Shebam Pow Blop Wizz!” All that remained was to go to the next step… Record a full album… The very one I’m holding in my hands: “M.O.M” like

Moutin – Omicil – Moutin


Open Jazz

By Alex Dutilh

Monday through Friday at 6:05 pm

Louis Moutin, Jowee Omicil & François Moutin The three M.O.M.

The inseparable twins of the hexagonal Jazz scene present M.O.M, the new trio they have created with Jowee Omicil met on the film set of the Netflix show “The Eddy”



The disc du jour

M.O.M or jazz on the loose

By T.B. October 1st 2021



M.O.M (Laborie Jazz)

The Moutin brothers are twins and complementary: Louis on drums, François on contrabass. They form a respected tandem on planet Jazz. After they met saxophonist Jowee Omicil on the shooting of the TV show The Eddy, the idea of forming a trio quickly caught on.

Straight to studio Sextan in Malakoff to let some jazz gush out for four days of recording sessions. The sound is both clear and raw. Each musician is in the starting blocks for improvisation. Sound lines intersect, diverge, converge, get frantic, then peaceful… Our accomplices compete in creativity and spontaneity while delivering this wildly audacious music. The essence of jazz on the loose.



 Some captivating ensembles … trio…an unexpected trio

When one evokes the word trio, we think immediately about the archetype piano – contrabass – drums. However the idea of trio can unfold in other formulas like this of M.O.M. The initials of the twin brothers in jazz, François (contrabass) and Louis (drums), and Jowee Omicil (saxophones/clarinet). A singular coupling for a just as atypical eponymous disc. Over some original and personal compositions, the three jazzmen demonstrate a generous creativity and invention in improvisation and freedom of instrumental expression.

Didier Pennequin

Le Quotidien du Médecin weekly – 9912 – Friday September 24 2021


La Rochelle Jazz Festival / October 2021


M.O.M, abbreviation behind which the Moutin brothers and saxophonist Jowee Omicil are hidden, not for long, rest assured. After all, maybe this abbreviation refers to “Mother of Madness”, “la mère de la folie” in its literal translation, considering the extent to which our three accomplices let emerge crazy melodies. This is very remote from the cartoon bearing that same name in which each hero’s purpose is to eliminate evil characters. No evil person to be killed here, as like always, François Moutinon contrabass and Louis Moutinon drums have provided a top notch rhythm section enabling the saxophonist to let his artistry as an improviser evolve in total freedom.




Jowee Omicil (as, ts, ss, cl), François Moutin (b), Louis Moutin (d)

Label / distribution : Laborie Jazz

Forget « The Eddy », this disappointing TV show bearing some promises of jazz during the first lockdown. Admittedly, it’s during this shooting that Canadian of Haitian origins and presently Parisian saxophonist-clarinetist Jowee Omicil has met Louis Moutin. But away from the film set’s spotlights, they have invited François Moutin to a creative fury filled with energy and poetry – “Ballade a Deux Notes” (“Two Notes Ballad”) – and what notes!

All of it unfolds as if the bros, from now on sexagenarians, were dubbing Omicil, presently in his forties, within some timeless jazz fraternity – “M.O.M Blues”, an ideal launch pad for flamboyant choruses. Their unmatched orchestral science which, more than to their twinhood, owes everything to their total commitment in the service of jazz, is here to thrill their blowing partner with extasy, just as much as it does to the record listener: “Caresse” of infinite softness, or “Abandoned Youth”, subtle embrace. There is something scientific about their ability to experiment while keeping an infallible time: one thinks here about Francois’ “trigonometric” playing as much as Louis’ sequential time-framings as well as his mastery of harmonics projected by his singing drums set.

This trio sounds like a big band, summoning one of these possessed riffs at which the contrabassist is an expert, (“Fly With The Wind”). Omicil’s mastery on his instruments has most certainly pushed the twins into some resorts which we suspect can’t be their last. He even dares play bass notes over a solo by the master contrabassist and turns himself into an orchestra section, when he’s not summoning the spirits of an Eric Dolphy on clarinet or of an Ornette Colman on saxophones, and let’s not neglect his staccato playing mode evoking the flow of rappers: “Street Credibility”. His Creole virtuosity enable him to take some risks reminiscent of these falsely indulgent refrains, however bearers of a mysterious bewitching power, a bit in the way of an Albert Ayler.

The interplay is eminently playful: provocative in an infinite mutual respect – “Let’s Talk”. A trio bearing kid (“môme”) ‘s promises, that we can’t wait to hear again performing under the only spotlights that matter: these of stages.




At the end of a concert, I often like to take some time exchanging with other people present during the representation. Welcoming some impressions, confronting other sensations, alternate truths, and thus, often, better understanding the workings of my own emotions. But there are also some nights when I want to go home as soon as possible.

It doesn’t mean I don’t care about otherpeople’s inputs, neither that I spent a bad evening or that the concert didn’t please my ears, much to the contrary. If I want to leave immediately, it’s because I feel at once in a bliss and in a withdrawal. Ecstatic after a uniquely great moment of music, as my entire body is begging for more. So I go home swiftly. I leave the theater of my own feelings to be able to experience them again. I start hunting the latter, listening once more to the album of the evening’s project if one is available or navigating internet seeking a sound, a moment, a snippet that could prolong my fever.

So tonight I went back home very shortly. And I’m up to my second listening of M.O.M. When I had discovered the album upon its release, I already felt I hadn’t got enough. The first time I had listened to the trio live, I still hadn’t got enough. And tonight, the story repeats itself. I’m insatiable. Even if this concert is from now on a part of me, even if it will remain engraved in my memory, I didn’t get enough.

Because tonight, I found back the essence of my first experiences of jazz concerts. The concerts that taught me the power of musicians’ interplay, the concerts that made me laugh out loud because my mind couldn’t cope differently with such overwhelming experiences. The concerts of the Greats.

Closing my eyes, I see Louis Moutin putting on a smile that seems to contain the whole history of the music he’s playing. I see Francois Moutin bent over his contrabass, in a permanent search of the next story to be shared and of the way he’ll be able to tell it. I see Jowee Omicil bracing himself against his soprano to infuse the trio with the counterpoint it needs to continue its journey. I see all three of them like fresh lovers rediscovering each other again and again. I hear again the sublime AM, the irresistible FRK. If anyone needed a definition of the word jazz, it would be difficult to find a better one than this offered tonight.

Improvised music is, necessarily, a question of exchange, of self and others comprehension, of acceptance of the difference and of integration. At this very game, the Moutin brothers and Jowee Omicil are kings.

Alexandre FOURNET photos: Didier Radiguet


  • General

    $20 Advanced or Door

    Sale ended
  • Student

    $10 Student

    Sale ended



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