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									From Wikipedia, the free encyclopedia

Jean Michel Jarre

Jean Michel Jarre
Jean Michel Jarre

Early life
Jarre was born in Lyon on 24 August 1948, the son of Maurice Jarre and France Jarre.[2] His parents separated when Jarre was five years old. His father moved to America, and Jarre remained with his mother in the suburbs of Paris.[3] It was at this age that he began to study classical piano.[4] His interest in music was not yet passionate, and he changed piano teachers several times. It was only when he discovered a strange trumpet or violin instrument in a local flea market that his interest took off.[5] His grandfather André Jarre was one of the inventors of the first audio mixing consoles used by Radio Lyon,[6] and he was also involved, after World War II, with one of the first portable phonographs (the Tepazz),[7] which he gave to his grandson as a present. On his tenth birthday, his mother took him to a Paris jazz club, Le Chat Qui Pêche (The Fishing Cat), where he was introduced to the saxophonists Archie Shepp and John Coltrane, and the trumpet players Don Cherry and Chet Baker. Jarre has referred to this incident in the 1997 documentary Making the Steamroller Fly, describing it as the event which triggered his passion for music.

Background information Born Origin Genre(s) Occupation(s) Instrument(s) Years active Label(s) Website August 24, 1948 (1948-08-24) Lyon, France Electronic music, instrumental music, New Age, ambient Composer, musician, artist, producer Synthesizer, keyboard 1971-Present Disques Dreyfus, Polydor, Sony Music, Warner Bros., EMI Official website

Jean-Michel André Jarre (born 14 August 1948, Lyon) is a French composer, performer and music producer. Although his works were initially released using a hyphenated "Jean-Michel", it is worth noting that since 1991 he has chosen not to use the hyphen. He is regarded as a pioneer in the electronic, synthpop, ambient and New Age genres, as well as an organiser of outdoor spectacles of his music which feature lights, laser displays and fireworks including the 1997 New Guinness Book of Records entry for the biggest concert ever with 3.5 million watching at Moscow’s 850th anniversary. Jarre has sold an estimated 80 million albums and singles.[1] Commercially, his most successful albums remain his first two mainstream releases, Oxygène and Equinoxe.

While studying at the Lycée Michelet he took lessons in harmony and counterpoint with Jeannine Rueff of the Conservatoire de Paris,[4] at the same time studying for a degree in law and economic science. He eventually abandoned the classical studies, turning instead to modern music theory.[8] In 1964, he formed a band called Mystère IV (Mystery 4). He spent so much time with the group that his mother confiscated his instruments. In 1967 Jarre played guitar in the band The Dustbins.[2] They played the hits of The Shadows and The Spotnicks. The group appeared on stage in a party scene in the movie Des garçons et des filles, the soundtrack for which featured two of the


From Wikipedia, the free encyclopedia
band’s songs. A single was released, but only ten copies were made. In 1968 he began to experiment with tape loops, radios and other electronic devices. In 1968 he joined the Groupe de Recherches Musicales (GRM)[4] under the direction of Pierre Schaeffer, the ’father’ of musique concrète. Schaeffer taught Jarre that "music isn’t made of notes, it’s made of sounds",[9] and introduced him to synthesizers,[9][10] the EMS VCS 3 and the Moog modular synthesizer. In GRM, Jarre was taught to think about music in terms of sounds instead of notes, and this had a huge influence upon him. He also studied foreign musical styles (African, Indian, Chinese and other oriental music) from which he learned a lot. For a period of two-three months, Jarre studied with Karlheinz Stockhausen in Cologne.[11] In this period Jarre had a flat in Paris at rue de la Trémoille near the Champs-Élysées. It was there that he set up his first studio in a converted kitchen: an EMS VCS 3 and EMS Synthi AKS [3] synthesizer, and two linked Revox tape machines. To fund the studio’s equipment and himself, he painted pictures which he sold locally. For an exposition at the Maison de la Culture (Cultural House) in Reims he wrote a five minute song called "Happiness Is a Sad Song" (unreleased) [12].

Jean Michel Jarre
Dorian (1975). He also wrote music for commercials (Nestle, Pepsi, Autoroute A4) and TV programs (Sport en Fete 1973, Setyricon 1975) and he started to collaborate with artists like Dominique Webb, Samuel Hobo, Bill and Buster, Blue Vamp, and the group Triangle. Jarre also wrote lyrics for artists like Patrick Juvet and Christophe. In 1972, Jarre added a modified Farfisa organ and an ARP 2600 to his collection. He released several singles under aliases: "1906 Cartolina/Helza", "Jamie Jefferson - Black Bird/ Pop Corn" (contrary to some reports, Jarre did not write Pop Corn, the original version was by Gershon Kingsley). One of his first successes, the song, "Zig Zag Dance", was released in numerous guises, under various aliases, and differing slightly each time. His first solo album Deserted Palace (Sam Fox Productions/Dreyfus Records) was released at this time. Jarre composed the soundtrack for the film Les Granges brûlées (Dreyfus Records, not released on CD until 2003) the following year. In 1974 he met Michel Geiss, an electronics wizard and musician. A friendship was struck between them that has lasted ever since. In 1975, Jarre wrote some music and lyrics for Françoise Hardy and Gérard Lenorman. Two of these songs were later to be reused: "La Belle et la bête" (which later became the basis for "Rendez-vous 2"), and "La Mort du cygne" (which eventually evolved into "Rendez-vous 3"). He also acted as director for Christophe’s Olympia show that year, which featured a flying piano.

