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Jeanmichel Jarre the 12 Dreams of the Sun Soundtrack Album Cover Art

French composer, performer and tape producer

Jean-Michel Jarre
Jarre in 2016

Jarre in 2016
Background information
Nascency name Jean-Michel André Jarre
Built-in (1948-08-24) 24 August 1948 (historic period 73)
Lyon, France
Genres
  • Ambient
  • new-age
  • electronic
  • trance
  • progressive rock
  • techno
Occupation(s)
  • Composer
  • performer
  • record producer
Instruments
  • Synthesizer
  • piano
  • organ
  • laser harp
  • squeeze box
  • guitar
  • bass guitar
  • theremin
  • keytar
Years active 1969–nowadays
Labels
  • Disques Dreyfus
  • BMG
  • Sony
  • Polydor
  • PolyGram
  • Epic
  • SME
  • Warner Bros.
  • EMI
Associated acts Gorillaz
Website jeanmicheljarre.com
Parent(s)
  • Francette Pejot
  • Maurice Jarre

Musical artist

Jean-Michel André Jarre [annotation 1] (French: [ʒɑ̃ miʃɛl ɑ̃dʁe ʒaʁ]; born 24 Baronial 1948) is a French composer, performer and record producer. He is a pioneer in the electronic, ambient and new-age genres, and is known for organising outdoor spectacles featuring his music, accompanied by vast light amplification by stimulated emission of radiation displays, large projections and fireworks.

Jarre was raised in Lyon by his mother and grandparents and trained on the piano. From an early age, he was introduced to a diversity of fine art forms, including street performers, jazz musicians and the artist Pierre Soulages. But his musical manner was perhaps near heavily influenced by Pierre Schaeffer, a pioneer of musique concrète at the Groupe de Recherches Musicales.

His get-go mainstream success was the 1976 album Oxygène. Recorded in a makeshift studio at his dwelling, the anthology sold an estimated 12 million copies. Oxygène was followed in 1978 by Équinoxe, and in 1979, Jarre performed to a record-breaking audience of more than a million people at the Place de la Concorde, a record he has since cleaved 3 times. More albums were to follow, but his 1979 concert served equally a blueprint for his future performances around the world. Several of his albums accept been released to coincide with large-calibration outdoor events.

Every bit of 2004, Jarre had sold an estimated 80 million albums. He was the first Western musician officially invited to perform in the People's Republic of China and holds the world record for the largest-ever audience at an outdoor event for his Moscow concert on 6 September 1997, which was attended by iii.v 1000000 people.

Biography [edit]

Early life, influences, and education [edit]

Jean-Michel Jarre was born in Lyon on 24 August 1948, to Francette Pejot, a French Resistance member and concentration camp survivor, and composer Maurice Jarre.[1] [2] [3] His grandmother was Jewish.[4] When Jarre was five, his parents separated and his father moved to the United States, leaving him with his mother.[five] He did not come across his male parent again until reaching the age of 18.[2] For the first eight years of his life, Jarre spent vi months each year at his maternal grandparents' flat on the Cours de Verdun, in the Perrache district of Lyon. Jarre'due south grandfather was an oboe histrion, engineer and inventor, designing an early audio mixer used at Radio Lyon. He also gave Jean-Michel his first tape recorder.[6] From his vantage point high to a higher place the pavement, the immature Jarre was able to observe street performers at work, an experience he subsequently cited as proving influential on his art.[2] [7]

Jarre struggled with classical pianoforte studies, although he later on inverse teachers and worked on his scales.[8] A more than general involvement in musical instruments was sparked by his discovery at the Saint-Ouen flea marketplace, where his mother sold antiques, of a Boris Vian trumpet violin. He often accompanied his mother to Le Conversation Qui Pêche (The Angling Cat), a Paris jazz guild run by one of her friends from her resistance years, where saxophonists Archie Shepp and John Coltrane, and trumpet players Don Carmine and Chet Baker were regular performers. These early jazz experiences suggested to him that music may be "descriptive, without lyrics".[2] [nine] He was likewise influenced past the work of French artist Pierre Soulages, whose exhibition at the Musée d'Art Moderne de la Ville de Paris he attended. Soulages' paintings used multiple textured layers, and Jarre realised that "for the first time in music, you could act as a painter with frequencies and sounds."[2] He was too influenced by classical, modernist music; in a 2004 interview for The Guardian, he spoke of the upshot that a performance of Stravinsky's The Rite of Spring had upon him:

This is where Stravinsky created it in 1913, and it was a huge shock. I also saw the concluding concert by the great Arabic singer Om Khalsoum. She is the goddess, the Maria Callas of the Orient. And then I heard "Georgia on My Mind" by Ray Charles, and I realised that music tin can talk to your tum. I was so impressed past the organic sensuality coming from Ray Charles's music – at that place was no intellectual process and information technology was corking.[10]

