Blah Blah Cafe, the Jean-Michel Jarre forum
The record was never expected to gain a commercial release. The auction was to raise funds for the artists whose work was soundtracked by the album playing at their exhibition. Dreyfus fully accepted JMJ's idea to press one copy of the album and publicly destroy the ability to press vinyl copies (the master plates). The fact that the master tape and multi tracks exist, and music from these used on Zoolook, Rendezvous and Planet Jarre suggests to me that Dreyfus and Jarre had agreed beforehand what was to be released subsequently from MFS.shadow wrote: Fri Apr 14, 2023 9:49 pm It's really a shame that the record seems lost to time. Was there no demand that all sales after the auction needed to be communicated to Dreyfus?
The tape was no doubt returned to JMJ / Dreyfus once the exhibition ended, as per contract. A similar thing happened during the Concert D'Images exhibition in 1989, when the full 75 minute version of Waiting For Cousteau was played.
Jarre has said in quite a few interviews that the album was recorded especially for the exhibition. He was in the middle of preparing for the Zoolook album, which explains why tracks from that album appear of MFS.Stereomatic wrote: Sun Apr 16, 2023 8:31 pm I think that even Jarre doesn't remember exactly what was played during the exhibition.
Has anyone ever actually asked him that?
I completely understand that it was never meant for a wide release. But mostly so that the one unique copy could at least be tracked like the supposed single art piece idea and being able to track that.Pat Gleeson wrote: Sat Apr 15, 2023 5:33 pmThe record was never expected to gain a commercial release. The auction was to raise funds for the artists whose work was soundtracked by the album playing at their exhibition. Dreyfus fully accepted JMJ's idea to press one copy of the album and publicly destroy the ability to press vinyl copies (the master plates). The fact that the master tape and multi tracks exist, and music from these used on Zoolook, Rendezvous and Planet Jarre suggests to me that Dreyfus and Jarre had agreed beforehand what was to be released subsequently from MFS.shadow wrote: Fri Apr 14, 2023 9:49 pm It's really a shame that the record seems lost to time. Was there no demand that all sales after the auction needed to be communicated to Dreyfus?
WFC was originally for an exhibition? Never knew that, learn something new every day!Pat Gleeson wrote: Sun Apr 16, 2023 9:08 pmThe tape was no doubt returned to JMJ / Dreyfus once the exhibition ended, as per contract. A similar thing happened during the Concert D'Images exhibition in 1989, when the full 75 minute version of Waiting For Cousteau was played.
Yeah, sure was - I was thereshadow wrote: Mon Apr 17, 2023 6:18 pm WFC was originally for an exhibition? Never knew that, learn something new every day!
Interesting idea. We do have a video report from the auction and at the end there was overture playing in the background. I cut out the snippet from that piece.Richard-Eastham wrote: Sun Apr 16, 2023 4:43 pm We all know that the copies floating around are from the Radio Luxembourg broadcast - "pirate me!" - but did nobody think to record a copy by attending the exhibition with a tape recorder in their pocket?
Had Amazonia not been released, I know I'd have attended one of the Sebastian Salgado shows and recorded the soundtrack that way – surreptitiously to avoid a confrontation with any security guards!
Thinking about it, surely the Music For Supermarkets venue or gallery operators would have a tape copy to play for the duration of the exhibition, if indeed JMJ’s music was used as the soundtrack to the exhibition. If so, what happened to that tape?
Or was the single vinyl copy used to provide the soundtrack and its auction (and burning of the master) took place at the end of the exhibition, just before it closed?
