Listening to Jean-Michel Jarre is akin to experiencing a pitch for an award-winning French art film. As a trailblazer in electronic music, Jarre’s journey began in the wake of WWII and spans various cultural and musical landscapes, encompassing pivotal moments of global transformation.
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At 74, Jarre reflects on the past to derive futuristic concepts. This vision manifests in Oxymore, marking the 22nd album of his decades-long career. Released today (Oct. 21), Oxymore is rooted in sources from his early mentor, Pierre Henry, a pivotal figure in France’s musique concrète movement, where Jarre first honed his craft at Paris’ esteemed Groupe de Recherches Musicales.
Staying true to the innovative spirit imparted by Henry, Oxymore explores immersive audio potential. Created in 360 spatial audio and binaural, the album underwent mixing in binaural and Dolby Atmos at Radio France’s Maison de la Radio et de la Musique — a cornerstone of musique concrète. Extending this forward-thinking approach into live performances, Jarre is showcasing Oxymore both in person and as a VR experience. The latter introduces Oxyville, a virtual realm featuring a customized avatar of Jarre, enticing visitors to engage dynamically with the content.
Jarre converses with Billboard from his native France, where, despite stylish sunglasses, his enthusiasm shines brightly.
1. Where are you and what is the setting like?
I’m in my Paris apartment, which doubles as my home studio. My main recording studio is just outside Paris, not too far away. I reside in the 8th district. Every Parisian believes they live at the city’s heart. The 8th district is pleasant, located on the west side, and it’s easily accessible to the airport. It has a business vibe while remaining cool.
2. What is the first album or piece of music you bought for yourself and what was the medium?
The first record I purchased was a single by Ray Charles, “Georgia on My Mind”/“What’d I Say.” I’ve always been captivated by textures in music, even from a young age. What struck me most about Ray Charles’ sound was his innovative approach to texture, both vocally and as a producer. He was pioneering in blending the spiritual with R&B, showcasing a blend of joy and sadness. My latest album Oxymore reflects this concept of juxtaposing elements that seem incompatible. Ray Charles perfectly exemplified this oxymoronic blend of groove and spirituality.
3. What did your parents do for a living when you were a kid?
My mother was remarkable—an influential figure in the French Resistance during the war. She evaded capture by the Nazis three times, including escaping a deportation camp. As my father left when I was five, my mother became both parent figures during my upbringing. The balance she struck as an only child was admirable.
We functioned like a duet, always aware of the potential loss of one another. Financial struggles defined our lives in a modest apartment in south Paris. I took on jobs early, aiming to support her while she prioritized my education.
My father was renowned for scoring soundtracks, including Dr. Zhivago and Lawrence of Arabia.
4. What was your parents’ reaction when you started doing music?
My mother was very encouraging about the arts. She opened my awareness to sound and music. A close friend of hers, Mimi Ricard, ran one of Paris’s most iconic jazz clubs, Le Chat Qui Pêche, where legends like Don Cherry and John Coltrane performed. During visits to her friend, I often explored the cellar where musicians rehearsed.
For my 10th birthday, Chet Baker played for me on an upright piano. That was a profound emotional moment, the first time I felt the physical effects of music. He advised me that while melody is essential, escaping it is just as crucial in jazz. This lesson remained with me, linking the electroacoustic music I create to the freedom found in jazz.
My relationship with my father lacked conflict. Such absence can be more insidious and challenging than open disagreements. I’ve only encountered him a handful of times, and although he asked polite questions each time, it was a long journey to come to terms with my feelings of resentment and acceptance regarding our relationship.
5. Did you have a job before you started doing music in a professional capacity? When were you able to leave the job and focus on music full-time?
I took several small jobs to aid my mother, who had a stand at the French flea market. Each weekend, I helped set up and sell items. As a 13- or 14-year-old, I lacked credibility for my paintings, so I fabricated a fictitious older brother to sell his works. I even managed to sell my own art, which brought me pride.
I played in rock bands during my college years, earning a bit in local clubs. Studying electronic music at Groupe de Recherches Musicales significantly altered my path. I began earning revenue from composing music for commercials, producing artists, and writing pop songs, building a reputation in my 20s.
6. What was the scene like in Paris when you first started making music?
During my teenage years, Paris was vibrant with rock music influences from American and British bands. The famed Olympia concert hall featured numerous emerging acts, like Pink Floyd and The Who. Although exciting, this wasn’t an evolution for me. When I delved into electronic music, it felt revolutionary—an avenue to express unique perspectives, coinciding with the youth revolutions surfacing in both Europe and the US.
7. What’s the first non-gear thing you bought for yourself when you started making money as an artist?
I believe it was a car, specifically a vintage French model from the 1930s. I took pride in owning it, as cars and motorcycles from the 60s symbolized escape and freedom—especially if convertible!