As a immature human Jarre earned coin past selling his paintings, exhibiting some of his works at the Lyon Gallery – L'Œil écoute, and by playing in a band called Mystère Iv. While he studied at the Lycée Michelet, his female parent arranged for him to take lessons in harmony, counterpoint and fugue with Jeannine Rueff of the Conservatoire de Paris.[8] [9] In 1967 he played guitar in a band called The Dustbins, who announced in the film Des garçons et des filles [fr] . He mixed instruments including the electric guitar and the flute with tape effects and other sounds.[two] More experimentation followed in 1968, when he began to employ tape loops, radios and other electronic devices, but joining the Groupe de Recherches Musicales (GRM) in 1969,[viii] [11] then under the direction of Pierre Schaeffer ("begetter" of musique concrète), proved hugely influential.[12] Jarre was introduced to the Moog modular synthesizer and spent time working at the studio of influential German composer Karlheinz Stockhausen in Cologne.[13] [14] [15]

In the kitchen of his flat on Rue de la Trémoille, near the Champs-Élysées, Jarre prepare a small recording studio. Information technology included his outset synthesiser, an EMS VCS 3,[16] and an European monetary system Synthi AKS, each linked to Revox tape machines. For a 1969 exposition at the Maison de la Culture (Cultural House) in Reims, Jarre wrote the v-minute vocal "Happiness Is a Sad Song". His first commercial release was La Cage/Erosmachine, a mixture of harmony, tape effects and synthesisers in 1969.[17]

1970s [edit]

In 1971 Jarre was deputed by choreographer Norbert Schmucki to perform a ballet called AOR (in Hebrew, "the light"), at the Palais Garnier.[18] [19] He also composed music for ballet, theatre, advertisements and television programs,[eight] as well as music and lyrics for artists like Patrick Juvet and Christophe.[ii] Jarre equanimous the soundtrack for Les Granges Brûlées [20] and in 1972 wrote music for the International Festival of Magic.[21] That year he also released his starting time solo album, Deserted Palace,[17] and from 1973 to 1974 wrote music for Françoise Hardy and Gérard Lenorman, and wrote lyrics for Christophe and directed Christophe's Olympia show.[21]

Jarre's 1976 depression-budget solo anthology Oxygène, recorded at his dwelling house studio, made him famous internationally. It comprises vi numbered synthesiser tracks that make strong utilise of melody, rather than rhythm or dissonance. A Scully eight-track recorder was used to record instruments like the Eminent 310 (with an Electro-Harmonix Small Stone phaser on its string pads) and the Korg Minipops drum motorcar. Liberal use of echo was used on the various audio effects generated by the VCS3 synthesiser.[12] [22] Jarre's ARP 2600 synthesiser, previously used on his collaborations with Christophe, also featured, equally did his European monetary system VCS 3.[16] In addition, he used other synthesizers and electronic instruments such every bit the European monetary system Synthi AKS synthesizer, the RMI Harmonic synthesizer, the Farfisa professional organ, the Eminent 310U, the Mellotron, and the drum machines Minipops-vii.[23]

Oxygène initially proved difficult to sell. Jarre was turned down past several tape companies, until another of Schaeffer'south students, Hélène Dreyfus, persuaded her husband to publish the album on his label, Disques Motors.[2] The first pressing of 50,000 copies was promoted through hi-fi shops, clubs and discos,[22] [24] and by Apr 1977 had sold lxx,000 copies in France. When interviewed in Billboard mag, Dreyfus's director Stanislas Witold said, "In a sense we're putting nigh of our bets on Jean-Michel Jarre. He is quite exceptional and we're sure that by 1980 he volition be recognised worldwide."[25] Oxygène has since sold an estimated 12 million copies, the best-selling French record of all time.[8] It reached number 2 in the Great britain.[26] It also contains his most recognisable single, "Oxygène 4", which reached number iv in the UK single charts.[12] [14] [27] [28]

Jarre's follow-up album, Équinoxe, was released in 1978,[29] though its sales were however healthy, it had less of an impact than Oxygène, only the following year Jarre held a large open up-air concert on Bastille Solar day, at the Place de la Concorde.[2] [28] The costless outdoor effect set a world record for the largest number of spectators ever at an open-air concert, drawing more than ane one thousand thousand spectators.[8] [30] Although information technology was not the first time he had performed in concert (Jarre had already played at the Paris Opera Ballet), the 40 infinitesimal-long event, which used projections of light, images and fireworks, served equally a design for Jarre's future concerts.[ii] [8] Its popularity helped create a surge in sales—a further 800,000 records were sold between 14 July and 31 August 1979—and introduced the Frenchman to Francis Rimbert, who worked for Jarre during two decades on a full-time basis.[31] [32]

1980–1984 [edit]

By the fourth dimension Les Chants Magnétiques was released on 20 May 1981, Oxygène and Équinoxe had achieved global sales of almost six one thousand thousand units. In its first two months the new album sold a reported 200,000 units in France lone.[33] The album uses sounds from the Fairlight CMI, a new musical instrument of which Jarre was an early on pioneer. Its digital engineering allowed him to continue his earlier sonic experimentation in new ways.[34]