Early releases
Jarre’s first release, La Cage/Erosmachine in 1971, was a mixture of tape loops and electronic sounds.[10] A commercial failure likely due to its experimental or futuristic sound, only 117 singles were sold, and Pathé Marconi destroyed the remaining stock.[13] Jarre became the youngest composer to see one of his works played at the Paris Opéra, at its reopening in 1971. It was the first time that electronic music had been allowed to be used, and Jarre even had to paint his speakers gold to match the décor of the opera house. There he performed with the Ballet de l’Opéra National de Paris (Paris Opera Ballet) and choreographer Norbert Schmucki. He created the first electro-acoustic opera called AOR. This music is still unreleased as of 2008, with the exception of AOR Bleu, which was released on Live Printemps de Bourges 2002. Jarre composed the music for two additional operas: Le Labyrinthe (1973) and

His 1976[9] debut solo album Oxygène was initially used as a hi-fi demonstration record, but grew in popularity following a large free open-air concert at the Place de la Concorde. The album makes strong use of melody rather than rhythm or dissonance, and a collection of keyboards and synthesizers to create a range of imaginative sound textures and melodies. Jarre initially found it difficult to sell the concept. Turned down by several companies, eventually a fellow student of Schaeffer, Hélène Dreyfus, persuaded her husband Francis to publish the album on his label Disques Motors. The initial pressing consisted of 50,000 copies.[9] Oxygène sold 15m


From Wikipedia, the free encyclopedia
copies;[9] When Jarre secured a recording contract with Polydor, thanks to Michael Hoppé [14], Oxygene became a huge success in his native France, reached no.2 in the UK album charts, and broke the top 100 in the US.[10][15] Each track was numbered rather than named.[9] Oxygène part IV was released as a single and reached no.4 in the UK single charts.[10] Key components of Jarre’s sound included his use of the Dutch organ/string synthesizer the Eminent 310, Electro-Harmonix Small Stone phaser on the Eminent’s string pads, the Korg Minipops drum machine and liberal use of echo on various sound effects generated by the VCS3 synthesizer[9]: All those ethereal sounds on Oxygene IV come from the VCS3 ...It was the first European synthesizer, made in England by a guy called Peter Zinovieff. I got one of the first ones. I had to go to London in 1967 to get it, and it’s the one I still have onstage 40 years later.[9] In 1978 his third album Equinoxe was released. Jarre developed his sound, employing more dynamic and rhythmic elements, particularly a greater use of sequencing on basslines. Much of this was achieved using custom equipment developed by his collaborator Michel Geiss. A concert on the Place de la Concorde in Paris in 1979 followed the release. This concert attracted one million people, which was Jarre’s first entry in the Guinness Book of Records for the largest crowd at an outdoor concert. In October 1981 Jarre was the first Western pop-artist to be invited to give concerts in the People’s Republic of China. These concerts were the first to feature the Laser harp, one of Jarre’s signature electronic instruments. Also during this year, Les Chants Magnétiques (Magnetic Fields - note that the French title is a pun - the literal translation of Magnetic Fields being "Champs Magnetiques". The alternative "Chants" means "songs") was released to critical acclaim and commercial success. The China concerts were followed in 1982 by the release of Les Concerts En Chine (The Concerts in China) album in 1982, his first live album release containing recordings from the tour. The sounds of the Magnetic Fields album are primarily based around the capabilities of the

Jean Michel Jarre
Fairlight CMI sampler and synthesizer, which can be clearly seen on the album’s liner notes and photographs. The CMI gave Jarre the chance to continue much of the sonic experimentation of his earlier work, using technology to make the collection and processing of sounds much easier. Both Jarre and Peter Gabriel were among the first artists to take delivery of the Fairlight platform and make heavy use of it. As a result the album was a huge leap forward in both technical complexity and fidelity. In 1983 he created the album Musique pour Supermarché (Music for Supermarkets), which had a print run of just one copy. The music was intended to be played at the "Supermarché" art exhibition, while Jarre suggested that as each artwork would be auctioned after the exhibition, so too should the music in the same way. Jarre destroyed all the master records from his studio work and allowed a radio station (Radio Luxembourg) to broadcast the album once, uniterrupted in its entirety, before auctioning it at the Hotel Drouot in Paris on July 5 1983 to raise around £10,000 for French artists. Poor-quality AM bootleg recordings of this broadcast exist and are still in circulation. Despite claiming to have destroyed all recordings of the album, pieces were later reworked into future albums in almost identical form: Part 3 appears in similar form in Fifth Rendezvous (1986); Part 5, is almost equal to Blah Blah Café on Zoolook (1984), and Part 7 became the second section of Zoolook’s ’Diva’. In 1984 Zoolook was released. This album again relied heavily on the sampler capabilities of the Fairlight CMI. The album featured sampled words and speech heavily, recorded in many different languages around the world, to create different sounds and effects. Laurie Anderson provided the vocals for the track "Diva". With its rock music underpinnings, Zoolook resides amongst a handful of pop and rock albums (notably Kate Bush’s 1982 album The Dreaming, Yello’s 1985 Stella, 1984’s Who’s Afraid of the Art of Noise? by Art of Noise, 1982’s Naked Eyes by Naked Eyes, and 1985’s How To Be a Zillionaire by ABC and others, such as Peter Gabriel’s fourth album) that made intensive and sometimes exhaustive use of the Fairlight. It is perhaps too easy to overlook the lengthy list of live (and much-sought) musicians, like Adrian Belew and Marcus Miller, that also made significant contributions to Zoolook


