★ Wishing you a very Happy Easter that is filled with plenty of love and happiness ★

The budding trees, the new flowers,
and birds that sweetly sing,
whisper to me that it's Easter.
Here is wishing a warmth for your soul
on Easter and always! 

Happy Easter!

★ WELCOME TO MY BLOG ★

★  CHANNEL DEDICATED TO THE GENIUS OF JEAN MICHEL JARRE ★
                 ★  THANK YOU SO MUCH FOR VISITING MY BLOG ★

All works are for fans of music Jean Michel Jarre!

                 

French artist, born in Roanne on 13th October 1946, well known for designs of Jean-Michel Jarre's albums.

1977   Oxygène     Jean Michel Jarre     Cover Art, Cover Design, Cover Painting, Liner Notes,                                                        Original Paintings, Recto  

1978         Equinoxe          Jean Michel Jarre        Artwork, Cover Design, Recto 

1986         Rendez-Vous    Jean Michel Jarre        Cover Art, Design Couverture, Illustrations

1993         Chronologie     Jean Michel Jarre        Artwork, Illustrations, Unknown Contributor Role

1997      The Complete  Oxygene  Jean Michel Jarre       Cover Art, Recto

1997      Oxygene 7-13   Jean Michel Jarre        Cover Art, Illustrations

2005      Oxygène / Chronologie  Jean Michel Jarre  Recto

2006      Equinoxe/Zoolook      Jean Michel Jarre      Recto 

Michel Granger. ... Jean-Michel Jarre, Charlotte Rampling - 1986 - Paris.

Jean Michel Jarre,

Granger est un manipulateur, archéologue des médias. Il fouille dans notre époque pour en retirer des images miroir, des images dérisoires, des images oeuvre d’art. Entre le vide de certains mots et le toc de certaines photos, Granger se tient debout pour chroniquer notre vie, avec inspiration, tendresse et humour.

OFFICIAL: 

Michel Granger

Animation: OXYGENE by Michel Granger...

             

В Москве состоится шоу Жан-Мишеля Жара в связи с открытием бутика Lalique

Дата публикации: 20.03.2012

 22 марта 2012 года в самом центре Москвы, в Третьяковском проезде, по случаю торжественного открытия бутика Lalique, состоится незабываемое световое шоу Жан-Мишеля Жара (Jean-Michel André Jarre).
.
Автор и постановщик грандиозных музыкально-световых шоу Жан-Мишель Жарр впервые с 1997 года, когда он принимал участие в праздновании 850-летия Москвы, покажет грандиозное световое представление на открытом воздухе. В этот вечер все желающие смогут посмотреть шоу в Третьяковском проезде, а клиенты дома Lalique будут приглашены на закрытую презентацию новой коллекции новый бутик на Никольской улице.

 

Дом Lalique, созданный в конце XIX века Рене Лаликом, создает предметы интерьера, безупречные изделия с необычными сочетаниями цветного хрусталя и эмали, ювелирные украшения, уникальные флаконы для парфюма и собственные ароматы.  

Source: f2f-mag.ru

Claude Monnet – DJ, producer, supporter, musical fountain, luminaire.

Claude Monnet – DJ, producer, supporter, musical fountain, luminaire.

The above words can be used to describe one of France’s most-revered house and electronic music DJ’s. From his inception into music at the tender young age of 16, where he learnt how to spin wax at landmark clubs such as Le Queen, Le Palace and Les Bains Douches, to currently touring the world from London to Singapore and beyond, Claude’s name has become synonymous with deep grooves and blissful beats – it’s all given an extra special, smooth French touch, keeping Claude’s trademark style firmly in tact.

His sober attitude and uncompromising love of music have allowed him to be recognized as one of the world's best DJ producers – this recognition propelled him into some of the largest electronic music events such as Ibiza's “French Revolution” with Daft Punk and Cassius in 1998 and the co-production of a 1998 Eiffel tower show with Jean-Michel Jarre in front of more than one million people (and subsequent Jarre's "Odyssey Through 02" album).

Nowadays, when he’s not travelling the world, dazzling the super cool crowd of The Rex in Paris, or caressing the crowds of Pacha and Amnesia in Ibiza, Claude keeps busy as a producer and record label boss. A man with a keen and clear vision, Claude set up labels SSOH and Analog, both focusing on different strands within the vast world of electronic music.

Where Analog concentrates on Claude’s own masterful production skills as he weaves dreamy big room house, SSOH heads further into the underground, championing and supporting artists who are breaking entities and looking for a lift into the scene they so adore. Previous Frenchmen who have felt the golden Claude touch have been Parisian disco mainstay Dimitri From Paris, DJ Gregory, Llorca, Franck Roger, Rocco, David Duriez and Laurent Garnier. They are of course in the best hands when they approach the Godfather of the Parisian dance scene – he did of course discover the ever-popular popstar/producer Martin Solveig. Hell, Claude’s son even starred in the video for Martin’s smash hit single ‘C’est la vie’.

Claude’s music finds its roots heavily entrenched within a number of musical disciplines, each bleeding, melding and growing into one another. Detailed but eclectic, Claude’s music exploits the musical timbres and conventions of house, soul, disco and funk, extracting the best bits and mixing them with Latin and African beats, infused by a warm energy akin to Detroit Techno. Keeping its identity firmly in the underground, whilst simultaneously experimenting with the hooks and pop conventions of more commercial Dance music, the beauty of Claude’s sound is it’s ability to sit comfortably between the underground and over-ground scenes – able to make each strand to come together and share inspiration, whilst he confidently forges his own unique sound and image somewhere between the two. A skill he has become an expert at, with over 20 years in the game, and his first production coming out in 1995, Claude’s integrity and ear for music are second to none.

