Pêle-Mêle du 16 juin
Ce mardi, Bernie vous donne rendez-vous dès 9h pour un nouveau numéro de Pêle-Mêle, qui va mettre à l’honneur un grand monsieur de la musique électronique : Jean-Michel Jarre. Rappelons que cet artiste est le recordman du plus grand nombre de spectateurs présents lors d’un concert en plein air, avec presque 4 millions de personnes… D’autres anecdotes et surtout la musique de Jean-Michel Jarre, c’est à découvrir ou redécouvrir avec Bernie ce mardi!
BIG Qwartz - Jean-Michel Jarre - Nicolas Dufourcq avant la cérémonie des Qwartz au BIG Innovation Génération
Xuso Jones, Oriol Bonet y Jean−Michel Jarre debaten sobre el negocio de la música en el Foro creaCultura de Atresmedia
creaCultura | Madrid | 28/05/2015
El composito Jean-Michel Jarre ha compartido su preocupación por las nuevas generaciones de artistas que están surgiendo. Jean-Michel que cree que "tienen muchos problemas para poder lanzar o sacar adelante su carrera profesional".
Por su parte, el batería Oriol Bonet considera que el modelo de negocio no está obsoleto , hay que reiventarlo", explica. "Además de ser artistas, tenemos que ser creadores de contenido", porque es imprescindible el apoyo de los fans en el día a día. " Un fan lo es todo el año", hay que darles la posibilidad a nuestros fans que nos apoyen todo el año", ha explñicado que con este nuevo d enegocio es posible.
El cantante Xuso Jones, que se considera un nativo digital , y considera funfamental y muy necesario en la carrera de cualquier músico por contar con las redes sociales.
Vicente Vallés ha abierto el debate con preguntas como: ¿cuándo la gente accede a la música a través de Internet, es más difícil vender discos? Los artistas también han debatido sobre cómo afecta Sporify a su trabajo y sobre el cambio en la forma de escuchar música ¿cómo concibe un artista que el fan sólo escuche una canción y no el disco entero?
El espacio Bertelsman ha acogido el segundo foro que Atresmedia celebra a través de creaCultura, el movimiento que nace para defender y reconocer el valor de la propiedad intelectual. En esta ocasión Oriol Bonet, batería de 'Love of Lesbian', Jean-Michel Jarre, comopositor y cantautor francés y el cantante Xuso Jones debatirán entorno a los nuevos modelos de negocio de la música en la era digital.
Al igual que el primer foro, se ha podido seguir en directo a través de la web oficial de creaCultura y ha estado moderado por el periodista Vicente Vallés.
Despite having sold in excess of 80 million albums, being a four time Guinness world record holder and having an asteroid named after him, Jean-Michel Jarre has never quite received the critical respect he deserves. Patrick Ryder introduces 10 tracks from across a visionary career that has singularly helped shape modern electronic music.
Words: Patrick Ryder
While contemporaries like Moroder and Vangelis have been embraced by a new generation, remembered as pushing their genres forward whilst delivering a series of classics, Jarre hasn’t had a sniff at a tour with any robots or a lavish reissue. Maybe his chart success and fondness for the extravagant is too populist and proggy for the hive mind of music journalists, still romanticising the underground ‘realism’ of punk and post-punk. But as a household name for thirty years, should that matter?
In fact, unusually for an artist who’s shipped such a staggering number of units, Jarre has spent a career in step with the beat of his own drum, ignoring trends, pushing the envelope (and every other function invented for a synthesiser) and living entirely out front, on his own terms. And what’s keeping it real if not staying true to exactly who you are? What’s more, he’s produced some of the most sublime electronic music ever recorded, covering new age, ambient, white funk and techno, all with the same trademark symphonic genius. Off the back of a series of collaborative releases featuring Massive Attack’s 3D, Tangerine Dream and Gesaffelstein, here’s a primer into the beguiling world of Jean-Michel Jarre.
You can listen to all ten tracks in this playlist or individually as you scroll.
‘Wind Swept Canyon’ from Deserted Palace
(Sam Fox Productions, 1972)
Listen / Buy
A modest start to the grandiose career which would follow, Jarre’s debut LP garnered limited exposure and still remains one for the die-hards to this day. Even in the context of library music Deserted Palace makes for a challenging listen, compromising mostly of strange synth experiments, discordant tones and skewed fx. However, amid those fragments of detuned synthesis and musique concrète, this seven minute piece offered a glimpse of the shimmering, symphonic compositions ahead.