From Wikipedia, the free encyclopedia
and gave the album a cinematic scope and breadth, courtesy of Mark A. Fuller. The album was critically well received in continental Europe and won several prizes in France in 1985 (most notably the ’Grand Prix du Disque Français’ and a ’Victoires de la Musique’ award[16]), though in the UK it limped to a disappointing album chart position of 47. I’ve always been involved in ethnic music, though I thought the way a lot of people have been using ethnic music was a little superficial. Sometimes it works, like the Brian Eno stuff, it worked the first time, but for me what was more interesting was not making a particular statement about recording in Africa or in China, but taking some sounds and having exactly the same attitude as when you were in front of a Moog 55 or a modular system, replacing the oscillators with a bank of actors or people, treating them through the Fairlight or the EMS synth, and establishing an orchestration using only voices.[17] Jarre recorded the album Rendez-Vous after being inspired by the sounds of the Elka synthesizer, which he employed on the record liberally. It also features his first heavy use of the Moog synthesizer on a studio album. In 1986 NASA and the city of Houston asked him to stage a concert to celebrate NASA’s 25th and the city of Houston’s 150th anniversaries. During that concert, astronaut Ronald McNair was to have played the saxophone part of Jarre’s piece "Rendez-Vous VI" while in orbit aboard the Space Shuttle Challenger. It was to have been the first piece of music recorded in space, for the album. After the Challenger disaster of January 28 1986 which killed McNair, the piece was recorded with a different saxophonist, retitled "Ron’s Piece" and the album dedicated to the seven dead Challenger astronauts. The Houston concert entered the Guinness Book of Records for its audience of over 1.5 million [18]. During the concert, Houston native Kirk Whalum performed Ron McNair’s saxophone part on "Ron’s Piece". The concert featured giant projections of photographic images and laser patterns onto the buildings of downtown Houston, including a gigantic white screen on the front face of the Texaco

Jean Michel Jarre
Heritage Plaza building, which was under construction at the time. Due to vehicles stopping on the freeway passing the concert venue the freeways had to be closed down for the duration of the concert. Later in 1986 Jarre performed in Lyon, the city of his birth, as part of the celebrations for Pope John Paul II’s visit to the city. The Pope was in attendance and introduced the concert with a good-night blessing (a recording of which appears on the album Cities In Concert - Houston/Lyon). In 1988 the album Revolutions was released. Jarre, along with guests such as Hank Marvin, the legendary guitarist from The Shadows, performed this album and selected highlights from his discography at an event entitled Destination Docklands in front of 200,000 people[19] (not including the thousands of observers who witnessed the event from outside the official concert gates) in two concerts on October 8 and October 9 1988. The event utilized the industrial backdrop of London’s Royal Victoria Dock in the East End. The original show was due to have been performed as a single event on 24 September 1988, but due to safety concerns voiced by both Newham local council and the London Fire Brigade the licence was refused. After Jarre’s crews failing to maintain crowd safety, and protracted meetings and negotiations (as well as Jarre potentially looking at other sites, including Tilbury Docks and Edinburgh Castle to host the event), the application for the licence was finally granted, but for two smaller audience capacity shows. Although the shows went ahead, they were not without issues. Bad weather had threatened to break Jarre’s "Battleship" floating stage from its moorings, risking safety to the crew and also musicians and choir. Although the original plan was to have Jarre float across the Royal Victoria Dock on the evening of the first rearranged concert (October 8), high winds meant that it was deemed too unsafe, so it was chained to the dockside. The audience on the second evening was soaked due to pouring rain and biting winds. Despite all these things the concerts were well received and deemed a success; many of the British public attending will recall it as a very special and unique experience, including Diana, Princess of Wales who attended the concert and became a friend and fan of Jarre’s music over his career.