Creating special events for international DJs such as Not2bad, Claude Monnet's passion always leads him to groundbreaking projects such as Back to Fundamentals, a mix of electronic music and urban art. 2010 and beyond is certainly no different – with a new initiative about to begin with the B2F project, keep your eyes peeled for a succession of EP releases from the stable, including a popular monthly podcast series, each month taking the listener through a delectable journey through house music and disco-tinged funk. Old and New, smooth and heavy and always on point, with a huge core fan base and a large, power-sharing focus of interactivity through street art competitions and initiatives, Claude’s B2F podcasts have become a benchmark for quality in the global scene.

And so…with projects planned throughout 2010 and into 2011, two high quality and prolific labels, plus a third label / podcast / creative concept all set to gain even more pace, we invite you to dive in and discover as Claude extends the reach of his warm, thoughtfully crafted beats and uniquely creative approach on modern music. Claude Monnet. 20 years in the making…and still going strong.

OFFICIAL SITE: 

SPTL048: Claude Monnet by Ibiza Spotlight on Mixcloud

Tracklist

01- DAGUI RODANN & TIMOTHEE MILTON - ETERNAL LOVE - CLAUDE MONNET'S JOURNEY IN THE LOOP DUB - SSOH
02- SOUL CLAP - BREAK 4 LIFE - CROSTOWN REBELS
03- KEVIN YOST AND PETER FUNK - RETURN TO THE DEEP - I RECORDS
04- FRANCESCO TARANTINI - SATURDAY NIGHT - SSOH
05- PIRUPA - GUARDA (ORIGINAL MIX)- SAVED
06- RAMON TAPIA - YOU GOT TO KEEP MOVIN - SNATCH
07- LUCIANO ESSE, STEFANO TESTA - CHEMIN - PART TWO-
08- DANIEL STEFANIK - 2 O'CLOCK - BANGBANG
09- RON COSTA - CAMPESINOS- POTOBOLO RECORDS
10- TARAS VAN DE VOORDE - 1998 (DEETRON CHORD TOOL)- REBIRTH
11- MARTIN LANDSKY - 1000 MILES - POKERFLAT

Source: ibiza-spotlight

Jean Michel Jarre confirmed for IMS 2013 keynote

 

 

by Tina Hart 


Synth pioneer Jean Michel Jarre will give the keynote interview at the International Music Summit in Ibiza this year.

Jarre’s appearance follows a trend of influential musicians from the early years of electronic music appearing at IMS - disco hero Giorgio Moroder spoke to delegates in 2012.

Meanwhile founding Chic member Nile Rodgers - who broke the news that he was working with Daft Punk at last year’s IMS, and is the global ambassador for the Association for Electronic Music (AFEM) - will return to the event in 2013.

Each day of IMS 2013, which takes place between May 22-24 at the Gran Hotel in Ibiza, will culminate in one-off shows with sets from Fatboy Slim, BBC Radio 1 DJ Pete Tong, Sven Vath, Maya Jane Coles and DJ Driis (Idris Elba).

Presentations will include a turn from DJ Yoda, who will be giving a technology demo.

Industry speakers at IMS 2013 will include Tag Strategic’s Ted Cohen, The Audience’s Oliver Luckett, Ibiza Rocks’ Shane Murray and Shazam’s Stephen Titmus.

Pete Tong will host the Summit, while other keynote interviewees will include Paul Van Dyk, Sven Vath, and Idris Elba.

Topics up for discussion at the event will include ‘The Changing Face of Ibiza’, ‘Is The American Style Of Doing Business Killing the Heart of Dance Music?’ and a special market focus on Germany.

IMS partner Ben Turner said: “A lot of work has gone into landing Jean Michel Jarre, but we are hugely excited to have his attendance. I interviewed him in 1993 for the Melody Maker when electronic DJs like Slam had remixed his work.

“He is a true pioneer and his understanding of today's scene is quite surprising. His understanding of the challenges facing the business is second to none, and his vision for change is also impressive and inspiring."
Turner added: “Nile set IMS alight last year but it felt like he didn't get to finish his story.

“So welcome back – the man was an inspiration and so much has come from his involvement in IMS 2012.

“He can come back every single year as far as IMS is concerned."

To Register For Delegate Badges And To Book Accommodation Please Visit:

Www.Internationalmusicsummit.Com


         

New additions to IMS 2013 speaker list are:

ARTISTS

Jean Michel Jarre (Keynote Interview)
Nile Rodgers (Keynote Interview part two)
DJ Yoda (technology demo)
Guy Gerber (Changing Face of Ibiza panel)

INDUSTRY

Ted Cohen (Tag Strategic)
Oliver Luckett (The Audience)
Shane Murray (Ibiza Rocks) / (Changing Face of Ibiza panel)
Marcus Trojan (Weekend club) / (Market Focus: Germany)
Stephen Titmus (Shazam) (Where Does All The Money Go)


FULL CONFIRMED SPEAKER LIST FOR IMS 2013:
ARTISTS:

Jean Michel Jarre (Keynote Interview)
Nile Rodgers (Keynote Interview part two)
DJ Yoda (technology demo)
Guy Gerber (Changing Face of Ibiza panel)
Fatboy Slim (IMS Legends Dinner Recipient)
Sven Väth (Keynote Interview)
Driis Aka Idris Elba (Keynote Interview)
Solomun (IMS Grand Finale DJ)
Paul Van Dyk (Keynote Interview)
Maya Jane Coles (IMS Grand Finale DJ)
Pete Tong (Host)
Groove Armada (IMS Anthem Creator)
Eats Everything (IMS Anthem Remixer)
Arthur Baker (Exclusive Film Screening)
Scuba (IMS Grand Finale DJ)
Monika Kruse (Market Focus: Germany)
Nicky Romero (Ghostdancing Debate)
Timo Garcia (Ghostdancing Debate)
Shadow Child Aka Dave Spoon
Tensnake (IMS Grand Finale Live Act)
Kaz James (IMS Legends Performer)
Le Carousel (IMS Grand Finale Live Act)
Tom Staar (IMS Legends Performer)

INDUSTRY:

Ted Cohen (Tag Strategic)
Oliver Luckett (The Audience)
Shane Murray (Ibiza Rocks) / (Changing Face of Ibiza panel)
Marcus Trojan (Weekend club) / (Market Focus: Germany)
Stephen Titmus (Shazam) (Where Does All The Money Go)
Bob Lefsetz (Keynote Interview)
Patrick Moxey – Ultra / Sony Music (Keynote Interview)
Marc Geiger – William Morris Endeavour (Keynote Address)
Emmanuel De Buretel – Because (Keynote Interview)
Andrea & Antonio – Circoloco@DC10 (DC10: The Story…)
Amy Thomson – ATM Artists, Swedish House Mafia (Keynote Interview)
Shelly Finkel – SFX (Keynote Interview)
Duncan Stutterheim – ID&T/Tomorrowland (Keynote Interview)
Anja Schneider & Ralf Kollmann – Mobilee Records (Market Focus: Germany)
Arash Shirazi – The Bullitt Agency, Dubfire?Ash Pournouri – At Night Management, Avicii?David Vincent – Sankeys?David Waxman – Ultra Music?Francisco Ferrer – Pacha?Judy Weinstein – Def Mix, Frankie Knuckles?Maria May – CAA, David Guetta?Nikhil Shah – Mixcloud?Sam Evitt – Method Music, Disclosure?Stephen Greene – RockCorps?Valentino Barrioseta – Bridges For Music?Yann Pissenem – Ushuaia
Danny Whittle – The Ibiza Network
Ben Turner – IMS/Graphite Media (AFEM)
Kurosh Nasseri – Association For Electronic Music (AFEM)

KEY TOPICS:

Market Focus: Germany
Ghostdancing: The Ghist In The Machine Debate
The Changing Face Of Ibiza
Social Responsibilit In Electronic Music
Where Does All The Money Go And Why Don’t I Get Any?
Women In Dance Music Debate: Year Two!
Next Generation Management
Is The American Style Of Doing Business Killing The Heart Of Dance Music?
IMS Question Time Returns…
Afem: Association For Electronic Music – A Case For

Source: musicweek

Nile Rogers returns, Jean Michel Jarre + more!

"Nile set IMS alight last year but it felt like he didn't get to finish his story. So welcome back – the main was an inspiration and so much has come from his involvement in IMS last year. He can come back every single year as far as IMS is concerned." - Ben Turner, IMS Director

"I was excited to discover the IMS event in Ibiza and particularly the values it holds for a genre of music which I've been involved in from the early beginnings. I continue to push the genre forward in many ways, and I see my Keynote Interview at IMS as a way to continue to communicate my passions to a wider and younger audience - who appear to be today's trailblazers for this genre, all united in one location." - Jean Michel Jarre

"A lot of work has gone into landing Jean Michel Jarre. But we are hugely excited to have his attendance. I interviewed him in 1993 for the Melody Maker when electronic DJs like Slam had remixed his work. So it’s been amazing talking to him again about speaking at IMS. He is a true pioneer and his understanding of today's scene is quite surprising. His understanding of the challenges facing the business is second to none, and his vision for change is also impressive and inspiring." - Ben Turner 

 

Jean Michel Jarre - 2003 (Full album)

          
        

Geometry of Love is an album by Jean Michel Jarre, released in 2003. It is his twelfth studio album and his first release on Warner Music.

This album has more in common with the preceding Sessions 2000 album than releases prior, but the style here is still more electronica than jazz. The music was to be lounge music, played in the background or in the chill-out area of a club. The album was commissioned by Jean-Roch, as a soundtrack for his 'VIP Room' nightclub in France. The CD was initially meant to come out in only 2000 copies. However, it was later released as a generally available CD. It has now been discontinued and copies of it are not being pressed anymore, but it is still available in digital download format. The album was largely produced using Propellerhead's Reason[citation needed] and many preset patches can be heard throughout.

The track "Velvet Road" is a remake of the unreleased composition "Children of Space" created by Jarre for the "Rendez-Vous in Space" concert in Okinawa, in 2001. Some of the sounds in Geometry of Love were used earlier on Interior Music released in 2001. Several tracks from Geometry of Love were included on Jarre's 2006 compilation release Sublime Mix.

 Track listing

"Pleasure Principle" -- 6 :15
"Geometry of Love Part 1" -- 3 :51
"Soul Intrusion" -- 4 :45
"Electric Flesh" -- 6 :01
"Skin Paradox" -- 6 :17
"Velvet Road" -- 5 :54
"Near Djaina" -- 5 :01
"Geometry of Love Part 2" -- 4 :06

Jean Michel Jarre - Zoolook 1984 (Full album)

                        
Zoolook is the fourth overall mainstream studio album by Jean Michel Jarre, and released on Disques Dreyfus in 1984. It makes extensive use of digital recording techniques and sampling. It is considered by many fans[who?] as one of Jarre's most experimental albums to date. Much of the music is built up from singing and speech in 25 different languages, along with synthesizers, as well as more traditional instruments. Much of the tone of the album appears to be influenced by elements of musique concrète and by his time as a student of Pierre Schaeffer.

Parts of the album were reworkings of material that had already appeared as sections of the album Music for Supermarkets, released the previous year. The track "Moon Machine" was recorded for this album but not included; it later appeared on a flexidisc in Keyboard Magazine (March 1986 issue), the 12-inch release of "Fourth Rendez-Vous" (1986), and the much later Images compilation album (1991).

The voices heard on this album were based on recordings of speech and singing in numerous languages: Aboriginal, Afghan, Arabic, Balinese, Buhndi, Chinese, Dutch (Ethnicolor II - 3:15), English, Eskimo, French, German, Hungarian, Indian, Japanese, Malagasy, Malayan, Pygmy, Polish, Quechua, Russian, Sioux, Spanish, Swedish, Tibetan and Turkish.

