MARIE GOETZINGER

At the young age of seven, an imaginative girl stood on the patio of a French commune and opened a vault she would never imagine closing.

To this day, that vault is till open, and Marie Goetzinger steps into a new realm for each of her performances. 

Childhood competitions in her small town led to competitions on grandiose stages. She was soon a two-time winner of the province of Lorraine’s vocal competition; “Les Espoirs de la Chanson” (The Hopes of Music); and being offered performances in the Zenith of Nancy in Lorraine. 

Though originally inspired by Classic Rock records, it was upon hearing Jazz for that she truly felt she belonged. It changed her perception of music as a whole and started to seep into her work, redirecting her to Nancy’s National Conservatory of Music where she would study for the next six years. During that time, she worked determinedly with numerous musicians and collaborated with several bands.

She founded the Maria Godsinger Trio with whom she toured the country twice and recorded a full-length album. She also fronted the well-known big band, the Nancy Ska Jazz Orchestra, with which she recorded a full album, all the while composing and later teaching at the Charles Boquet Music School.
 

In 2015, she began her time at Berklee College of Music where she would study Jazz Composition and Performance.
During her time in Boston, Marie became increasingly captivated by the colors hiding in every jazz standard. She became a devoted scholar of the great voices and artists who have come before her; Ella Fitzgerald, Sarah Vaughan, Cyrille Aimée and Esperanza Spalding; analyzing their styles and textures, but also the personalities of each vocalists’ improvisations. Falling further down the rabbit hole, she started transcribing American Jazz instrumentalists like trumpeter Clifford Brown and the Oscar Peterson trio.

Jazz’s limitless personality revealed a tradition of freeform expression that she adopted in all aspects of her life. It exposed new ways of singing and new directions to explore.
Music continued to guide Marie toward the technical and spiritual aspects of her art under the wings of highly acclaimed musicians Kenny Werner, Peter Eldridge and Victor Wooten. Her distinct approach to music and taste for exploring made her a paramount mentee; she would soon be invited to perform and participate in her mentors’ recitals and masterclasses.

Further in Boston; she dove deeper into Bebop language thanks to her studies with Ed Tomassi; her authentic and distinct voice has been hailed by Maggie Scott; she wrote and sang a French theme for the soundtrack to the comedy, Frankie Keeps Talking (prod. by Annabelle Attanasio); received praise for her flawless performance of “How High The Moon” at Berklee’s Ella Fitzgerald Tribute, and joined forces with Iranian artist; Ashley Zarah; for her debut single “Hypnotized". 

 

Marie has also shared the stage with Phil Wilson, Steve Bailey, Sergio Cardozo, DOMI, Bob Moses, Jason Anick, Thorleif Gaukur, Davidson, Tia Fuller, Donna McElroy, Jimin Park, and more; collaborating, composing, and performing oftentimes with her other set of vocal cords; her trumpet, which she says increases her foundation and support to understand music.

 

After classes, she would travel to her second home;  Wally’s Cafe Jazz Club, to jam and discover new musicians. After a few months of being an avid patron, she was given a regular slot to play her own set every Monday. Thus, the creation of her show, “Nuit Blanche,” in quartet. It was only a matter of time until this project took her to New York.

From there she was taken on by Brazilian bassist and artist, Flavio Lira, to sing and play trumpet for the release of his new album, Coffee Gold Sugar Cane. Gradually, her relationships began to bloom across NYC and even take her to French Guiana and Peru. She played festival tours throughout South America and was invited to perform and be interviewed for music outlets and radio stations who were enamored by her artistry.

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A strong character and talent, Marie has dominated fields ranging from arrangement to improvisation; both singing her heart out and playing through the brass of her trumpet. She exudes positivity and preaches unity, wanting nothing more than to foster a sense of sincerity, community, and empathy from her stage to the ears and bodies of her audience.
 

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