From Wikipedia, the free encyclopedia
One aspect of the show was during the transportation of several large mirror balls (some 4m diameter), which Jarre had commissioned for the show to be hung from the large dockside cranes. Whilst en route to the docks, one of the lorries had lost one of the balls on the roadside. On the same night a satellite was due to enter the Earth’s atmosphere from space. A member of the public reported the sighting of a sphere like spacecraft rolling on the road, and hence caused major panic as police feared it was the satellite. On 14 July 1990 Jarre broke his own record in the Guinness Book of Records again with a concert at La Défense, Paris where 2.5 million people watched Jarre light up the Parisian business district[20]. The album En Attendant Cousteau (Waiting for Cousteau) was also released in this year, and was dedicated to the French sea explorer, Jacques Cousteau. During early 1991 Jarre started promotion for a concert to take place at the site of the Pyramids of Teotihuacan, Mexico during the great solar eclipse of July 11, 1991. The project stalled, with some sources citing problems with sponsors and local authorities as the reasons that halted the project.[21] However, during the documentary Making the Steamroller Fly included on the Oxygène Moscow DVD, Jarre and other collaborators state that the concert was cancelled due to the fact that one cargo ship containing a specially built, pyramidal stage and other technical equipment sank during the voyage to Mexico, making it impossible for the crew to replace it in time for the concert. Jarre says that his disappointment was such that "he could not cope with Mexican food for two years". In 1993 Jarre released his first work to be largely influenced by the techno-music scene that had been developing since about 1989. Entitled Chronologie, the album was, from a technical standpoint, a revision to a concept employed by Jarre in his Oxygène/Equinoxe period, where a grandiose overture provides the emotional feel and sonic timbre for the rest of the following, more rhythmic pieces. This time, however, the tracks would feature newer, state-of-the-art synthesizers, swooshing sampled clocks (fitting the theme of the album) and contemporary rhythms driving the tempo – a style that became threaded throughout most of the work that

Jean Michel Jarre
followed. In inspiring a generation of electronic musicians with his work from the 1970s and ’80s, Jarre in turn found himself drawn to the trance genre which followed him in the ’90s. He enlisted several artists of that generation, including Praga Khan, to remix tracks for the B sides of the singles. Jarre followed through the promotion of the Chronologie album with a tour, the first large scale tour Jarre had undertaken since the mini tour of China back in 1981. The tour entitled Europe In Concert was a series of concerts on a smaller scale than that of previous one-offs, but heavily featured a backdrop of makeshift skyscrapers and also skytrackers, laser imaging, and fireworks. This took Jarre across several European cities, including Lausanne, Mont St Michel, London, Manchester, Barcelona, Sevilla and the Versailles Palace near Paris. Jarre did one final concert in Hong Kong in 1994. Unfortunately, due to local laws, fireworks were omitted from the show. A double live album of the Hong Kong concert was released, which featured many of the same renditions of the Europe In Concert tracks, with some reworkings of the older album versions. However, to fans reminiscing for the subtle tonal quality and phased sounds of Jarre’s early work, 1997 would not be a disappointing year. Oxygène 7–13 was released to reveal that a coherent sonic story over the course of an album was something that Jarre could still achieve in the sequel-of-sorts to his 1976 landmark release. This album brought back many original instruments: the VCS 3 synthesizer, Eminent 310U, and Mellotron, among others. One can hear inspiration from "Oxygène (Part IV)" and "Equinoxe (Part II)" in the two-movement piece "Oxygène 7", while many of the other, more techno-based tracks on the album suggest a combination of Jarre’s inspiration from both the Oxygène and Chronologie periods. "Oxygène 10" would also be the first piece composed by Jarre to feature him playing a theremin. Jarre once again toured Europe to support the album, this time focusing on smaller, indoor venues with a stripped down version of his large outdoor extravaganzas. During the course of the 1997 tour Jarre visited several countries he had never played before. On 6 September 1997 Jarre played in Moscow to celebrate the city’s 850th anniversary. The Moscow State University was used as the backdrop for a spectacular


From Wikipedia, the free encyclopedia
display of image projections, skytrackers and fireworks, and was watched by an audience of 3.5 million [22][23]. This was Jarre’s fourth record and entry into the Guinness record book for the largest free concert audience ever. The concert was also the same day that the funeral of Diana, Princess of Wales took place. Jarre spoke of his friendship with her and requested a moment of silence and then dedicated a song in her memory called "Souvenirs" (aka "Souvenir of China").

Jean Michel Jarre
speak his strange lyrics on the song "Love, Love, Love". Laurie Anderson made her second guest appearance in the Jarre discography on the opening track. The listener was also treated to collaborations with Natacha Atlas on vocals, and Sharon Corr of Irish pop group The Corrs on violin. Métamorphoses was not released in the USA until a couple of years later. In 2001, Jarre performed a concert in collaboration with Arthur C. Clarke and Tetsuya "TK" Komuro in the Okinawa beaches, to celebrate the "real" beginning of the new millennium. The concert was called Rendez-vous in Space and the short-lived group called itself The ViZitors. Later that year, Jarre played at the Acropolis in Greece a charity concert for the Elpida Foundation.