The album's release coincided with Jarre's first foreign tour. In 1981, the British Embassy gave Radio Beijing[35] copies of Oxygène and Équinoxe, which became the first pieces of foreign music to be played on Chinese national radio in decades. The Commonwealth invited Jarre to become the outset western musician to play in that location, with Les Concerts en Chine.[36] The performances were scheduled to run from eighteen October to 5 November 1981.[33] The outset, in Beijing, was initially attended mostly by officials, but earlier the concert began technicians realised that not enough power was bachelor to supply the stage and auditorium. Chinese officials solved the problem by temporarily cutting power to the surrounding districts.[37] The stadium was most full when the concert began, simply as Beijing'southward buses stopped running at about ten o'clock, near half the audition left before it finished.[38] To boost the audience omnipresence for the second night, Jarre and his production team purchased some of the concert tickets and gave them to children on the streets (Jarre originally wanted the concerts to exist gratis, but the Chinese authorities decided to charge between £0.20 and £0.l per ticket).[37] The issue was notable for its lack of audience interest; the Chinese were manifestly unmoved by both the music and the calorie-free show, and adulation was muted. At the second venue, Shanghai, Jarre encouraged audience participation by stepping into the crowd, which became much more exuberant than that in Beijing.[2] Recordings of the concerts, which featured one of Jarre'south signature electronic instruments, the laser harp, were released as a double-disc LP in 1982.[28] [39]

In 1983 Jarre was approached to create background music for a supermarket-themed art show, the Orrimbe bear witness held June 2–30, 1983 at the J.C. Riedel Gallery, Paris.[40] Since all the pieces of artwork in the prove were to be auctioned off after the show, Jarre decided his Musique pour Supermarché should consist of a single re-create of the LP, to be auctioned off afterwards just similar the artwork, with the principal tapes and plates publicly destroyed. Jarre did allow Radio Luxembourg to broadcast the album, once, in its entirety, and encouraged listeners to record the broadcast. The auction was held on July 5, 1983, at the Hôtel Drouot auction firm in Paris, and raised about seventy,000 francs for charity. Jarre explained this was his protestation at the "silly industrialisation of music".[13] [41] Some parts of the album were reworked the following year (including "Diva" and "Apathetic Blah Café" from Zoolook, and sections of the "Fifth Rendez-Vous"). Both Music for Supermarkets and Zoolook made heavy use of the Fairlight CMI's ability to sample sound. Zoolook features snippets of words and spoken language from languages across the earth.[2] Laurie Anderson provided the vocals for the rail "Diva". A long list of musicians, including Adrian Belew and Marcus Miller, likewise made significant contributions.[42] The album was somewhat less successful than Jarre's previous works, reaching merely number 47 in the UK album charts.[28]

I've always been involved in ethnic music, though I thought the mode a lot of people accept been using ethnic music was a little superficial. Sometimes it works, like the Brian Eno stuff, it worked the first time, just for me what was more interesting was non making a particular statement about recording in Africa or in China, merely taking some sounds and having exactly the aforementioned mental attitude as when you were in front of a Moog 55 or a modular organisation, replacing the oscillators with a bank of actors or people, treating them through the Fairlight or the EMS synth, and establishing an orchestration using simply voices.[43]

1985–1989 [edit]

In 1985, Jarre was invited by the musical director of the Houston Grand Opera to perform a concert celebrating Texas's 150th anniversary on 5 April 1986. Although he was busy with other projects and was at get-go unimpressed by the proposal, on a afterwards visit to the city, he was immediately impressed by the visual grandeur of the urban center's skyline and agreed to perform. Besides, 1985 marked the 25th anniversary of the foundation of the Lyndon B. Johnson Space Heart;[ citation needed ] and NASA asked Jarre to integrate the anniversary into the concert.[two]

Rendez-Vous was created over a period of about two months and, as with Zoolook, contains elements of his album Musique pour Supermarché.[34] Its three movements represent Houston'south development, from a rural economy to its role equally a leader in space technology. January 2022 Bizarre in style, the anthology uses a mixture of French horns, trombones and violins; and information technology features heavy use of the Elka Synthex, notably so on "Second Rendez-Vous", a rails Jarre often performs using a laser harp.[34] Jarre worked with several Houston-based astronauts, including Bruce McCandless 2 and Ronald McNair, an accomplished musician who was to have played the saxophone on "Rendez-Vous VI", recorded in the weightless environment of infinite. The live performance was concise by McNair'south expiry in the Space Shuttle Challenger disaster on 28 January 1986. Consideration was given to the counterfoil of the concert; but McCandless contacted Jarre and urged him to continue, in memory of the shuttle'due south crew. McNair's saxophone slice was recorded by French saxophonist Pierre Gossez and retitled "Ron'southward Slice". At Jarre'southward giant concerts in Houston and Lyon, the office was performed by McNair's friend, American saxophonist Kirk Whalum:

I remember merely before accept-off, Ron calling me in Paris saying "Everything's ready, meet y'all in a week'south time, watch me on tv for the take-off" ... I will really, proceed always, the flake of Ron's smile and Ron'south face in my heart.[2]

About two,000 projectors shone images onto buildings and giant screens upwardly to 1,200 anxiety (370 m) high, transforming the city'southward skyscrapers into spectacular backdrops for an elaborate display of fireworks and lasers.[ citation needed ] Rendez-vous Houston entered the Guinness Book of Records for its audience of over 1.5 million, beating his earlier record, set in 1979. The display was so impressive that a nearby thruway was blocked by passing vehicles, forcing the authorities to shut it for the duration of the concert.[44] [45] Several months subsequently he performed to an audience of about a 1000000 at his dwelling metropolis of Lyon,[46] in celebration of a visit by Pope John Paul II. Watching from Lyon Cathedral, the Pope began the concert with a skilful-night approval, a recording of which appears on Cities in Concert – Houston/Lyon.[2]