8. Was there an album that got you into electronic music?
Initially, there were no electronic music albums. My first foray into electronic sound was through experimentation at a music center lab, where we repurposed oscillators and filters meant for radio station maintenance. As young artists, we created music with machinery often dismissed as mere tools rather than instruments.
9. What’s the last song you listened to?
Earlier, I participated in a radio show called Open Jazz to promote my album. They played an Ella Fitzgerald track. While not necessarily my regular listening, it was what I recently heard.
10. What’s the first electronic music show that really blew your mind?
With humility, I recall my inaugural show before a million people in 1979. It was the first massive audience experience, incorporating innovative mapping and monumental projections—elements now synonymous with electronic music.
Back then, performance venues were limited. In Europe, options revolved around small halls for theater or jazz or larger multiplexes typically hosting corporate events. I sought a different path, which led me to outdoor concerts, embracing the idea of unique, one-off performances.
11. Is VR figuring largely into how you’re moving forward?
I’m deeply immersed in VR, having conducted several concerts in this medium recently. It democratizes opportunities for stage design and architecture, eliminating gravity constraints and enabling people from various backgrounds to connect live, creating a sense of community.
When showcasing the beta of Oxymore earlier this year, we held a Q&A with guests and fans. The beauty of VR lies in connecting individuals globally—revealing stories like that of a paraplegic woman who attended her first live event and found herself dancing. Such instances highlight VR’s transformative power.
12. What is the best setting to listen to and experience electronic music?
Post-COVID, our relationship with digital interfaces has evolved. The rise of VR and the metaverse will become integral to creators and audiences alike.
I find myself drawn to cultivating my music, ironically seeking a return to the essence of sound. In discussions about VR and immersive worlds, the conversation often leans towards visuals, overlooking the auditory aspects. We must remember that audio encompasses a 360-degree experience, while visuals remain confined to 140 degrees. It’s peculiar that our historical engagement with music has primarily been frontal.
Navigating a different spatial dimension shifts our understanding of music’s essence, as I explored in Oxymore. This unique album was the first explicitly conceived and composed in 360 degrees from its inception. This approach enables listeners to feel immersed within the music, heralding the future of electronic sound.
13. You’ve already implemented these ideas in your presentation of Oxymore?
For Oxymore‘s European release, I’m hosting dark showcases focused solely on sound experiences, utilizing multi-channel audio with 20 PA systems surrounding the audience. The visual aspect will occur in VR, where I aim to create an imaginary city reminiscent of Metropolis and Sim City, performing live in both spaces. VR will enhance live performances, similar to film reinforcing theater.
14. You said you kept the immersive audio component in mind when making Oxymore?
Absolutely. Historically, the sounds utilized in electronic music were fixed by their designers. Now, you can shape and craft unique sounds. This newfound freedom spurred my creativity, allowing me to construct audio landscapes where each sound holds its unique spatial identity. Engaging with sound from within is liberating, akin to immersing oneself within a painting.
15. Does the fact that immersive audio has moved away from being just for audiophiles and become very accessible as it gets integrated into basic consumer products motivate you to work more within it?
I consider myself fortunate to have witnessed three transformative moments in my career: the rise of electronic music, the digital revolution with computers, and the inception of immersive environments. This last one offers a remarkable chance for emerging artists, as moments of disruption are invariably positive for creatives.
16. What is one thing about electronic music now that is far better than it was at the start of your music career and what is one thing that is far worse?
One significant improvement is the efficiency of production; what previously took hours now takes mere moments. I started with tape recorders and physical editing techniques, which were labor-intensive. Now, everything is instant. However, this immediacy brings its challenges; the time for contemplation and maturation of ideas is shorter, leading to rushed decisions in music creation.
17. What was the best business decision you ever made?
Selling my catalog this year. It felt nostalgic, a reset, and gave me the freedom to explore new avenues in my artistry.
18. Who was your greatest mentor, and what was the best advice they gave you?
Pierre Schaeffer, my teacher at the Groupe de Recherches Musicales, stands as my greatest mentor. This entire Oxymore project pays homage to this French legacy of electronic music, focusing on sound rather than notes.
He urged me to embrace unexpected combinations of sounds, merging a bird’s chirp with a clarinet or a washing machine’s hum with a trombone. This philosophy underpins Oxymore. Additionally, he advised against wasting time on mere experimentation, advocating for a bridge between avant-garde endeavors and popular music, which saved me considerable time.
19. What’s the best piece of advice you’d give your younger self?
Pursue what others may not understand in you; it’s a reflection of your authentic self.
20. Your life would make a great movie, don’t you think?
That’s quite flattering. What you say resonates. People often fall into two categories—those who believe their lives warrant cinematic portrayal, and those with exciting lives who remain oblivious, having played the main character all along.
Fuente original: www.billboard.com
Publicado originalmente el 2022-10-21 07:00:00 por
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