This period was marked by big changes in Jarre’s personal and professional life. Starting with his separation of his former wife, a dispute for unknown causes with his record label (Disques Dreyfus) and a change in his musical style. On 31 December 1999, Jarre held a spectacular music and light show in the Egyptian desert, near Giza. The show, called The Twelve Dreams of the Sun, celebrated the new millennium and 5,000 years of civilization in Egypt. It also offered a preview of his new album, Métamorphoses. The concert — which started on New Year’s Eve and followed all the way through to the dawn of the new millennium, in a 12-hour spectacular show which featured many performances from local artists and musicians — used the backdrop of the great pyramids to project images onto, but fog during the evening concert by Jarre caused the projections on the facades of the pyramids to be blocked from view. Jarre played for around two hours during the build up to the new millennium with a countdown at midnight and spectacular firework display and then returned on stage in the early morning to perform a second slot to see in the first sunrise of the new millennium. Jarre released Métamorphoses, his first fully-vocal album, in 2000. The compositions and their arrangement on this techno-based album co-produced with Joachim Garraud are considered imaginative, and marked a departure from Jarre’s previous style. He began integrating sound effects, including the radio interference from mobile phones (used on the track "Tout est Bleu") and also sampled his coffee making machine and also from Apple computers, including an implementation of Macintalk, a Macintosh program that allowed Jarre to have a computer generated voice

On Septmber 6 2002, Jarre performed a concert called AERO at Gammel Vrå Enge wind farm, just outside Aalborg in Denmark, to a rain-soaked audience of approximately 50,000 and including special guests Safri Duo. AERO, a studio album of mostly retooled Jarre classics, was later released in 2004 in combined DVD and CD forms. The DVD featured 5.1 sound, with DTS and Dolby Digital tracks. Jarre claimed that this was the first musical work specifically conceived for 5.1 sound. The video to accompany the musical tracks was a fixed very close-up shot of Anne Parillaud’s eyes reacting in real time to the music. Inside the sleeve, the album also featured notes and a collection of various pictures and artwork of Jarre’s fans from around the world. This concert marked a change in direction in Jarre’s live concerts. Since Jarre’s first large scale concerts in 1986, he had always been accompanied on stage by a full complement of live musicians. This had included several fellow musicians on keyboard, live drums, live percussion, live bass guitar and live lead guitar. The different styles employed by drummers Joe Hammer, Chris Deschamps, Laurent Fauchex and Gary Wallis over the years, made every concert and performance a unique one. The different eras in Jarre’s live performances can be marked by the band of musicians he had on stage. The combination of Laurent Fauchex on drums, Dominic Mahut on percussion, Guy Delacroix on bass guitar and Patrick Rondat


From Wikipedia, the free encyclopedia
on lead guitar during the 1993–1995 live period is one such era-defining complement in Jarre’s live performances. From AERO onwards the number of musicians appearing on stage has markedly decreased. His concerts from 2002 onwards feature only him and a few others with guest appearances or the complement of an orchestra or choir on certain tracks. Some would argue that the increasing absence of live drums, percussion and bass has diminished the live feel of the concerts. Anyone watching the opening track from the Aero concert for example will see Jarre messing with various sound effects and Francis Rimbert hitting a cymbal, with no one apparently actually playing the tune. This is one of many occasions where fans have noted that the music appeared to be mimed on keyboard by Jarre for at least some tracks. Some observe that many of the tracks from the Aero concert, along with the concert in China that followed in 2004, sound little different from the pieces that appear on the AERO album. It could be opined that from 2002 onwards Jarre’s concerts have become more of a ‘show’ than a ‘live’ concert. 2002 also saw the release of Sessions 2000, a set of more experimental synth-jazz pieces that were stylistically distinct from anything Jarre had previously released. The work on this album is decidedly less rhythmoriented than Jarre’s previous work from Equinoxe on. It is also rumoured to have been something of a ’quick and dirty’ contractual obligation album for Jarre to end his contractual terms with Francis Dreyfus. In 2003, Jarre released the album Geometry of Love for the dance club VIP Lounge, in Paris. While Jarre’s contemporary albums found themselves drawn to the pulsing rhythms of the dancefloor, Geometry of Love had its spiritual home in the chill-out room at the back, with lush, sprawling, sublime works washing over the listener. During this post-2000 period he also composed a mini album of work called Interior Music to be used as a demonstration piece by the Bang and Olufsen company. The work contains two parts, known as ’bonjour-hello’ and ’whispers of life’, which is essentially the first piece without vocals. On 10 October 2004 Jarre performed two consecutive concerts in China. The first was in the Forbidden City at the Meridian Gate, followed immediately by a smaller concert in