In 1988 Jarre released Revolutions. The anthology spans several genres, including symphonic industrial, Arabian inspired, light guitar popular and ethnic electro jazz. A 2-hour concert called Destination Docklands was planned for September 1988, to be held at the Royal Victoria Dock in east London.[47] Close to the heart of London, the location was called in role for its desolate environs, but also considering Jarre idea the architecture was ideally suited for his music. Early in 1988 Jarre met with local officials and members of the community,[48] simply Newham Borough Council expressed their fears almost the effect'southward safety and delayed their decision on whether to allow the concert to proceed until 12 September[47] eventually rejecting the licence application. The local fire service were too concerned almost access in the event of a fire. Site work continued as Jarre's squad searched for alternative locations in which to phase the concert, but following improvements to both on and off-site rubber Jarre somewhen won provisional approval on 28 September to stage 2 split performances, on viii and 9 Oct.[48] [49]

The floating phase on which Jarre and his musicians performed was built on top of four large barges. Big purpose-built brandish screens were built, and ane of the buildings to be used as a properties was painted white. Ane large mirror ball being transported to the consequence fell onto the roadside, causing a degree of defoliation as some people mistook information technology for a fallen satellite. Earth State of war 2 searchlights were installed, to illuminate the sky and surrounding architecture.[48] Along with thousands in the surrounding streets and parks, 200,000 people watched Jarre and guests such as guitarist Hank Marvin perform in less than ideal conditions. Inclement weather had threatened to break the stage from its moorings, putting paid to the original plan to float the stage across the Purple Victoria Dock. Current of air speeds were so loftier that television cameras were diddled over. On the second evening the audition, which included Diana, Princess of Wales,[46] was soaked by rain and wind.[48]

1990s [edit]

In 1990 Jarre released En Attendant Cousteau (Waiting for Cousteau), inspired by the French oceanographer Jacques-Yves Cousteau.[46] On Bastille Mean solar day 1990 he performed a concert at La Défense in Paris, attended by a record-breaking audition of about two one thousand thousand people, again beating his earlier earth tape.[50] He subsequently promoted a concert near the Pyramids of Teotihuacan in Mexico, to be held during the solar eclipse of 11 July 1991. Nonetheless, with merely weeks to go, important equipment had not arrived and the sinking in the Atlantic Bounding main of a cargo ship containing the purpose-built pyramidal stage and other technical and financial problems made staging the concert impossible. Jarre's thwarting was such that he "could not cope with Mexican food for 2 years".[2]

About two years later he released Chronologie, an album influenced past the techno-music scene. From a technical standpoint, the album is a reversion to a concept seen in Jarre's Oxygène/Équinoxe period, where a grandiose overture precedes more rhythmic sections.[51] The anthology features Jarre'southward traditional drove of instruments like the ARP 2600 and Minimoog, likewise as newer synthesisers such as the Roland JD-800 and the Kurzweil K2000.[52]

In the state of listen I did Chronologie, it's quite close to what I did for Oxygène, using a lot of the old synthesizers of the '70s, like the Moog synthesizer — which I consider to be the Stradivarius of electronic music — mixed with the digital sound and the beat out of the dance scene of the '90s. In a sense, Chronologie is a kind of mixture betwixt the sounds of the '70s and the sounds of the '90s.[51]

Jarre was invited to the inaugural celebrations of the Palace of the Lost Urban center, a hotel located within the Lord's day City in South Africa.[53] 3 concerts were held on 1, ii and 3 December 1992, in which more than 45,000 people attended.[54]

Chronologie was performed at a series of 16 performances across Europe called Europe in Concert. These were on a smaller scale than his previous concerts, featuring a miniature skyline, laser imaging and fireworks. Locations included Lausanne, Mont St Michel, London, Manchester, Barcelona, Seville and the Versailles Palace near Paris.[55] A concert was also held in Hong Kong in March 1994, to mark the opening of the city's new stadium.[56] Jarre performed many of his most well-known hits at the Concert for Tolerance on Guardhouse Day in 1995, jubilant the 50th anniversary of the United nations. The Eiffel Tower was specially lit for the occasion, prompting the installation of a more than permanent brandish.[57] The following December, he created the website "A Infinite for Tolerance", which featured music from En Attendant Cousteau, played while the user browsed a variety of "visual worlds".[58]

In 1997 Jarre returned to the analogue synthesisers of the 1970s with Oxygène 7–xiii,[59] defended to his mentor at the GRM, Pierre Schaeffer, who had died two years before.[60] Eschewing digital techniques developed in the 1980s, in an interview for The Daily Telegraph he said:

The excitement of being able to piece of work on sounds in a tactile, manual, almost sensual way is what drew me to electronic music in the starting time place ... The lack of limitations is very dangerous. It is like the difference for a painter of getting four tubes with iv main colours or being in forepart of a computer with two million colours. You have to scan the two million colours and when you arrive to the last one you accept obviously forgotten the first ane. In the Eighties nosotros became archivists and everything became rather cold equally a upshot.[59]

