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Comments
The sampling period (not a very accurate description, I’m pretty sure he used samples previously, but that’s what his web site calls it) starts with Beyond Recall (1991).
Then you have the two Royal Festival Hall albums and the Dome Event. They’re characterised with what many saw as an excess of abstract sample textures, animal noises, shrieks etc.
He then did an album of classical covers (Goes Classic) and an opera (Totentag), neither of which I’ve heard - didn’t sound like my cup of tea at the time, and I don’t think you can get them now.
In the middle of all that there was a soundtrack (Le Moulin de Daudet) and an odd concert album, with two completely different mixes (Das Wagner Desaster).
In Blue seems to be regarded as a return to form - and it’s great, I must say.
FWIW my take is that he’d already made various stylistic shifts before Beyond Recall, so the sampling phase was just more of that, ie an artist trying new stuff out. A lot of it isn’t easy listening, so I can see why some people didn’t like it if they were expecting to bliss out to prolonged sequencer pieces. I do have to be in the right mood for those albums, though.
Thank you @bygjohn. Very interesting.
He sure did a lot of stuff over the years. I've got several of his releases including "La Vie Electronique" which is something like 25 CDs worth of music.
I'll have to check out some of the sampling albums.
Thanks again!
I have a soft spot for The China Concerts – it’s not that it’s my favourite, it’s probably more that I’ve listened to it more than others, when I was a photographer in the 80s I used to play it on my Walkman on headphones when I was developing in the darkroom over and over
I also sort of like Revolutions, the single, although I also don’t like it and want to do a cover version myself in a completely different stripped-back way, and then again I can’t be arsed
I grew up with Oxygene, it came out in my final year of secondary school in Australia and I was heavily into electronic music and synths back then and when Oxygene came out most of my friends got behind me and started looking at synths as a thing (eg, friend of mine, Greg Simmons got an MS20 after that, and some years later published a magazine for recording and music industry in Australia, I forget what it was called)
Also credit where credit is due, I also recognise that Jean-Michel’s dad did quite a few good music soundtracks for films
Also credit where credit is due, one of JMJ’s past wives Charlotte Rampling – seriously, well done, she’s hot
Definitely relevant to the thread, I found this article to be quite fascinating since JMJ mentioned he likes the original OP-1. 😅
https://daily.redbullmusicacademy.com/2012/05/jarre-synth
Zoolook an under appreciated early foray into sampling craziness. I grew up in the classic equinoxe oxygene vinyl of my mum and dad’s, but the first one I bought was zoolook and the rhythms still live deep in my brain…
It's still my favorite of his today.
“Waiting for Cousteau” by far! 🤩
I swear, there are no wrong answers here. Everything (in my personal opinion) from JMJ is sublime, but yes. "Waiting for Cousteau" is just beautiful 40+ minutes of pure Ambient splendor.
Listening to this album in the ’90s was a completely different experience than it is today. I’m a diver, and believe me, he must also be a diver because he captured that underwater essence perfectly. 🤩
I never thought of it like that. 😃 I think that's a pretty apt description of the vibe to be fair. But regardless of how one interprets Cousteau, I will say for certain that the piece is a beautiful work of art.
I think tomorrow, since I'm spending all day indoors tomorrow for Christmas (I celebrated Christmas with family today rather than tomorrow), I'm going to utilise this app that @telecharge was so kind to point out to me...
https://apps.apple.com/us/app/oblique-strategies-sideways/id6739569502
...and use some instances of only the iM1 plugin as a sound sorce to produce some sort of Ambient piece. I read that JMJ used the Korg M1 hardware synth (amongst others) throughout the whole "Waiting for Cousteau" album, and I had a feeling some of the sounds were from the M1 upon listening to the whole album today.