Spanish music radio would not exist as we know it today without the work done by RAFAEL REVERT. Journalist and broadcaster of vocation but heart and soul music lover, this Madrid borned of indeterminable age (due to “read Dracula” as advocated by JEAN-MICHEL JARRE) music lover of Elvis (he was in his burial) and LITTLE RICHARD and creator in the 60s of Los 40 Principales-first as a radio program, then as a group of stations, and Cadena 100 radio station in the 90, has seen some of the most important musical events of the last half century.
In 1981, invited by the late Polydor label, had the rare opportunity to travel to Beijing to cover for Cadena Ser radio station and El Gran Musical magazine the first of the two concerts of the tour JEAN-MICHEL JARRE in post-Maoist China .
It would not be the only opportunity to experience firsthand the shocking experience of the monumental concerts of JARRE: Houston in 1986 and the London Docklands in 1988 were the scenarios were REVERT captured the details, anecdotes and musical extra paradoxes surrounding these unrepeatable events.
The memories and experiences of those concerts, especially the 1981 Beijing ones, viewed almost 30 years later, serve to clarify many of the doubts that the followers of JEAN-MICHEL JARRE have accumulated over the years, bringing surprise and unpublished data that enrich the widespread view that we have documented about these little concerts. A member of Fairlight Jarre, Victor Maqueda had the opportunity to meet Rafael:
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I find RAFAEL REVERT in Pozuelo. From the first second this living legend of music journalism and active displays his knowledge of the aura of which has worked all his life. Knowledge alone is comparable in size to the kindness with which he treats the listener and his efforts to rescue the memory of every detail which he is interrogated about.
FAIRLIGHT JARRE (FJ): How did the idea of going to China?. Because it is clear that by being a journalist envolved with the music media you already knew about the work of Jean-Michel Jarre.
RAFAEL REVERT (RR): It was an invitation that JEAN MICHEL JARRE made to the record companies of each country. I called by Polydor and they suggested if I wanted to go to China with JEAN MICHEL where he was going to make a live album. And of course, you wanted to do it, but I did not know what it was China at that time.
FJ: Certainly you were the only Spanish journalist who covered the concerta in China in 1981. But it is also the team that traveled to China during Mao’s tour was somewhat reduced, isn’t it?
RR: There were several journalists invited. There was a Norwegian named Hans, another of the Netherlands Radio and had a Frenchman who was a writer (editor’s note: possibly JEAN LOUIS REMILLEUX), and that we were always together. And then there was a group of French and English, who were sound technicians, lighting, recording, … And of course, was also Charlotte Rampling, who was quite striking. Nor had many occasions to see her, because journalists and the team that went to work got us into a hotel that was called something like “The peoples and friendship”, a very comunist name, which was 20 kilometers from Beijing, so you have to be controlled all time. Because obviously, we were in the China of Mao Zedong, communist 100% radical, and the were watching the strangers suspiciously. In the latter of Friendship hotel on each floor there were about 15 Chinese to take your luggage. There is prohibited the tip. There were you stuck with your suitcase. Look, there they told me that scared the children with us. They said “look, look, those are the devils.” And the kids look at you with a scary face. To exit the hotel had to take a taxi, which were all controlled by them, and the bus could not go because theydidn´t know where you wanted to go because they do not understand anything of our language. We had some hassles … I remember when the rest of the team went on to Shanghai and I stayed to catch the plane back to Spain, the guide, who was desperated with me, told me “what a joy that you at last are going to return to your country, so I’m going to have less problems from now.”
Everything was very closed. I bought a Spanish-Chinese Dictionary and I approached a girl and said “hello beautiful” andI pointed to the dictionary to go for tea or something. And talking about two words with her there were two guys dressed in civilian clothes, were bound for the girl and told her to leave. There were always two guys who followed you, went to the local chinese and frightened him or her.
Imagine, back then we did not know what was the roast duck or Peking duck, but the French journalist who came with us had a Michelin restaurant guide and knew about a restaurant with that meals. So we took a taxi and, with many problems with the taxi owner, ultimately he took us to the place. We arrived at the restaurant at about 12 in the morning, which was absolutely empty. However they hinted that it was not possible to eat there because it was fully booked; “And at night?” we asked and thet said “no, all booked”.
For here you could not be out of the program. They planned this team is going to go here and there and you could not jump the dial plan. Two days after arriving, we were lead to visit a collective farm of those who are there to demonstrate their sociological progress, but then we caught the guide and told him we wanted to eat roast duck, and told him what had happened to us. And he said no, it was not possible. Then we said that journalists were not going to go see the farm. For in the end we looked for a restaurant where we eat roast duck till die, delicious!