Track listing

"Ethnicolor" -- 11 :47
"Diva" -- 7 :20
"Zoolook" -- 3 :59
"Wooloomooloo" -- 3 :18
"Zoolookologie" -- 4 :15
"Blah-Blah Cafe" -- 3 :25
"Ethnicolor II" -- 3 :55

Personnel

Jean Michel Jarre -- keyboards, Fairlight CMI
Laurie Anderson -- vocals
Adrian Belew -- guitars, effects
Yogi Horton -- drums
Marcus Miller -- bass guitar
Frédéric Rousseau -- additional keyboards
Ira Siegel -- additional guitars

Equipment :

Linn LM-1
Linn LinnDrum
Simmons SDS V
Eminent 310U
Garfield Electronics Doctor Click
E-mu Emulator
Fairlight CMI-II
ARP 2600
EMS Synthi AKS
Moog 55
Oberheim OB-Xa
Sequential Circuits Prophet-5
Yamaha DX7
EMS Vocoder 1000

Jean Michel Jarre - Metamorphoses 2000 (Full Album)

         
                 

Métamorphoses is an album by Jean Michel Jarre, released on Sony Music in 2000. It was released in the US on Disques Dreyfus in 2004. It is his tenth overall studio album.

This album was, to fans, a surprising break from his previous works, as it makes extensive use of vocal elements, as well as house and techno sounds. The vocal elements are not short, sampled pieces as highlighted in his album Zoolook, but longer, more integral parts of the work, and thus quite surprising for an artist known for his instrumental works. Métamorphoses is also Jarre's first album to contain actual songs with lyrics. Jarre's own voice is heard through a vocoder on many of the songs, but the album contains several other singers as well, mostly female singers. "Rendez-Vous à Paris" features Sharon Corr on violin. "Rendez-Vous à Paris" and "Bells" are the only largely instrumental tracks on the album; on the former only the track title is repeated in rhythm, the latter does not have intelligible lyrics. Although the album was generally not badly received by critics, and despite the collaborations and a number of single releases, Jarre did not achieve great mainstream success with this album.

Track listing

1. "Je Me Souviens" -- 4 :25
2. "C'est la Vie" -- 7 :11
3. "Rendez-Vous à Paris" -- 4 :19
4. "Hey Gagarin" -- 6 :20
5. "Millions of Stars" -- 5 :41
6. "Tout Est Bleu" -- 6 :01
7. "Love Love Love" -- 4 :26
8. "Bells" -- 3 :49
9. "Miss Moon" -- 6 :08
10. "Give Me a Sign" -- 3 :49
11. "Gloria, Lonely Boy" -- 5 :31
12. "Silhouette" -- 2 :29

Personnel

* Jean Michel Jarre -- vocals, processed vocals, keyboards, synthesizers
* Joachim Garraud -- drum programming, sound design, additional keyboards
* Laurie Anderson -- vocals on "Je Me Souviens"
* Natacha Atlas -- vocals on "C'est la Vie"
* Sharon Corr -- violin on "Rendez-Vous à Paris"
* Veronique Bossa -- vocals on "Give Me a Sign" and "Millions of Stars"
* Dierdre Dubois -- vocals on "Miss Moon"
* Lisa Jacobs -- vocals on "Millions of Stars"
* Ozlem Cetin -- vocals on "Silhouette"
* Christopher Papendieck -- additional bass keyboards
* Francis Rimbert -- additional keyboards

Jean Michel Jarre - Love Love Love

      

Jarre released Métamorphoses, his first vocal album, in 2000. The entire album was mixed on an early version of Pro Tools, a digital audio workstation designed to record, edit and play back digital audio. The compositions and their arrangement on this techno-based album co-produced with Joachim Garraud marked a departure from Jarre's previous style. Sound effects used include radio interference from mobile phones (used on the track "Tout est Bleu"), and Macintalk, a Macintosh program used to generate lyrics on the track "Love, Love, Love". Laurie Anderson makes her second guest appearance in the Jarre discography (her first was on Zoolook on the track "Diva".
Other contributors include Natacha Atlas and Sharon Corr.

"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 different. Metamorphoses is like a blank page for me, a new beginning"

—Jean Michel Jarre,

Tracklist:
1. "Je Me Souviens" - 4:25
2. "C'est la Vie" - 7:11
3. "Rendez-Vous À Paris" - 4:19
4. "Hey Gagarin" - 6:20
5. "Millions of Stars" - 5:41
6. "Tout Est Bleu" - 6:01
7. "Love Love Love" - 4:26
8. "Bells" - 3:49
9. "Miss Moon" - 6:08
10. "Give Me a Sign" - 3:49
11. "Gloria, Lonely Boy" - 5:31
12. "Silhouette" - 2:29

Personnel

* Jean Michel Jarre -- vocals, processed vocals, keyboards, synthesizers
* Joachim Garraud -- drum programming, sound design, additional keyboards
* Laurie Anderson -- vocals on "Je Me Souviens"
* Natacha Atlas -- vocals on "C'est la Vie"
* Sharon Corr -- violin on "Rendez-Vous à Paris"
* Veronique Bossa -- vocals on "Give Me a Sign" and "Millions of Stars"
* Dierdre Dubois -- vocals on "Miss Moon"
* Lisa Jacobs -- vocals on "Millions of Stars"
* Ozlem Cetin -- vocals on "Silhouette"
* Christopher Papendieck -- additional bass keyboards
* Francis Rimbert -- additional keyboards

Jean Michel Jarre, tournée 2010 - interview

Interview  was during his 2010 tour and more specifically in Caen.




Source: musikonos.com

Grand Prix des musiques électroniques - Jean-Michel Jarre

Décernés chaque année, les Grands Prix Sacem récompensent des auteurs, compositeurs et éditeurs, membres de la Sacem.
La cérémonie s'est déroulée le 29 novembre au théâtre Marigny.