In September that twelvemonth he set his fourth record for the largest-e'er outdoor-concert audience with a performance at the Moscow State University, celebrating the 850th anniversary of Moscow. The event was viewed past an audience of about iii.5 million.[61] [62] Another large-scale concert followed on 31 Dec 1999, in the Egyptian desert nearly Giza. The Twelve Dreams of the Sun historic the new millennium and offered a preview of his next album, Métamorphoses. The show featured performances from more than one,000 local artists and musicians, and was based on ancient Egyptian mythology almost the journey of the sun and its issue upon humanity.[63]

2000s [edit]

Jarre released his beginning vocal album, Métamorphoses, in 2000.[36] Information technology was mixed on an early version of Pro Tools, a digital audio workstation designed to record, edit and play back digital audio.[11] Métamorphoses marked a departure from Jarre's earlier work. Sound effects used include radio interference from mobile phones, and Macintalk, a Macintosh programme used to generate lyrics on the runway "Love, Love, Love". Contributors included Laurie Anderson, who had also appeared on Zoolook, Natacha Atlas and Sharon Corr.[21]

Looking back, I enjoyed the album, [Oxygène 7–13] but after I finished it I knew that I had to make a fresh start. I had to go somewhere completely unlike. Metamorphoses is similar a blank page for me, a new kickoff.[11]

It was followed in 2001 by Interior Music, created for apply past the audio-visual company Bang & Olufsen, and which did not receive a commercial release. The aforementioned yr he composed, with Francis Rimbert arrangements, the music for the short-lived French channel Match TV, and contributed music to the soundtrack of the film Who wants to exist a Star.[ commendation needed ] On seven September 2002, Jarre held a very wet and muddy concert at the Gammel Vrå Enge [da] near the city of Aalborg in Kingdom of denmark, with 40,000 spectators (including 5,000 VIPs). Danish band Safri Duo featured on the track "Aero", which in fact was Bourges two from the performance earlier that year, and Rendez-Vous 4. The concert was broadcast live on various TV stations around the world and a shortened one-60 minutes version was made available for rebroadcast.[64] [65]

By no mistake of Jarre, due to 22 millimeters of pelting and lack of proper preparation for and execution of the event, it took several hours for all people to exist able to leave the area, and many cars were stuck until the next day. The problems later on became a big issue in Danish media, since, had there been an blow, it would be extremely difficult for aid to go to the location. 2 years previously, nine people were killed at Roskilde Festival, which had brought focus on security at big concerts. Preparations for AERO were later proven to have been defective, and the constabulary investigation ended, in function, that permission for the concert should not accept been granted.[66] [67] Reactions from spectators were mixed, some challenge it was dangerous, and others saying it was a case of overreacting.[65]

In 2002 he released Sessions 2000, a set up of experimental synth-jazz pieces distinct from his previous work. Sessions was well received by Billboard Magazine, which said "He's created a deeply nuanced soundscape that invites repeated listening."[68] A concert in September 2002 at a air current farm near Aalborg in Denmark proved problematic when 22mm of rain vicious on the venue, causing long delays for spectators.[64] [69] It also marked a alter in direction in Jarre's live concerts; from Rendez-vous Houston onwards he had been accompanied by a total complement of live musicians, merely at Aalborg he was accompanied only by Francis Rimbert, and having guests like the Klarup Girls Choir, Safri Duo and the Aalborg Symphonic Orchestra.[64]

In 2003 he released Geometry of Dearest, deputed past Jean-Roch as a soundtrack for his 'Five.I.P. Room' nightclub in France. It contains a mix of 'electro-chill' music, with touches of his more than traditional style.[70] In October 2004 he returned to Prc to open its "Yr of France" cultural exchange. Jarre gave two performances, the outset at the Meridian Gate of the Forbidden City, and the second in Tiananmen Square. More than 15,000 spectators watched the concert at the Meridian Gate, and each concert was transmitted nationwide on live television. Jarre collaborated with musician Chen Lin. Accompanying his traditional musical repertoire, 600 projectors shone coloured light and images across various screens and objects.[71]

In September 2004, Jarre released AERO, both a DVD and a CD in one package. Purportedly the world's get-go album released for v.one systems, with it being fully "constructed" in 5.1 environs sound, information technology contains re-recorded versions of some of his most famous tracks, including tracks from Oxygène and Équinoxe. Accompanying the audio, the DVD features a visual image of Anne Parillaud'due south eyes, recorded in real fourth dimension as she listened to the anthology.[ten] [72] Jarre used the minimalist imagery to reinforce the audio content of the DVD.[73] The CD was mixed in super-stereo.