One day we went to visit the Great Wall of China… You get up very early, going on a bus for two hours, and to the lunch time we had all a tremendous hunger. And the guide comes with a cardboard box with an apple, ham and cheese sandwich, a bottle of water … As we came the smell fantastic Chinese food nearby, tremendous. And again we ask the guide to eat at that site, which was a restaurant, but said “not possible, not possible.” For the French and British, as always, stayed there with their little box. But I went to the restaurant, went in and asked me which group I belonged to. I said, slightly laughing, that of Jean-Michel Jarre and he said “no” and I had to left the site. Then I saw a group of Americans came, I slipped between them, and finally I got into the restaurant. When I came out and told the guide where I ate and he got ver angry. Anyway, it was a really nice trip, besides we could not talk to any Chinese to ask what it was like, what happened … But I had a great time.
FJ: When did you made contact with JARRE in China?
RR: We were in the rehearsals of the first day and another day we were with JARRE and his wife to visit the Forbidden City. That’s what I have a tape recorded in Super 8, I hope someday I could show you the tape. At the time I knew a little about JARRE, and he had a daily schedule of things to do, and there was no time to roll. I’ve always seen hims as a very compliant and very serious for the job. And in China, except the day we were in the Forbidden City and the rehearsals of first gig, the day before, I couldn’t have more contacts with him. Note that was the first Western artist who played there.
FJ: You just mentioned that you attended a rehearsal in China. JARRE was there?
RR: Yes, what I saw was the first day rehearsal and he rehearsed with his band for about three hours. It was just a musical rehersal, because it was in the morning. I do not know if in the evening they did a test of laser lights.
FJ: You said that you did not continue the tour with the team JARRE to Shanghai, so you were at the two concerts in Beijing (21 to October 22, 1981)
RR: I always remember the first concert. At that first concert the group played alone. Sure, the music is not JARRE it very easy to assimilate and less by the Chinese who had no idea what that was all about. Then at a half hour or so I was always filming things with my Super 8 camera and see that suddenly the Chinese started to get up and leave. I wonder what was going on, I go with the camera behind them, and I see that come to a yard full of buses, because the audience was on the outskirts of Beijing. Apparently the Chinese were getting into buses to leave, because probably they didn’ enjoyed the show (editor’s note: could also be that at that time the last bus departed, as the concert started very late.) Then came a guy there with a megaphone shouting and I guess he should say something like to back all the Chinese to the hall again unless he was going to cut their necks or something like that, and made them get off the bus and return to the auditorium.
This issue do not happen the next day, in the second concert. JEAN MICHEL played with a Chinese orchestra, which was really nice, something more familiar to the Chinese. And people enjoyed, cheered for minutes and minutes and did not move at all. It could be another type audience. JEAN MICHEL also enjoyed a lot. For though he played in the concert back to the audience, facing a great keyboard, just as the first night, he would not notice much the movement of the audience in the first night. And although since then I have spoken with him numerous times, as this issue was something a bit strange, I have not ever come to discuss anything like that.
FJ: It is said that in the first concert the audience was mostly made up of military staff. Have you noticed that?
RR: Yes, ther were military staff. But they were not distinguished, because only there were people dressed in green and blue. Well, you did not know who was who and if they were something.
FJ: In the two concerts in Beijing, in your category of journalist where you were located?
RR: Well, I were all around the hall. We had a seat assigned, but nobody said anything and I was in there with the camera, filming in a place in another. I hardly sit for these concerts, in fact I’m rarely sitting at concerts. Now yes, but then was around gossiping, watching where people were, what was behind the stage, enjoying and having a great time. By the way, I did quite a few films on Super 8 in these two concerts and recorded about 8 or 10 films. About two hours of film, which was material that I kept for me, because then worked for the Cadena Ser, making Los 40 Principales, El Gran Musical …
FJ: Do you remember the tracklist of the two shows?
RR: I do not remember exactly, but I know the second day played something with the orchestra in Beijing and played Chinese stuff. That is, the first day they only played Jarre stuff. But for the second nitght they played other things. In the morning he was rehearsing with the orchestra.
FJ: And the key piece of JARRE, “Oxygene IV”, could you tell me if it was included in the tracklist?
RR: I do not remember now, but I think so. I’d have to go to the chronicle I wrote at the time for The Great Musical, and do not know if there even tell some about the repertoire because it was something that always caught my attention. From Oxygene I know that they played the part 1, 2 …
FJ: Could you specify the duration of the two shows?
RR: I think the first was an hour and a half. And for the second it reached two hours.
FJ: There is an audio recording broadcast by Radio Beijing, in addition to the information you are providing should be the second night in Beijing, but also a television broadcast by Television of China which we have not found any evidence of it. Can you confirm whether the concert was broadcasted on television?