Quand on est le fils d’un grand compositeur happé par un succès international, le meilleur moyen de le retrouver n’est pas forcément de le rechercher, mais de marcher sur ses traces, en suivant son propre chemin. À 28 ans, Jean-michel Jarre devient aussi connu que maurice avec son album «oxygène» vendu à 18 millions d’exemplaires dans le monde.

En 1978, il publie «Equinoxe» et rassemble ainsi l’année suivante un million de spectateurs place de la Concorde. Puis en 1983, 500 millions de téléspectateurs chinois.
30 ans après, il culmine à 80 millions d’exemplaires dans le monde, 2 Prix Charles-Cros, 10 Victoires, et fait la joie du Guinness Book des Records. Pionnier de la musique électronique française, recordman des ventes 35 ans avant David Guetta, sa carrière est d’une diversité et d’une inventivité surprenantes.

Fils et petit fils de musiciens, c’est par le jazz qu’il a pris goût à la musique, et a commencé à se former au Conservatoire de Paris (harmonie, contrepoint).
Vient le temps des groupes, parallèlement à des études de lettres (licence). En 1968, il entre au GRM (Groupement de Recherches Musicales de Pierre Shaeffer) où il s’initie à la musique électro-acoustique, découvre les premiers synthés, Parmegiani et Stockhausen.
Premières compositions : «Happiness is a sad song», «Erosmachine», et en 1971, bande son du ballet AOR pour l’inauguration du plafond de l’Opéra de Paris, revu par Chagall. Il sera le plus jeune compositeur à être joué à l’Opéra.

                        Jean-Michel Jarre aux Grands Prix Sacem 2010

Après différents génériques TV («Sports en fête»), partitions pour un magicien (Dominique Webb), collaborations avec le groupe Triangle, et la B.O. du film «Les granges brûlées» (avec le duo Delon-Signoret), il offre à Christophe quelques-unes de ses plus belles chansons avec «Les mots bleus», «Senorita» et «Les paradis perdus».
Il compose pour Françoise Hardy, Gérard Lenorman. Ecrit et produit deux albums de Patrick Juvet (dont «Faut pas rêver» et «Où sont les femmes ?») : le grand Chelem.

Mais il se révèle vraiment en 1976 avec «Oxygène» (Prix Charles Cros-18 millions d’albums), suivi d’»Equinoxe» (1978), «Les Champs magnétiques» (1981), «Zoolook» (1984-Victoire de la Musique, Prix Charles Cros, album instrumental de l’année aux USA), «Rendez-vous», «Révolutions», «En attendant Cousteau», «Métamorphoses», «Aéro» jusqu’à «Oxygène 3D» en 2007. Des albums triomphaux qu’on ne saurait dissocier de leur mise en scène, toujours plus spectaculaire et populaire. Parmi lesquels le concert du 14 juillet 79 à la Concorde, les concerts à Pékin et Shangaï, Houston (1,3 millions de spectateurs), Lyon (800 000, pour la venue du Pape), Londres (1 million), La Défense 1990 (2,5 millions), Le Mont Saint Michel, Bruxelles, Hong Kong, La Tour Eiffel 95 (1,5 million), Moscou 97 (3,5 millions), Le Caire, Athènes, Gdansk…

Jean Michel Jarre s’engage volontiers au sein des Nations Unies via l’Unesco en tant qu’Ambassadeur de Bonne Volonté et porte-parole pour l’environnement et l’éducation (L’eau pour la vie et l’Education pour tous) et dans la lutte contre la piraterie auprès de l’Ifpi.

Liste complète des Grand Prix Sacem 2010 :

-Prix Rolf Marbot de la chanson de l'année : La Superbe de Benjamin Biolay
-Grand Prix de l'auteur-réalisateur de l'audiovisuel : Françoise Boulain
-Grand Prix de la chanson française : Christophe
-Grand Prix de la musique symphonique (Prix de carrière) : Marc-André Dalbavie
-Prix Francis Lemarque saluant un jeune créateur : Benoît Dorémus
-Grand Prix de l'édition musicale : Première Music Group avec Claude Duvivier
-Grand Prix de l'humour : Florence Foresti
-Grand Prix du répertoire Sacem à l'export : Gotan Project
-Grand Prix des musiques électroniques : Jean-Michel Jarre
-Grand Prix des musiques du monde : Angélique Kidjo
-Grand Prix du jazz : Sylvain Luc
-Grand Prix de la musique pour l'image : Jean-Claude Petit
-Prix Spécial de la Sacem : Gaëtan Roussel
-Grand Prix de la musique symphonique (Prix jeune compositeur) : Oscar Strasnoy

 Source: sacem.fr

Jean Michel Jarre in "New C", presented by Celine Aubert LCM

Jean Michel Jarre Invite de "C Nouveau"  LCM, present Céline Aubert (2009)
- La Chaine Marseille -

Jean Michel Jarre - Interview Thé ou Café 6/02/2010 (Electronic instruments)

 6 feb 2010. Jean Michel Jarre shows the instruments in his studio and plays some new music.

Jean Michel Jarre - "Au Clair de la Lune" 08/03/2011

                    

Diffusion de l'emission "Au Clair de la Lune" sur France 2 mardi 8 mars à 00h30 - sur la Gaité Lyrique de Paris, avec Jean Michel Jarre - Pedro Winter - Brian Eno - Michel Gondry etc...

Jean Michel Jarre et les "Champs magnétiques"

                      

6 avril 1979.
Le musicien Jean-Michel JARRE est invité sur le plateau de l'émission. Après la diffusion du clip "Champs magnétiques", Jean-Michel JARRE évoque sa façon de concevoir la musique.
Le 6 avril 1979, un ovni débarquait sur le petit écran: conçu et animé par Igor et Grishka Bogdanoff, le magazine Temps X proposait une réflexion autour des grands thèmes de la science-fiction, des nouvelles technologies, de la biologie et de l'évolution de l'espèce humaine. Un « fabuleux voyage aux frontières du possible » à bord d'un décor de navette spatiale. Reportages habillés d'effets spéciaux, films et séries SF mais aussi interviews d'écrivains, de scientifiques et d'artistes venaient ponctuer cette émission hebdomadaire et populaire.