‘Les Granges Brûlées’ from Les Granges Brûlées (Bande Originale Du Film)
(Eden Roc, 1973)
Listen / Buy
1973 saw a twenty five year old Jarre following in his father’s footsteps, applying his innate understanding of tone, timbre and texture to his first cinematic score. This instrumental arrangement of the main theme for Jean Chapot’s film of the same name recontextualizes the baroque flourishes and gothic mood of classical orchestration within an eerie, disconnected modernity. Underpinned by a buzzing rhythm and unruly sequences, Jarre’s gloomy organ motif perfectly mirrors the disquiet of the drama unfolding on screen.
‘Oxygene Part IV’ from Oxygene
(Les Disques Motors, 1976)
Listen / Buy
Undoubtedly the Frenchman’s most famous composition, this pulsating beauty floated off the B1 of his 1976 LP and gently took the world under its spell, quickly becoming an established part of our cultural consciousness. Emerging from within the gossamer haze of some seriously celestial frequencies that irresistible melody tugs at your heartstrings and refuses to let go – not that you want it to. It’s simply perfect from whichever way you look at it.
‘Equinoxe Part 5′ from Equinoxe
(Disques Dreyfus, 1978)
Listen / Buy
Jarre followed up the breakthrough success of Oxygen with his second classic LP, Equinoxe two years later. Working to the same framework of recurring motifs, symphonic structure and segued movements, the composer guides us on a space age journey through nebulous textures and rhythmic sequences, peaking with this iridescent and dynamic number, which dismayed UK critics but delighted a global audience.
‘Les Chants Magnétiques Part III’ from Les Chants Magnétiques
(Disques Dreyfus, 1981)
Listen / Buy
As a new decade got underway, Jarre hit upon a new sound, utilising the revolutionary Fairlight CMI to introduce sampling and a whole new sound palette into his sonic universe. More diverse than his previous releases, Les Chants Magnétiques sees the producer dip into synth pop, exotica and new age with far more emphasis on the beat than ever before. On ‘Les Chants Magnétiques Part III’, Jarre takes a minimalist approach to deliver a blissed-out fusion of dreamy synthscape and organic, diasporic melody.
Souvenir De Chine’ from Les Concerts En Chine
(Disques Dreyfus, 1982)
Listen / Buy
By 1981, Oxygen and Equinoxe had made their way across the globe to China, proving so popular that Jarre became the first Westerner invited to perform in the Republic. Alongside many of his classic pieces Jarre included material specially composed for the occasion in his setlist. Chief among these pieces is ‘Souvenir De Chine’, a sublime arrangement of ambient pads, lithe bass and programmed drums, punctuated by a masterful selection of found sounds and samples. The emotional resonance and unique sound of the track saw it become an end of night staple for both Bepe Loda and Daniele Baldelli, as well as a sunset anthem for José Padilla at Café del Mar.
‘Diva’ from Zoolook
(Disques Dreyfus, 1984)
Listen / Buy
The first of two inclusions from Jarre’s kaleidoscopic pop masterpiece Zoolook, ‘Diva’ saw the French musician team up with avant-garde champion Laurie Anderson for a head nodding, sometimes head scratching, vocal cut. The American’s polylingual vocals are reversed, re-pitched, looped and replayed as the track evolves from a noir-ish prelude into a defiantly weird and warped groove, worthy of the most left-field dancefloors.
‘Blah-Blah Cafe’ from Zoolook
(Disques Dreyfus, 1984)
Listen / Buy
If I were given the chance to induct one fantasy genre to the Music Hall of Fame, it would undoubtedly be Fairlight funk, and this little beauty would soundtrack the ceremony. Tucked away neatly in the middle of the B-side of Zoolook, ‘Blah-Blah Cafe’ is deranged dance music at its best. Boasting a beat that sounds like a party in a balloon factory, a sequence which sounds a lot like an FM synth talking about vegetables, imitation brass and the occasional spinback, this wonky wonder sounds a million miles away from Jarre’s earlier work and rivals the best moments of Yello, YMO and Material.
Dernier Rendez-Vous (Ron’s Piece)’ from Rendez-Vous
(Disques Dreyfus, 1986)
Listen / Buy
While Jarre was working on his seventh studio album in 1986, he was invited to perform a concert in Houston to commemorate both the 150th anniversary of Texas and the 25th anniversary of the Lyndon B. Johnson Space Center. Seizing the opportunity to do something truly groundbreaking, Jarre reached out to astronaut and jazz saxophonist Ron McNair for a collaboration, composing this synth and sax duet, with McNair set to record his part from outside the Earth’s atmosphere. Sadly, McNair was killed in the Challenger disaster, and this beautifully mournful piece served as an epitaph instead of a celebration.