RR: No, there was no television there. There was a camera or two, yes. But not to record a concert. Also I remember the emissions of Chinese public television at that time laste two or three hours, and everything was about that they were the best, highest, most beautiful, and I guess that they had no time to broadcast the concert. They would have recorded the second concert, because it was the Chinese Orchestra there. But there was no mounting cameras there because I went through all the hall and i didn’t see any cameras to make a right broadcast of the concert.
FJ: What was your impression at seeing the show?
RR: That was the first time I saw him live and I felt awesome. I was familiar to groups that were then, from the Rolling Stones to the Beatles. And both the sound, such as assembly and light effects I was getting very striking. I loved it. It really was something that nobody did. Quite unlike anything we knew. That is, you could enjoy the music more or less, that’s going to taste. Now, the work being done up there was top class. He could do a concert today, another tomorrow, another later because you can not. Thus, he made some very selected concerts throughout his life. I have not met anyone who has done something similar, concerts such as care, as bold and bright. Always has mounted a series of concerts left you stunned. Because, look, what China was somewhat modest compared to what Houston or London. I always have asked about the concerts that have attracted my attention, and I always say those JEAN-MICHEL JARRE. Because you see a Pink Floyd concert, but may resemble that of Queen, with a band and with some effects and have their likeness.
FJ: In that mythical tour, JEAN MICHEL released a tool that over time has become indispensable and is closely linked to the image of the musician: The laser harp. How do you remember the use of this element in China?
RR: I do remember well the laser harp China. And it sounded great. To me it is what I have always liked. It gave great pleasure to see in China on the stage doing that stunt JARRE magic and wondered how this guy does this?.
FJ: As the first Western musician to play at Red China had to guess that the concerts have enough impact on the street.
RR: Was there no possibility of knowing. For as no one could speak with the Chinese, and although the first day but not so much the second concert you saw them all excited and cheering, but all have the same face … Well, the day after these concerts, you can not read anything in the newspapers, because they did not published anything in English. Now something is published in that language, but then, is that there was nothing, not even to buy. I bought stamps, a lot, and a blue coat with those typical Chinese sheepskin, sheep or rats, who knows. And I’m still using it yet, because it gives tremendous heat when it gets very cold. Then you have little idea of the impact that this might have. And once you leave China and never know if they liked it or not.
FJ: And after the concert, attended by some sort of party in the backstage or elsewhere?
RR: Nothing. After the concert we got into the bus to the four journalists who were and we went for the hotel. And of course, as we were not the same as the rest of the team, there was no opportunity to ask JEAN MICHEL what he thought of all or how he had noticed the atmosphere in the street.
FJ: If you like, I show you some photos of those concerts and you can say me some tings about them.
RR: The photos are of the second day, because the first day there were no projections “France / China.”
Oh, and on the second day the had a host. The first day there was no host or anything. The second day JEAN MICHEL read his stuff and an interpreter translated to the Chinese what would happen, so the public understood better.
Yes, that were the day we went out to take photos in the Forbidden City, actually in both pictures you’ll see the same building from different points.
I brought these stickers, good little stuck in the bags until they got screwed. I do not know if they will be still in the bag that I always wore metal is covered with stickers of concerts around the world. And that was it, and some were falling when placed others.
RENDEZ-VOUS HOUSTON
FJ: Apart from serving that mythical 1981 tour, you was also present in which the show was possibly the most famous and recognized by JEAN-MICHEL JARRE. I refer to the April 5, 1986 in Houston.
RR: That was also an invitation to Polydor. For me it was the most spectacular show I’ve seen in my life. I do not know if you compare it to London, each in his way were very nice. I was in Houston a couple of days before seeing the gig. The night before the concert we were with JEAN MICHEL JARRE journalists five or six half-hour talking with him and never saw him again, because I was engrossed in his own issues. That really shocked the Americans, stopped diving. All that I saw around me were all blown away, gawking. In an open area in a public park, we were a mile from the stage, and what a sound!… and then projected images over the skyscrapers of the city that was about two miles further back.
FJ: If you saw it would be because it came in time to the concert. I speak from the traffic jams that occurred hours before the festival.
RR: Yes, yes. A warned us beforehand and we moved to the site hours before the concert. We knew there would be much trouble.
FJ: Speaking of the concert in Houston, and many others, forces us to address an issue that I always speak in relation to JARRE: The theme of playback. How does the use of recordings in the concert of Houston?
RR: Well, I did not noticed the playbck. If we talk about the outcome, the result was fucking great. I do not care whether or not playback is, if there was any band I recorded because they did not know it. I’m going to see a show of light and sound and I’ve never worried about that. Even with concerts by Madonna, who say “hey, that you are not singing.” Well do not, is swelling of dancing and jumping an who you want she also singing with the gasp? I believe that when an artist does playback parties is for something, and if you do it because the outcome is better in general if they did playback. Another thing is that absolutely everything was playback, it does not the case. It is fully justified.