Production:
producteur ou co-producteur
Télévision Française 1
Générique:
participant
Jarre, Jean Michel
présentateur:
Bogdanoff, Grichka

Jean Michel Jarre à propos de la musique électronique (01/12/1979)

Jean-Michel JARRE est invité sur le plateau de "Temps X" afin d'évoquer la musique dite "électronique". Il explique la façon de concevoir des sons et revient sur la "communauté d'intérets entre la musique électronique et la science-fiction".

Jean Michel Jarre - Fnac Paris St Lazare (28/01/2010)

           

Rencontre avec Jean-Michel Jarre, à l'occasion de son concert exceptionnel, le 25 mars, à Paris Bercy. Enregistrement réalisé le 28/01/2010 à la Fnac Paris - St Lazare.

Le son de Jean-Michel Jarre pour votre iPod

Des PC Asus avec un son Bang & Olufsen

On commence avec Aymeric, qui a testé deux nouveaux ordinateurs multimédias Asus, le portable N73JF et le tout-en-un Eee Top ET2400INT. Le son de ces deux machines provient de composants Bang & Olufsen, et ça s'entend !
La première coûte 1 149 euros, la seconde, 1 299 euros.

Un boîtier de PC colossal

On retrouve ensuite, Bruno qui nous fait découvrir le tout premier produit de la marque Bitfénix, un boîtier de PC du nom de Colossus (qui fait ses 17 kg tout de même !). La décoration a été soignée, avec des surfaces transmettant la lumière, selon le principe du rétroéclairage des écrans LCD. Mais l'aspect pratique n'a pas été négligé puisque le Colossus propose sur son sommet un emplacement verrouillable pour un disque dur externe, avec prises USB 3.0. A l'intérieur, c'est le silence qui prévaut, grâce à deux ventilateurs de grande taille.
Ce boîtier coûte 159 euros.

Le son de Jean-Michel Jarre pour votre iPod

On termine avec Adrian, qui revient de chez Jean-Michel Jarre avec l'Aero System One dans ses bagages, une chaîne audio pour iPod et autres baladeurs. L'appareil, monobloc, présente l'avantage d'éliminer les fils d'enceintes, et il se manie comme un dock pour iPod classique. Quant au son, nous vous laissons juges...
Prix : 799 euros.

Jean Michel Jarre - Interview par Gilles Cabel pour ici TELE, le vendredi 17 décembre 2010

Pour son dernier concert de l'année Jean-Michel Jarre offre son show au public palois. En visite de "repérage" au Zénith l'artiste se produira le 11 décembre à Pau. Pour l'occasion il nous livre son travail et l'idée qu'il a de la musique. Accompagné de 3 musiciens électro Jarre réalise le rêve avec cette dernière tournée de jouer dans des lieux fermés et non plus à l'extérieur. Pour lui, le spectacle doit être lors de chaque spectacle, une nouvelle création. Il promet à son public beaucoup de surprises sur la scénographie et mise tout sur l'aspect "live". Un spectacle qui s'annonce vibrant !
Video montage: Claire BLUMENFELD
Produit par "Ici Télé"

Jean Michel Jarre - Interview BBC Stoke

01 September 2010
Amy Clowes is chatting with Jean Michel Jarre.

Jean Michel Jarre discussions sur les préparatifs de "Oxygene 'Live In Your Living Room"

                

Sur scène, aux côtés du maître, se trouvaient Claude Samard, Francis Rimbert et une vieille connaissance : Dominique Perrier. Ensemble, ils ont interprété l'Oxygène de 1977 à l'occasion du trentième anniversaire de sa sortie mondiale, dans les conditions du direct. Un petit compte-rendu en anglais va vous permettre d'en savoir plus sur cet évènement qui met les fans de la planète jarre en émoi. Quand à la nouvelle maison de disque, elle a publié un compte-rendu dont j'ai fait la synthèse ici.

Jean Michel Jarre - Legendary Instruments

Jean Michel Jarre gives a guided tour around the original analogue gear used in recreating 'Oxygene' for the 'Live In Your Living Room' video.

Viva The Brick, see you soon. Jean Michel Jarre

2011-02-23 

Source: thebrick.ro/

AeroSystem One - Articles in magazines ...

Le quotidien Direct Matin parle de l'AeroSystem One dans sa page High-Tech (Édition du 25 Novembre 2010).

Le magazine télé TV Mag présente l'AeroSystem One dans sa page High-Tech (Édition du 26 Novembre 2010).

Le magazine Le Point présente l'AeroSystem One dans son supplément cadeau du 25 Novembre 2011.

Le célèbre quotidien français Le Figaro propose l'AeroSystem One dans son guide Electro du 25 Novembre 2010.

Le magazine L'Ordinateur Individuel consacre deux pages à l'AeroSystem One dans son numéro 234 (Janvier 2011).

Musique(s) électronique(s) : la musique concrète et sa descendance

  

   

It's a documentary about the musique concrète, from Luigi Russolo's 1913 manifesto The Art of Noises to the new generation. In this film, we see an history of this kind of experimental music. Some composers as Jean Michel Jarre, Emilie Simon, François Bayle, Michel Chion, Christian Zanési, Kasper T. Toeplitz, talk about how (and why) they create experimental pieces. This film is for a large audience, it's a discovery of a new gender of music often considered as too elitist.

Source:  en.wikipedia 

Jérémie Carboni

Source:   en.wikipedia

 

Bob Moog How a synth pioneer puts the soul in the machine

 
Lecture: Bob Moog (Cape Town 2003) from Red Bull Music Academy on Vimeo.

Bob Moog changed the face of popular music by creating the first ever commercially available synthesizers. Meet a true genius.