‘Révolutions’ from Revolutions
(Disques Dreyfus, 1988)
Listen / Buy
After the soothing new age leanings of Rendez-Vous, Revolutions saw Jarre taking his music to the shadows of the big city, soundtracking the gritty dystopia of the urban sprawl through a series of sombre compositions. This thumping dancefloor cut stood head and shoulders above the industrial tone poems and dislocated synthscapes, hinting at the experiments with trance which were to follow. Although this original version saw him play fast and loose with copyright law, re-appropriating Kudsi Erguner’s ney composition, mind-blowing combination of Middle Eastern flute and rampant bass sequence delivers a total knockout. Still sounding years ahead of its time, I’d imagine it won’t be long before we hear this one reworked for an Acid Arab 12”.
Jean-Michel Jarre’s new collaborations will be released on vinyl by The Vinyl Factory on 30th June. While the Massive Attack 12″ has already sold out, you can still grab limited copies of the Tangerine Dream and Gesaffelstein collaborations from our online shop.
Jarre Technologies® is a cutting-edge brand for technological Lifestyle, home-entertainment products, embodying contemporary style, simplicity and optimal performance.
Its range of high-end, affordable products is dedicated to restoring emotion in how we experience sound and vision in the comfort of our interiors.
Foreword - Jean Michel Jarre
As the President of an organisation that represents more than three million creators – music composers like me, lyricists, film directors and screenwriters, painters, photographers and many other creative people – I am delighted to introduce
this royalties report.
CISAC member societies work tirelessly and efficiently around the world to collect and distribute royalties from the use of our creative works. They have managed to maintain a high level of collections in 2013 despite a tough economic climate and an even tougher copyright environment – a testimony to the hard work done on behalf
of creators by our authors’ societies.
The relationship that we have with our authors' societies is very special and quite often misunderstood. Let's be clear: authors' rights ensure us rewards for our creative endeavours. It is fair compensation for the use of our works. We have
empowered our societies – represented by CISAC – to guarantee that our rights are respected and our royalties collected.
Creators are the singular force behind the works – films, paintings, songs, books, poems, pictures – that millions around the world enjoy. Yet we are often at the mercy of groups that control the channels of distribution of our works. This is acutely
felt in today's digital ecosystem where creators are the most fragile element. For this reason, we rely heavily on our authors'societies and CISAC to take care of our interests. Alone, we are vulnerable, but when we combine our strengths, via the
societies that represent us and protect our works, we have a voice.
As creators, we are attached to the fairly simple and extremely modern concept of collective management of rights. This is a system that allows us to devote time to creation, with the insurance that even the most modest use of our works
will be tracked and remunerated. This collection report shows that creators in Africa, the Americas, Asia, Australasia and Europe fully benefit from this system. Let's make sure that it continues to successfully serve the wide community
of creators for many years to come.
23 November 2002
The latest offering by the master of the synthesiser, Jean Michel Jarre, aims to take you on a journey through the final year of the 20th century.
The latest offering by the master of the synthesiser, Jean Michel Jarre, aims to take you on a journey through the final year of the 20th century. Recorded for Parisian label Disques Dreyfus, it's far removed from the shiny synth classics Oxygene and Equinox that soundtracked a thousand 80s nature documentaries. The album is laced with acoustic instruments (a mix of live playing and samples) placed over a backdrop of seamless ambient electronics and soft trip hop grooves, with chilled jazzy undertones throughout.
Sessions 2000 contains 6 tracks recorded by Jarre and long term collaborator Francis Rimbert, each one named after a specific day of the year. The album opens with ''January 24th'' with a soundscape of bubbling, piano scaling and fake double bass plucking that places you in the midst of a passing rainstorm.
By ''March 23rd'', I was surprisingly mesmerised and really loving the dispersed hail of acoustic trumpeting sprayed over a lazily swaying groove, although I felt this track slightly outstayed its welcome; after 8 minutes of losing myself in the long spring grass I emerged feeling slightly hazy and unbalanced.
''May 1st'' has to be by far Jarre's finest day of the year (unfortunately the shortest track on the album) with a soft pulsing backdrop underpinning a stunning piano acoustic throughout, while the album tails off with the much more subdued end of year offering that is ''December 17th''.
The whole album left me feeling unbelievably serene, standing on the station platform in rush hour listening through headphones I felt so unusually calm and composed. It is the perfect remedy for dismissing the chaos around you, although if you need the ability to concentrate throughout your day then I suggest you file this album under the 'purely for lounge listening' category.
Reviewer: Lorna Palmer