BlahBlahCafe - Jean-Michel Jarre forum

Originally an “Electronics engineer”, Michel Geiss is a musician, composer and a sound designer who created the Matriséquencer used on some of Jean-Michel Jarre’s albums. He was closest collaborator of Jean-Michel Jarre for many years!



I wanted to know why JMJ doesn't collaborate with Michel Geiss. It seems that together they did the best work of JMJ's career. I am not discounting the amazing talent of Francis Rimbert who I also like. If there was creative friction between Jean-Michel and Michel then maybe it caused some amazing music to happen. I wonder....

To me he seemed like the cool and reserved technological engineer/wizard to Jarre who was more in the spotlight, full of energy and imagination!

:~D

When Michel Geiss had his role on stage changed to engineer during the EIC tour, he liked it so much, he decided to pursue a "backstage career" and left JMJ.

No friction as far as I know. When I last spoke to Geiss, he said he did talk to JMJ every now and then, but not often. He also said he probably would work again with JMJ if he was asked too.

Ah, great !
I am amazed by this man, on the La Défense vidéo he looks like a scientist in front of his synths.

I dunno what would have been JMJ's discography and career without Michel.
I am waiting hardly the come back of Michel !!

Digisequencer = Best sequencer ever.

jarrekid wrote:Digisequencer = Best sequencer ever.

Hell yeah, even if I dunnow how does it work
but I have a very interesting video about it, you know, the one in which JMJ says : "Patrick, il est pas branché le synthé là" ; "On/Off" or something liek that

When Michel Geiss had his role on stage changed to engineer during the EIC tour, he liked it so much, he decided to pursue a "backstage career" and left JMJ.

No friction as far as I know. When I last spoke to Geiss, he said he did talk to JMJ every now and then, but not often. He also said he probably would work again with JMJ if he was asked too.

Not really the truth, we only have to retain that JM Jarre made the choice of don't ask Michel Geiss to work with him on projects after EIC and their relationships have never been broke since.
JMJ is a boss, he decides the persons he wants to work with him, that's all. It is an artistic choice, not a relationship choice.

Details are not important, they are subject of polemic and interpretation.

Their ways are probably too distant today so that it can again work together.

VinceBlood wrote:

When Michel Geiss had his role on stage changed to engineer during the EIC tour, he liked it so much, he decided to pursue a "backstage career" and left JMJ.

No friction as far as I know. When I last spoke to Geiss, he said he did talk to JMJ every now and then, but not often. He also said he probably would work again with JMJ if he was asked too.

Not really the truth, we only have to retain that JM Jarre made the choice of don't ask Michel Geiss to work with him on projects after EIC and their relationships have never been broke since.
JMJ is a boss, he decides the persons he wants to work with him, that's all. It is an artistic choice, not a relationship choice.

Details are not important, they are subject of polemic and interpretation.

Their ways are probably too distant today so that it can again work together.

It's what Michel said himself.

If I remember right (a COTM interview back in 1993) Geiss said himself that he wanted to work behind the scenes. I think it was Geiss' choice and JMJ just went with it?

It's what Michel said himself.

I have no more comment about that.

If I remember right (a COTM interview back in 1993) Geiss said himself that he wanted to work behind the scenes.

I remember that, it was about that he prefered to be behind the scene that behind a synthesizer on the stage.

VinceBlood wrote:

It's what Michel said himself.

I have no more comment about that.

If I remember right (a COTM interview back in 1993) Geiss said himself that he wanted to work behind the scenes.

I remember that, it was about that he prefered to be behind the scene that behind a synthesizer on the stage.

Indeed!

Greetzzz...

Christophe wrote:

VinceBlood wrote:

It's what Michel said himself.

I have no more comment about that.

If I remember right (a COTM interview back in 1993) Geiss said himself that he wanted to work behind the scenes.

I remember that, it was about that he prefered to be behind the scene that behind a synthesizer on the stage.

Indeed!

Greetzzz...

Exactly!

GeeJee wrote:

Christophe wrote:

VinceBlood wrote: I have no more comment about that.
I remember that, it was about that he prefered to be behind the scene that behind a synthesizer on the stage.

Indeed!

Greetzzz...

Exactly!

Sure!

Right....

Hum,

Geiss is shy and I think that from start he was a bit disapointed for not being mentioned in Oxygene's credits.

Geiss is also an engineer, prior to being a musician, and feels confortable "creating" work under that role, the one of an engineer.

I hear he got out of La Defense a complete nerve reck, so that goes to explain how much he probably does not apreciate the pressure of major public (huge audience) appearances.

Europe in Concert, due to the rate and Sony music usual pressures must have had been a major stress on all, it was too much, too fast, and had to be done.

Rimbert does miss not being able to play in Madrid and Geiss once told me how beatifull he thinks that that city is - perhaps they were all traumatized with the cancelation?

Backstage rumours though indicate things did not went so well as they may be now, and selling Croissy may give you a hint on what the reasons may have had been... but I'm guessing here.

JMJ seems heading towards stability, Geiss is still building an amazing resume as an audio engineer and Rimbert is quickly becoming a musician on his own terms - all together may further improve Jarre's work, for he pushes the right buttons to an irritating detail, managing a project with milimetric precision, whereas Rimbert or Geiss leave more room for artistic "errors" or "slack", they're more loose and forgiving.

Jarre seems more like a megalomaniac ditactor, when on a bad mood, that is... but he's the one paying, right? He also seems to handle pressure better (good nerves), with humor and wit - and that good old miming "can't play wrong" trick.

Kind Regards,
AMR
http://www.alvaromrocha.com

Backstage rumours though indicate things did not went so well as they may be now, and selling Croissy may give you a hint on what the reasons may have had been... but I'm guessing here.

JMJ seems heading towards stability, Geiss is still building an amazing resume as an audio engineer and Rimbert is quickly becoming a musician on his own terms - all together may further improve Jarre's work, for he pushes the right buttons to an irritating detail, managing a project with milimetric precision, whereas Rimbert or Geiss leave more room for artistic "errors" or "slack", they're more loose and forgiving.

Jarre seems more like a megalomaniac ditactor, when on a bad mood, that is... but he's the one paying, right? He also seems to handle pressure better (good nerves), with humor and wit - and that good old miming "can't play wrong" trick.

You summarize well the things.

Because I had another "bell sound" with michel geiss story, it is evident that michel geiss can't explain all details to fan he meets.
The main frame is right, he prefers backstage job.

I think it is not important to know everything (I'm myself not really interested by that) and it will not change the story : Gold Jarre team is definetly over.
It is a way for Jarre to express his music differently like John Lennon, Sting, etc.. did.