Jean Michel Jarre
Tiananmen Square. Both were designed to open China’s "Year of France" cultural exchange. The concert was transmitted live across the country, and was also watched on large television screens at shopping centres in Beijing. Jarre opened the concert with a collaboration with Chen Lin, who played an Erhu. Accompanying his traditional musical repertoire, 600 projectors shone coloured light and images across various screens and objects. More than 15,000 spectators watched the concert at the Meridian Gate.[24] The second half had a more muted stage arrangement, providing the closest Jarre had ever had to an ’after-gig’ show with an audience of 9,000. This concert was broadcast in HDTV with 5.1 sound by some satellite channels. 5.1 sound was also used on the stage. A combined DVD/CD of these concerts, Jarre In China was released in 2004, the first concert DVD with THX-mastered sound [25]. On 26 August 2005 Jarre performed a long-form concert called Space of Freedom in Gdańsk, Poland to celebrate the 25th anniversary of Solidarity. Around 170,000 people attended the paid-entry concert. Lech Wałęsa was present on stage. This too has had a DVD/CD release in Europe. On 10 September 2005 Jarre made a short-form concert at the LinX Live Show for the official opening of the Eurocam Media Centre, containing Belgian HDTV Company Euro1080s new HDTV Studios, in Lint, Belgium. In September 2006 Tadlow Music released a special symphonic album, titled The Symphonic Jean Michel Jarre with 20 cover versions of Jarre tracks on two CDs. Jarre has supported this album, including his voice on one track. There is also a special limited three-disc set with a bonus DVD containing 5.1 surround mixes of all the tracks. In his role of UNESCO Goodwill Ambassador, Jarre performed a concert named Water for Life in the Sahara Desert near Merzouga, Morocco on 16 December 2006, to celebrate the year of desertification in the world.[26][27] Jarre released a new original studio album, his first studio album of wholly new material since Metamorphoses.[26][28] This album, entitled Téo & Téa, was released by Warner Bros. Records and iTunes on March 26, 2007. Jarre has stated that this album comes after a dark period in his private and professional life.[29]


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During 2006, it was announced that Jarre was to produce an experimental TV series titled Mort-Mouvance, directed by Ellibert Mozart Fuzzkhan, who also produced a fake website of AeroProd, the company which produces Jarre’s projects. The TV series and web sites turned out to be a hoax, and Jarre is pressing legal charges against the owners of those sites.[30][31] In 2007, Jarre arranged the soundtrack for a movie directed by Volker Schlöndorff,[29] using old material. The movie is named Strajk - Die Heldin von Danzig; its international English title is Strike [32].

Jean Michel Jarre
The Oxygene IV piece has been used as part of the soundtrack for the popular videogame Grand Theft Auto 4.[38] In 2008, The Mail on Sunday newspaper distributed more than 2 million copies of the Oxygène 30th Anniversary CD to its readers in the United Kingdom. In 2008, Francis Dreyfus Music said it intended to bring legal actions against The Mail on Sunday and EMI, based on the claim that the contents of the CD do not come from a new re-recorded master, but are from the original master to which the French label owns the rights.[39] Jarre is currently planning a large tour for 2009 in smaller venues than his usual largescale events, and has been selected as artistic director for the "World Sky Race".[40]

In August 2007, Jarre switched record companies again, this time signing with EMI France. He released an anniversary package containing a special live recording of his classic work, Oxygène, in 3D DVD, live CD and normal 2D DVD formats in November 2007, named Oxygene: New Master Recording.[33] This is a first in Jarre’s career, as it was played totally live, without tape or harddisk playback, by Francis Rimbert, Claude Samard, Dominique Perrier and Jarre himself.[34] Jarre has gone on to state he plans on integrating the original analog synthesizers from Oxygène for his next album and is building a new private recording studio on the outskirts of Paris.[35] Meanwhile, Jarre’s former record company, Disques Dreyfus, has released another package, containing the original versions of Oxygene and Oxygene 7-13, plus a recopilatory of "unreleased" remixes of tracks from Oxygene 7-13. Jarre performed 10 concerts (Oxygene Live) in Paris, from December 12, 2007 to December 26, 2007. The concerts took place inside the Theatre Marigny, a small, 1000 seats theatre located in the Champs-Élysées. Later in 2008, Jarre performed several concerts to celebrate the 30th anniversary of Oxygène in theaters in Europe. After the Royal Albert Hall concert, Jarre met Brian May, who proposed he create a concert in Tenerife for the International Year of Astronomy.[36] An Israeli Internet Paper confirmed that a previously planned Large Outdoor Concert to take place this Summer in Jerusalem to celebrate the 60th Anniversary of Israel has now been officially cancelled.[37].

Personal life
Jarre was married to Flore Guillard from 20 January 1975–1977.[41] Later he was married to British actress and photographer Charlotte Rampling from 7 October 1978–1997, after Jarre had an affair with the then 31-year old secretary Odile Froment.[42] In 2002 he became publicly engaged to French actress Isabelle Adjani, but later she ended this relationship.[43] On 12 May 2005 he married French actress Anne Parillaud. Jarre has three children: • Émilie, with Flore Guillard.[44] • Barnaby Southcombe, Charlotte Rampling’s son from a previous marriage. • David, Charlotte and Jarre’s son. He has a half-brother and a half-sister from his father’s other marriages, Kevin Jarre and Stéphanie Jarre. He remained estranged from his father[15]: My father and I never really achieved a real relationship. We 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, it says something...I think it’s better to have conflict, or, if you have a parent who dies, you grieve, but the feeling of absence is very difficult to fill, and it took me a while to absorb that.[3]