Bob Moog changed the face of popular music by producing the first ever commercially available synthesizers. Began his journey in 1954 when he Enlisted the help of his father to start making theremins, Which he then continued making this for the next years for science fiction movies and avantgarde musicians. The first Moog Modular was put together for fun, as a project for his musician friend Herbert Deutsch. But pretty soon, after the first strains of success by Walter Carlos (who later Became Wendy Carlos), the Moog table its way into the heart of rock and jazz fusion - appearing on The Beatles 'Abbey Road and The Beach Boys' Pet Sounds - and helped instigate all types of electronic music. At the end of 1977, Bob left Moog Music and founded Big Briar, teaching music technology courses at the University of North Carolina at Asheville from 1989 to 1992. Sadly, Moog passed away in 2005. Though he may have left us for a higher plane, he has created an enormous legacy and irreversibly changed the sonic landscape of the world.

Source: rbmaradio.com-chat

Jean Michel Jarre - Interview BBC Stoke

01 September 2010
Amy Clowes is chatting with Jean Michel Jarre.




bbc.co.uk

Jean Michel Jarre: Metamorphosis

04 March 2013

RA's Aaron Coultate talks to the iconic French artist about vintage synths, vaporized techno and society's fear of the future.

Jean Michel Jarre is reeling off some of the music he’s been listening to lately: Actress, Fuck Buttons, Zomby… It’s not the average 64-year-old’s playlist, but Jarre has never really done average. His presence has loomed over electronic music for some four decades. The Frenchman studied under musique concrète progenitor Pierre Schaeffer—one of electronic music’s earliest pioneers—and released the seminal Oxygene LP in 1976, which proved the catalyst to a sustained period of commercial and artistic success throughout the ‘80s and ‘90s. His career has been defined not just by his achievements themselves, but also the scale of them: on Bastille Day in 1979 he played to a live audience of one million in Paris, while a further 100 million tuned in on TV; nearly two decades later in Moscow he performed to a crowd of 3.5 million. He's also sold around 80 million albums (Oxygene alone has sold more than 18 million copies).

Jarre now exceeds the French pension age by four years, but he's not showing any signs of slowing down. He talks excitedly of two new albums he has on the boil. His most recent project, InFiné by JMJ, saw him delve into the French label's back-catalogue and pick out his 12 favourite tracks for a compilation. It was a low-key affair—by Jarre's standards at least. In conversation, he's clearly enthused by the project, earnestly discussing the merits of each inclusion and explaining his shared roots with the label—both he and former label boss Agoria hail from Lyon in southern France—with pride. We called up Jarre at his studio to discuss the compilation's origins, his current musical interests and his ambitious plans for an electronic music academy in East London. 

Can you tell me about how the InFiné compilation came about?

It's a concept that started in my hometown. Like me, InFiné has its roots in Lyon, and lots of the label's artists are also from that part of France. I collaborated with some of the InFiné artists at the Nuits Sonores festival in Lyon last year, and we had a special evening where some of them revisited my work on stage. When InFiné decided to celebrate their tenth anniversary with a compilation, they asked if I would look into their catalogue and make some selections for a compilation.

How did you go about compiling it?

I went through lots of different tracks, and tried to build a kind of journey, using songs and artists that fit well together. As the music on InFiné is quite varied—there are artists from all kinds of different musical worlds—it was important to have some sense of direction on the compilation. A selection like this is always subjective; [the final selection] doesn't come down to which track is better than the other, it's just more reflective of my own tastes.

How did that sense of direction develop?

One of the reasons why InFiné is so important to me is that lots of artists on the label have been influenced by my own music. For the compilation I chose tracks that I felt were close to my own music in some way. The first track [Oxia's "Exaila"] could almost be a kind of introduction to one of my own albums; it's a short piece and I think it opens the door to the compilation nicely. Then there's Murcof's "Como Quisiera Decirte." I've admired this guy's work for a while, at times it's very close to the kind of stuff I was doing when I studying with Pierre Schaeffer at the musique concrète studio in Paris, when we were experimenting with sound design in pretty abstract ways. Murcof has an approach to music that I really enjoy—he mixes an experimental approach with Latin flavour. I've always been interested in trying to mix the Spanish or Italian soundtrack ambience of people like Pedro Almodóvar or Fellini into music. I find "Como Quisiera Decirte" quite haunting. It has a Mexican feel but it's still definitely electro. I love that mix, that hybrid feeling between two different worlds.

Which other artists on the compilation did you find yourself drawn to?

Rone is a good one—he has a very interesting sound. The problem with so much electronic music now is that more often than not, you hear a track, and it's interesting, but you don't feel it belongs to somebody in particular, or has a particular style, even if it's OK and you like it. In the case of Rone, for instance, or Agoria, and some of the other artists on this compilation, they have a definite sound world of their own. That's rare these days.

Talking more broadly, which other contemporary artists do you listen to?

I'm listening to lots of different music. I really love Zomby's work, I've listened to a lot of his tracks over the past two years. And there's Actress—I've been appreciating his style of music recently. Then there are more established electronic artists in France like Air, Vitalic, M83, Justice or Sébastien Tellier—actually in fact I've just finishing a recording session with Sébastien today, we are working on a track together. I also really like Fuck Buttons. The first time I listened to their music I thought, "Wow, they've got such a special and unique type of sound." I mean, those guys build a kind of wall of sound in front of you, a fog of audio, with a kind of techno beat lost in smoke. It's a vaporized sound. I really love their direction and their Olympians EP was very nice.

How much time do you find yourself spending in the studio each week?

I try to spend as much time as possible in the studio, but it's never enough. There are always other things to do. My dream is to be like a writer, and spend four or five hours every day locked in the studio, but I can't really do that, I don't know why. I'm a workaholic in short spurts—I'll go into the studio and work for three or four days and nights, then I'll stop, take a break, and go back to the studio a week or so later. So for me, it's three or four days on, then three or four days off.