In his office of UNESCO Goodwill Ambassador, Jarre performed a concert named Water for Life in Kingdom of morocco, on 16 December 2006, to celebrate the Un Year of Desertification in the world.[74] The performance was in forepart of the Erg Chebbi Dunes of Merzouga, in the Sahara. A free outcome, it was attended past about 25,000 people. Images of h2o and the environs were projected onto nine vertical screens, held in place past sand which was watered to keep it hard. Several permanent drinking fountains were built on the site, forth with a permanent electricity installation. Jarre was accompanied past over 60 Moroccan artists.[75]

Jarre released Téo & Téa on 26 March 2007.[76] He described the two reckoner-generated characters in the video clip of the title track as being "like twins", one female, one male. The album is supposed to describe the different stages of a loving relationship, and explores the idea that the length of such relationships is unpredictable. Its release demonstrated a move away from virtual instruments and computers that Jarre had been using up to that point; he instead chose to apply a simplified range of devices, including several new epitome instruments. The album's cover was inspired by the David Lynch film Wild at Heart.[72]

In Baronial 2007 Jarre signed for EMI France. He released an ceremony package containing a special alive recording of his classic work, Oxygène, in 3D DVD, alive CD and normal 2D DVD formats in Nov 2007, named Oxygène: New Chief Recording. A commencement for Jarre, the album was recorded live, without tape or hard disk drive playback, with help from Francis Rimbert, Claude Samard and Dominique Perrier. The album also contains three extra tracks ("Variation Role 1", "2" and "3", respectively) non plant on either the original or remake, which form links betwixt the main movements. Jarre plans to integrate the original analog synthesizers from Oxygène into his adjacent anthology, and is building a new private recording studio on the outskirts of Paris.[12] In the aforementioned yr Disques Dreyfus released The Consummate Oxygène, containing the original versions of Oxygène and Oxygène 7–13, and remixes of tracks from Oxygène 7–13.[77]

… there are several Eminent String Machines that make upward one of the main Oxygene cord sounds. Having four of us meant I had to multiply the number of instruments, and finding the equipment was quite a headache, especially as I tried, as much every bit I could, to avoid using instruments produced after Oxygène. In that location are i or 2 exceptions but 95 percent of the instruments are of that time. For me it was really important for the radicalism of the process.[12]

Jarre performed ten concerts (Oxygène Live) in Paris, from 12 to 26 December 2007, held in the Théâtre Marigny, a minor 1000-seat theatre in the Champs-Élysées. Later on in 2008 Jarre performed several concerts to celebrate the 30th anniversary of Oxygène, in theaters in Europe. Following i such performance at the Royal Albert Hall Jarre met Brian May, who proposed he create a concert in Tenerife for the International Yr of Astronomy,[78] just a lack of sponsorship meant that the concert did not take place.[79] In 2009 he was selected as the artistic director of the Globe Sky Race,[fourscore] and as well accepted a role as Goodwill Ambassador for the International Twelvemonth of Astronomy.[81] In 2009 he started an indoor tour in arenas throughout Europe.[82]

2010s [edit]

On 1 March 2010, Jean-Michel Jarre started the second leg of his 2009–10 Indoors tour; on ten June, he was presented with a Lifetime Achievement Award by Mojo mag.[83] On 30 May 2011, Essentials & Rarities, a double-CD set, was released. This was the last Jarre work to exist released by Disques Dreyfus. The Essentials disc is a compilation of some of his nigh famous works. The Rarities disc includes pieces recorded in the years prior to the release of Oxygène. Afterwards this release, Jarre recovered sole intellectual property rights over his work, which had previously been owned by Francis Dreyfus Music. On ane July 2011, Jarre performed a large-scale concert in Monaco to celebrate the union of Prince Albert and his bride Charlene. During the last quarter of 2011 he concluded a tour schedule that had lasted for almost 3 years. He used the same format for a after concert at Carthage during the city's 2013 musical festival.

In June 2013, Jarre was elected as president of the Confédération Internationale des Sociétés d´Auteurs et Compositeurs (CISAC).[84] In Spring 2015, Jarre released the showtime music from a new studio album, released in Oct 2015, following around four years of piece of work.[85] The album, Electronica 1: The Fourth dimension Machine (working title: E-Projection),[86] comprises a number of collaborations with other artists. The first of these to be released was the collaboration with Gesaffelstein entitled Conquistador, followed by Glory, with M83. The track was also featured as part of the soundtrack of a short film entitled EMIC.[87]

Other collaborations on the album include Cipher Gravity tracks with; Armin van Buuren for "Stardust",[88] John Carpenter for "A Question of Blood",[89] Little Boots for If..! [90] and Pete Townshend for Travelator, Pt. 2. The album became Jarre's kickoff album in over 25 years to brand the UK Top 10 at No. viii. In Dec 2016, the album was nominated for the Grammys 2017 Awards in the "All-time Dance/Electronic Album" category.[91] In June 2015, in collaboration with Jean-Michel Jarre, the transmedia projection Soundhunters was released on the platform of the Franco-German channel ARTE.[92] The transmedia conceptualized by the Blies brothers (Stéphane Hueber-Blies and Nicolas Blies), François Le Gall and Marion Guth of the Luxembourg production company a_BAHN, is openly inspired by the anthology Zoolook to which it pays tribute.[93]