From Wikipedia, the free encyclopedia

Jean Michel Jarre
• 1987 - "European musician Person of the Year" by People magazine. An asteroid, 4422 Jarre, has been named in honor of him.[46]

Awards and recognition
• 1976 - Grand Prix du Disque by L’Académie Charles Cros, for Oxygene. • 1976 "Personality of The Year" by People magazine (U.S.). • 1979 - Guinness Book of Records entry for the biggest concert ever (La Concorde). • 1981 - Honorary member of the Beijing Conservatory of Music. • 1984 - Grand Prix du Disque by L’Académie Charles Cros, for Zoolook. • 1985 Instrumental album of the year, at the Victoires de la Musique in France, for Zoolook. • 1986 Instrumental album of the year, at the Victoires de la Musique, for Rendez-vous. • 1986 - Musical spectacle of the year, at the Victoires de la Musique, for the Rendez-Vous Houston concert. • 1987 - New Guinness Book of Records entry for the biggest concert ever (Rendez-Vous Houston). • 1990 - New Guinness Book of Records entry for the biggest concert ever (Paris La Defense: A City in Concert). • 1993 - UNESCO Goodwill Ambassador. • 1994 - Awarded Chevalier de la Légion d’Honneur from the French Government. • 1997 - New Guinness Book of Records entry for the biggest concert ever with 3.5 million watching at Moscow’s 850th anniversary. • 1998 - IFPI’s Platinum Europe Award. • 2005 - HCA Ambassador for the Hans Christian Andersen 2005 Bicentenary Festival. • 2006 - Polish Television Academy’s "Super Wiktor" award for "Space of Freedom". • 2006 - Gdańsk’s Man Of The Year 2005 Award. • 2007 - Eska Music Awards Special Award. • 2008 - Doctor Honoris Causa by the Mendeleev Russian University of Chemistry and Technology.[45]

• Deserted Palace (1972) • Les Granges brûlées (1973) • Oxygène (1976 in France, 1977 worldwide) • Équinoxe (1978) • Magnetic Fields (Les Chants Magnétiques) (1981) • The Concerts in China (Les Concerts en Chine) (1982) • Music for Supermarkets (Musique pour Supermarché) (1983, only one copy printed) • Zoolook (1984) • Rendez-Vous (1986) • Revolutions (1988) • Waiting for Cousteau (En attendant Cousteau) (1990) • Chronologie (1993) • Oxygene 7–13 (1997) • Métamorphoses (2000) • Interior Music (2001, Limited Edition for Bang & Olufsen, 1000 copies printed) • Sessions 2000 (2002) • Geometry of Love (2003) • AERO (2004) • Téo & Téa (2007) • Oxygene: New Master Recording (2007)

During his career, and especially before 1990, Jean Michel Jarre has given relatively few concerts. Most of these concerts have been big scale spectacles, often with audiences of millions, and using large buildings or even entire cities as stage. He has toured just four times, the first one in China during 1981, twice in Europe during the 1990s, and also in 2008.

Notable instruments
Throughout his concerts, Jarre uses several unusual or custom-built instruments. Some of these are: • The theremin, an early electronic instrument


From Wikipedia, the free encyclopedia
• • • • • • The laser harp The Stylophone Korg PS-3300 The Cristal Baschet[47][48] The Yamaha WX5 Midi Flute The Digisequencer (1978) and Matrisequencer (1993), electronic sequencers designed and built by Michel Geiss • Several unique MIDI keyboards designed by LAG: • Circular shaped keyboards: Clavier Lumineux (1986), Clavier Circulaire 1 (1988), Clavier Circulaire 2 (or Magic) (1990) • Keytars: Insecte (1988), Mad Max 1 (1988), Mad Max 2 (1990), Otineau (1991) • Console: Meuble (or Grand Central) (1988), contained 1 octave keys from the Clavier Lumineux, the 96-key Clavier Circulaire, EMS Synthi AKS, Roland D-550, two monitor for partitions, Octapad drums, and a clock. • Custom-painted Yamaha Yamaha KX-5 Keytar with extended handgrip (two different versions, 1986 and 1988)