I read in an interview that you said when you're in the studio you feel more like a "painter than a producer, mixing with colour and light, and experimenting with textures." Do you still feel that way even when you're not in the studio as much?

Yes, more than ever. I think that's the beauty of electronic music. I used to do a lot of painting when I was a student, and I even hesitated between pursuing a career in painting or music. Over the years, when I've been faced with electronic instruments, oscillators and all these kind of strange machines, it occurred to me that mixing colours and mixing audio frequencies is actually the same thing. You are a craftsman, you are a painter, mixing colours and textures. For me, electronic music is very close to abstract painting, which is all about textures, shapes, colours and contrasts. These days, I like mixing analogue synthesizers with pure digital elements. I think this combination is actually reflective of society itself, because we aren't analogue anymore, but we're also struggling to deal with being in a virtual, digital world. I think it's quite nice when you can mix both worlds.

How has your studio set-up changed throughout the years?

Down the years I've collected a lot of different synthesizers. Lots of synthesizers are analogue and have a unique sound for me, like the modular Moog, Minimoog and Memorymoog and the big modulars, like the ARP 2500 and the ARP 2600, and the [EMS] VCS3 and the AKS, if you're talking about the first old analogue synthesizers. At one stage in time, people were craftsman—they had a special know-how, and skills that that you had to learn. That was true for acoustic instruments, and it's also true for electronic instruments—there are certain things you can't replicate. Even the Moog, or a Fender electric guitar, could be made today with a great sound, but it can't match the vintage one. The new Moog Voyager and all those kinds of instruments are great, but they're tamer in a sense. They have a lot of good qualities, but they can't match the original Minimoog, which has a kind of texture in sound and an untamed feel to it. The pitch isn't regular, you have lots of problems… it creates accidents, and accidents are always exciting in music.  

 When you started out, the idea of making electronic music was very adventurous and experimental in itself—now it seems a lot of people making electronic music are intent on looking backwards rather than forwards. Is that a sentiment you agree with?

I think that could be a very good description of our society right now, not just electronic music. We are still at the beginning of the 21st century for lots of different reasons—I think we are slightly frightened about the future, so we are looking backwards. That is partly due to the fact that for a long time we were looking at the year 2000 as a kind of final frontier. The people from the '60s, '70s and '80s, in cinemas, in literature, in music, everywhere—they had a vision of the future, and they thought that after 2000 everything would change; you know, cars would fly and we'd all go to the moon for holidays! Then the year 2000 came and went, and nothing special happened, so in a sense we lost our vision of the future.

Now I think we have to re-create a kind of dream for the future. In that sense, electronic music can help. But today that state of electronic music is a sign of the times: people are looking backward and having this vintage approach to day-to-day life. Having said that, I think technically, all digital instruments, such as the Animoog on iPad, are really bringing something new. For quite a long time, the quality of the digital era was not there, it was still quite harsh. There was this lo-fi world, not only for sound, but also for visuals. It's only been over the last three or four years that we've been re-entering the world of high definition sound, and that's going to change a lot in terms of the kind of music we produce in the coming years.

What kind of impact do you think that HD realm of music will have, specifically?

People will stop being obsessed by the idea of ultimate quality, and also stop being obsessed, as a paradox, about degrading ultimate quality. There will be a much more intuitive approach to sound, like we have with an electric guitar or with an analogue synthesizer. When you work on a Moog or with an electric guitar, through an amp for instance, you don't even think about the technical aspect of the sound, it's more about the musical aspect. I think the whole industry is affected; lots of producers are obsessed with trying to progress in terms of sound quality, and are more likely to be trapped by the gadget of the week, rather than mastering an instrument.

I think the next step is not going back, but to restore the idea of the fact that when you really want to play the piano, violin or guitar properly, it takes a certain amount of time. Technology made a lot of people think that you can make a decent track with instruments you learned the week before, which is obviously not true. For quite a while, then, you had lots of music that was not that bad, but not that great, and not personal or particularly unique. And for every gem, you had a thousand decent tracks that were nothing special. I think that's going to change: a new generation of musicians will emerge with no technology complex, and they'll be more in tune with the digital era.

Speaking of the next generation, I recently read an article that mentioned you might be starting an academy for electronic music in London. Can you tell me about that?

This is a project I have been proposed in relation to the development of Tech City in East London, part of this new digital and multimedia hub they want to develop in the area. The idea would be to have a school that gave the opportunity to people to approach electronic music from various directions. You could use a totally analogue set-up with tape machines, like the approach taken in the '50s; the analogue instruments used in the '70s and '80s; through to a total digital approach. I hope this will be the best way of preparing for tomorrow, with a dematerialized approach to music. The other aim [of the academy] is to have established electronic composers coming in to share their experience, and to offer them a special environment where they take that knowledge and work in English schools, using the tools of the academy. The third thing would be to have an online element to the academy, which would allow people to work collectively on the same piece of music remotely. Let's imagine you have one demo, and people can add to it online, they can collaborate and participate on a collective piece of work.

And how far down the line are the plans for the academy?

It's being talked about by the people developing Tech City. I just recently spoke with them about the academy concept and they seemed excited. It's an idea that's been around for quite a while. Two years ago I did a fairly big outdoor concert at the docklands in East London. It was the first big cultural event to happen in this part of London, an area that had been going through difficult times. After the concert, I discussed the idea of creating an academy of music in the area. So it's an idea I had and we have thought about for quite a while now. Obviously this school or academy should also involve the local community. That's what makes projects like this work—they need to be both local and international, and create ties with the local community. That's very important to me.

What other things are you working on at the moment? Do you ever see yourself releasing another album?

I'm actually working on two different album projects. One is a solo album, which is something quite special that will feature some guitar, while the other has more collaborations. I'm really in the middle of all this, it's all quite exciting and I'm hoping it will be finished by the end of summer, and released by the end of the year.

Words / Aaron Coultate
Published / Monday, 04 March 2013

Source: residentadvisor