Jean-Michel Jarre performing Electronica bout in Bratislava

On 5 Oct 2016, Democracy in Europe Movement 2025 announced that Jarre would exist a member of its informational panel.[94] The transmedia is equanimous of a web documentary using Zoolook 'due south creative process involving 4 international artists (Simonne Jones, Mikael Seifu, Daedelus and Luke Vibert);[95] a 52' documentary film directed past Beryl Koltz broadcast in September 2015 on ARTE (with the participation of Chassol, Matthew Herbert, Blixa Bargeld, Jean-Michel Jarre, Matmos, Kiz, Joseph Bertolozzi); and finally a participatory tribute music album whose tracks were called by Jean-Michel Jarre, entitled Zoolook Revisited.[96] [97] Soundhunters won the Fipa d'Or 2015 in Biarritz.[98] Soundhunters was besides presented in conference at SXSW[99] and Convergence NYFF 2016.[100] In 2016, Electronica 2: The Heart of Noise was released with 15 more collaborators, including Pet Shop Boys, Hans Zimmer, Yello and Gary Numan. One runway (eight "Get out") includes speech by Edward Snowden.[101] Electronica 2 has been nominated in the Album de musiques électroniques ou trip the light fantastic toe category for the Grammy 2017 in USA & Victoires de la Musique 2017 awards in French republic.[102]

On 11 April 2016, it was revealed that Jarre worked in collaboration with British virtual ring Gorillaz on their fifth studio anthology Humanz.[103] [104] [105] He also equanimous during 2016 the soundtrack for the French news network French republic Info.[106] [107] This soundtrack, in an orchestrated arrangement, was released as Radiophonie Vol. nine on 13 January 2017.[108] On 30 September 2016, Jarre himself announced on Facebook a new album, called Oxygène 3, released on ii December 2016, the 40th anniversary of Oxygène.

In 2017, he performed a concert near the fortress of Masada, for the purpose of saving the Dead Bounding main.[109] He also performed a special concert for the opening of the Año Jubilar (Jubilee year) at the Monasterio de Santo Toribio de Liébana, in Spain.[110] Both concerts were heavily based in the Electronica Bout concept. During May 2017, Jarre toured in Canada and United states for the first time in his career,[111] and in July 2017 another leg of the bout was held in Europe.

In March 2018, Jarre performed in South America for the first fourth dimension every bit part of his Electronica Bout in Buenos Aires[112] and Santiago de Chile.[113] These concerts were originally scheduled for November 2017, only problems with the production company caused the rescheduling.[114] The 2018 leg of the bout continued in Canada and the United States during April, including the presentation of the Electronica prove with a reduced track list in the Coachella Valley Music and Arts Festival, catastrophe with a one-off concert at Riyadh to celebrate the 88th Saudi National Day (23 September). This concert was called "The Greenish Concert", and involved laser projections on the skyscrapers of the financial eye of Riyadh.[115] In September 2018, a studio compilation album entitled Planet Jarre – 50 Years of Music, consisting of forty-i songs in "four quite unlike styles of limerick", was released.[116] Jarre released his new studio album Equinoxe Infinity in November 2018.

On 26 November 2018, Jarre and Scott Kirkland of The Crystal Method announced that they would be collaborating on a track on Jarre's next Electronica album.[117] In January 2019, HSBC revealed their new musical identity, equanimous by Jarre.[118] On three Oct 2019, French editor Robert Laffont published Melancolique Rodeo, Jarre's autobiography. Jarre started a promotional tour for his book. On 7 November 2019, Jarre announced the release of an application for the iOS operating system named EōN. This application contains morphing graphics created by an algorithm developed by Alexis André of Sony Computer Science Laboratories, and music generated from vii hours of recorded cloth past Jarre.[119] This music is always unlike on every device. The AI algorithm which composes on the fly based on the rules set past Jarre was adult by BLEASS.[120] A limited deluxe box gear up was later released with excerpts from the awarding and a book with snapshots.[121]

2020–nowadays [edit]

On 31 December 2020, Jarre held a virtual New Twelvemonth'due south Eve concert online.[122] He performed from a studio in Paris, but it appeared virtually from a Notre Matriarch setting. The show has had over 75 million viewers as of 5 Jan 2021.[123] The evidence was done in back up of his new album "Welcome to the other side," which features 12 tracks from his previously released music.[124] The recording of the concert was released on CD, LP and Blu-ray in September, 2021.[125]

On 21 June 2021, Jarre was awarded Commander to the Legion of Accolade by French president Emmanuel Macron at the Elysée presidential palace in Paris. Later the ceremony he performed at the aforementioned venue as role of the Fête de la Musique.[126]

Personal life [edit]

Jarre was married to Flore Guillard from 1975 until 1977.[127] He met his second married woman, actress Charlotte Rampling, at a dinner party in St Tropez in 1976.[128] The two married, and Jarre gaining custody of his daughter Émilie Charlotte,[128] and Rampling did the same with her son Barnaby, also Jarre and Rampling had David as a son.[129] Jarre and Rampling separated in 1996[130] [131] and divorced in 2002.[132] He had a cursory human relationship with Isabelle Adjani,[133] and married French actress Anne Parillaud in May 2005.[134] In November 2010 the couple appear their divorce.[135] In 2019, Jarre married Chinese actress Gong Li.[136] Jarre has a half-sister, Stéphanie Jarre, from Maurice Jarre's other marriages.[27] His stepbrother, Kevin Jarre, died in 2011.[137] Although Maurice and Jean-Michel remained estranged, following Maurice'south death in 2009, Jarre paid tribute to his legacy.[138]