Jean Michel Jarre
[8] http://www.winkelsite.com/ oxygeniejarre/bio%20early.htm Oxygenie Jarre, Belgian Jarre Fanclub 1990-1999 [9] ^ Green, Thomas H. (2008-03-27), Oxygène: ba-boo-boo beew, telegraph.co.uk, http://www.telegraph.co.uk/culture/ music/3672108/Oxygene-ba-boo-boobeew.html, retrieved on 2009-03-14 [10] ^ Snider 2008, p. 257. [11] „Synthesizer sind etwas Sinnliches“ Kölner Stadt-Anzeiger [12] Jean-Louis Remilleux, Jean-Michel Jarre, official authorized biography, p.27, 1987 [13] Jarre Biography UK [14] http://omstream.com/pages/ artist.php?artist_id=241 Michael Hoppé biography [15] ^ Jenkins 2007, p. 159. [16] Jean-Louis Remilleux, Jean Michel Jarre, Macdonald Futura, 1988, p34 [17] Jenkins 2007, p. 161. [18] Guinness Book of Records, edition 1987-1990 [19] http://www.deselliers.info/en/photos/ jarre/destination-docklands.htm website of Jaques Deselliers, official commisionned photographer [20] Guinness Book of Records, edition 1991-1997 [21] (Spanish) Proceso Mexican magazine June 1991 [22] http://news.bbc.co.uk/2/hi/entertainment/ 7314713.stm BBC news 2008-03-28 [23] Guinness Book of Records, edition 1998 [24] Jean Michel Jarre lights up China, news.bbc.co.uk, 2004-10-11, http://news.bbc.co.uk/1/entertainment/ music/3733290.stm, retrieved on 2009-03-15 [25] http://www.discogs.com/Jean-MichelJarre-Jarre-in-China/release/468230 Jarre In China on discogs.com [26] ^ News from JarreUK [27] UNESCO [28] (Spanish) Spanish fanclub [29] ^ BlahBlahCafe, referencing Record Collector magazine May 2007 issue [30] (French) webzinemakter newsarticle [31] (French) Jean-Michel [sic Jarre : halte aux imposteurs !] [32] http://www.imdb.com/title/tt0440978/ fullcredits#composer Strike on imdb.com [33] News from Jarre UK [34] Oxygene 3D

See also
• List of Jean Michel Jarre compositions with multiple titles • Captain Blood

[1] Press-release by Dreyfus Records [2] Sleeman, Taylor & Francis 2003, p. 809. [3] ^ Stuart, Julia (2004-08-23), Jean Michel Jarre: Smooth operator, independent.co.uk, http://www.independent.co.uk/artsentertainment/music/features/jeanmichel-jarre-smoothoperator-557538.html, retrieved on 2009-03-15 [4] ^ Hughes, Staff & Reader 2003, p. 303. [5] Who is Jean Michel Jarre - Biography The Early years [6] T.S.F. et radiodiffusion [7] http://www.grammofoon.com/Teppaz/ teppaz_4sp.htm Grammofoon.com


From Wikipedia, the free encyclopedia

Jean Michel Jarre

[35] Article Preview - Jean Michel Jarre http://books.google.co.uk/ [36] Jean-Michel [sic Jarre: "The books?id=c3EHIpo0DKwC extraordinary landscapes of the Canary • Sleeman, Elizabeth; Taylor; Francis Islands are very inspiring to my music"], (2003), The International Who’s Who Instituto de Astrofísica de Canarias, 2004, Europa Publications ltd, Routledge, 2008-07-14, http://www.iac.es/ ISBN 1857432177, divulgacion.php?op1=16&id=535&lang=en, http://books.google.co.uk/ retrieved on 2008-12-10 books?id=neKm1X6YPY0C [37] ‫הווקת לש תורוניכ - רודיב - 01 ענענ‬ • Snider, Charles (2008), The Strawberry [38] [1] Bricks Guide to Progressive Rock, [39] MusicWeek Lulu.com, ISBN 061517566X, [40] World Sky Race http://books.google.co.uk/ [41] (French) La généalogie de JMJ books?id=9nkarh6kA8oC [42] The Daily Telegraph, June 11th 1997 [43] (French) Teemix - June 24, 2004 [44] GeneAll • Official website (click the British flag at [45] (Russian) Почетные доктора >> Жанbottom right of webpage for English) Мишель Жарр • Official blog [46] (4422) Jarre, cfa-www.harvard.edu, • Official collaborative photobase 1990-10-04, http://cfa-www.harvard.edu/ iau/special/rocknroll/0004422.html, retrieved on 2009-05-05 Persondata [47] Equipment details from Jarrography NAME Jarre, Jean-Michel André [48] Thomas Bloch official website ALTERNATIVE Jarre, Jean-Michel; Jarre, NAMES Jean Michel Bibliography

External links

• Jean-Louis Remilleux, Jean-Michel Jarre, 142 p, Editions Oliver Orban 1987 / MacDonald futura 1988, ISBN 0-7088-4263-1 • Hughes, Alex; Reader Staff, Hughes; Reader, Keith (2003), Encyclopedia of contemporary French culture, CRC Press, ISBN 0203003306, http://books.google.co.uk/ books?id=getDruRAaqgC • Jenkins, Mark (2007), Analog synthesizers, Elsevier, ISBN 0240520726,


Composer, performer, music producer 24 August 1948 Lyon, France

Retrieved from "http://en.wikipedia.org/wiki/Jean_Michel_Jarre" Categories: 1948 births, People from Lyon, French electronic musicians, New Age synthesizer players, New Age musicians, French keyboardists, Rock keyboardists, Chevaliers of the Légion d'honneur, Living people This page was last modified on 20 May 2009, at 12:23 (UTC). All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.) Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a U.S. registered 501(c)(3) taxdeductible nonprofit charity. Privacy policy About Wikipedia Disclaimers


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