Jarre said well-nigh his father: "My father and I never really achieved a real relationship. Nosotros probably saw each other 20 or 25 times in our lifetime. When you are able, at my age, to count the times you have seen your father, information technology says something... I think it'south improve to accept conflict, or, if yous take a parent who dies, y'all grieve, merely the feeling of absenteeism is very hard to fill, and it took me a while to absorb that.[five]

Large concerts [edit]

Date Audience Place Result Note
14 July 1979 1 one thousand thousand France Place de la Concorde celebrating Bastille 24-hour interval 1st entry in the Guinness Book of Records for largest outdoor concert crowd.[30] [two]
5 April 1986 1.5 million United States Houston celebration of the 150th anniversary of Texas and 25th anniversary of NASA 2nd entry in the Guinness Book of Records.[2] [139]
5 October 1986 0.8 meg France Lyon To celebrate Pope John Paul II'due south visit to Jarre's hometown of Lyon. [2]
8, 9 October 1988 0.2 million United Kingdom London Large outdoor concert titled "Destination Docklands" performed in London's docklands. Noted for its planning difficulties and poor weather[two]
14 July 1990 two.5 million France Paris la Defénse celebration of the 200th anniversary of the French Revolution 1789–1989 3rd entry in the Guinness Book of Records.[2] [50] [140]
14 July 1995 1.25 million France Eiffel Tower UNESCO's 50th altogether and UNESCO'South proclaimed year of tolerance[141] Originally intended to have place at Les Invalides, merely changed at brusk notice. Was originally announced as the kickoff of a serial of Concerts For Tolerance. Only the Paris concert took place.[142]
half-dozen September 1997 iii.5 million Russia Moscow Jarre was invited for a concert celebrating the 850th birthday of Moscow fourth entry in the Guinness Book of Records (equal with Rod Stewart'southward 1994 Copacabana concert) [62]
14 July 1998 0.8 million France Eiffel Tower Guardhouse 24-hour interval "Electronic Nighttime", featuring Jarre performing with numerous dance artists, playing heavily remixed versions of Jarre's music[143]
31 December 1999 0.1 1000000 Egypt Giza Plateau New Millennium "The Twelve Dreams of the Lord's day", jubilant the 7th millennium of Egypt, and part of the worldwide celebrations for the year 2000.[144]

Honours [edit]

An asteroid, 4422 Jarre, has been named in his laurels.[172] He is an honorary denizen of Gdansk.[173]

Discography [edit]

As of 2004, Jarre had sold an estimated fourscore million albums.[174]

Studio albums [edit]

  • 1973 – Deserted Palace
  • 1973 – Les Granges Brûlées
  • 1976 – Oxygène
  • 1978 – Équinoxe
  • 1981 – Les Chants Magnétiques
  • 1983 – Musique pour Supermarché
  • 1984 – Zoolook
  • 1986 – Rendez-Vous
  • 1988 – Revolutions
  • 1990 – En attendant Cousteau
  • 1993 – Chronologie
  • 1997 – Oxygène 7–13
  • 2000 – Métamorphoses
  • 2001 – Interior Music
  • 2002 – Sessions 2000
  • 2003 – Geometry of Dearest
  • 2007 – Téo & Téa
  • 2007 – Oxygène: New Master Recording
  • 2015 – Electronica 1: The Time Machine
  • 2016 – Electronica 2: The Heart of Noise
  • 2016 – Oxygène 3
  • 2017 – Radiophonie Vol. 9
  • 2018 – Equinoxe Infinity
  • 2019 – Snapshots from EōN
  • 2020 – Radiophonie Vol. x
  • 2021 – Amazônia

Soundtracks [edit]

Jarre composed for movies and likewise participated in documentaries.[175]

  • 1979 – The Hamburg Syndrome
  • 1981 – Gallipoli – Oxygene
  • 1984 – Le voyage d'Orphée (artistic collaborator)
  • 1990 – "Rendezvous 2" was used in the background and also as the instrumental theme song of the Hindi movie Agneepath, where Jarre was appropriately credited
  • 1986 – "Arpegiator" used uncredited in 9½ Weeks, and not included on the soundtrack album
  • 1997 – Jean-Michel Jarre: Oxygene in Moscow (himself)
  • 2002 – Jean-Michel Jarre: Aero (himself)
  • 2012 – Musique(due south) électronique(s) : documentary of Jérémie Carboni (Oxygene slice and himself as composer)

Encounter also [edit]

  • Listing of ambient music artists
  • List of Jean-Michel Jarre compositions with multiple titles
  • Listing of Jean-Michel Jarre concerts

Explanatory notes [edit]

  1. ^ "Jean-Michel" is a single proper name, rather than two separate ones, although in certain cases it is written without the hypen.

References [edit]

Citations [edit]

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Sources [edit]

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External links [edit]

  • Official website
  • Jean-Michel Jarre at IMDb

gattyshoundow.blogspot.com

Source: https://en.wikipedia.org/wiki/Jean-Michel_Jarre