Destination Docklands
FJ: Two years later, in 1988, JARRE lands in London, first with the intention of making one large concert at the Docklands. Later, as a result of the many bureaucratic problems and the thing would be safety in two smaller concerts. As if that were not enough problems with the local commission should allow the conclusion of the push to change the dates of September to October. I do not know if this move meant that all those concerts were a bit sombred by that.
RR: Well, we do not become aware of anything like that. I was at the first and I got very. It was of those rains that can not stand. I wore my waterproof shoes but I got soaked, but fine. In addition, when you see that everyone gets wet because you do not care. I remember the scene that was like a huge platform, very ornate, floating in the water. We were just opposite.
FJ: Could you talk to JARRE at that time?
RR: No, in London did not talk to him. Nor with Marvin (editor’s note: Hank Marvin, a member of THE SHADOWS). We had a press event at a waterfront restaurant for dinner and talk. But there was also JARRE.
SPAIN 1983
FJ: And that’s strange, because you have kept in touch with JEAN MICHEL
RR: Yes, I will have met him 10 or 12 times, not only when he came to promotion. I speak French very well, because I am a French teacher, and I rolled with him a lot. And I wondered to what I thought to ride in Spain there. A couple of years later than China of the first times he came promotion to Spain, we were trying to do some concerts here. He wanted to do something in Madrid, Seville, … And we were working to see above all the possibilities of Madrid, talking to people of the City, which is where I more I tried, locating possible sites …
FJ: What was the location of the concert that you were driving?
RR: I wanted to do in La Castellana, a place where time has come after the Pope, there before the Bernabeu with a very good area. But given many problems, people who commanded then mayor of Madrid did not like all those issues. But we were making negotiations a year, and JEAN MICHEL came three or four times, but no way. In the end he said he was going to try in Seville and Santiago de Compostela, he liked the cathedral and the Plaza del Obradoiro. And we could not move anything more than Madrid.
EUROPE IN CONCERT 1993
FJ: So I think you will remember well is the Spanish tour 1993, Europe In Concert. Did you intended to go to the concert of Madrid that it was cancelle by the rain?
RR: Of course I was eager to see him in Madrid, because we had spoken 20 times to do something in Madrid, what would be a concert in Madrid. I’m from Madrid and I presume that this, and all the staff that I gave to Madrid, and could not be final. And yes, I was one of those who remained without seeing it. And I am very sorry because he had invited many friends and family to show off the artist who was my friend (laughs).
JARRE TODAY
FJ: With the experiences and encounters that you had related to JARRE and the perspective gained of years of experience will be easy to get a comparison with the current JARRE. How does this matter?
RR: Well I must say that I do not know the JARRE of today, because I passed without hearing things of JEAN MICHEL many years. And from 1992-1997 I do not remember more than one JARRE album in those four or five years.
FJ: Well, Cadena 100 radio station gave much airplay to JARRE …
RR: Yeah, because it was a buddy and we treated him well (laughs). But as I say I went to Digital Broadcast in 1997, with the Campus Party, and I lost track of him completely. Digital Broadcast happens that not all companies because it was sent discs Internet, which was the bad bug … Companies have been completely wrong and are paying for, and thus are missing almost all because they could not understand what I was in internet. So since 1997 I started with the internet and they didn’t sent JARRE discs, and in your work you take care of what you get.
FJ: Knowing JARRE as you know, you could do a JARRE profile and highlight some specific quality.
RR: I’ve always seen him as a perfectionist. Very busy testing things a thousand times, repeating things, tiny things that only he see or hear. And he repeated one thing and another and another. I like that artists . For me JARRE is the maximum that I have known also because he makes something completely different, something that requires hard work and a lot of preparation.
FJ: I refuse to close this interview without asking for the key person in the career of JARRE, and who sadly passed away in recent months: The French producer Francis Dreyfus.
RR: Yeah, man. Came with him forever. It was his counselor, friend. Must have been about 80 years at least to die. I remember that I was a kid and I was an older guy, about 40 years at that time. He was musical editor, and I knew from the music publishing Dreyfus. At the MIDEM was where I met him. I went to MIDEM every year, from first to the 25th edition. There always learned new things, until things started to decline. Francis was a smart guy, very clever, very proper and polite, and very nice. I talked to him enough. I greatly admired. That is the one who knew all the secrets of JARRE bedroom (laughs).
FJ: Tell me, when you are going to see JARRE again?
RR: I do not know, but it would be great. Maybe when I go to a concert in France or Spain … I would go to see him and it would be nice.
FJ: But he was playing last July in Santiago de Compostela …
RR: Yeah, but I was on holiday in Chipiona, and I couldn’ go there.
JEANMICHELJARRE.ES would like to thank to RAFAEL REVERT his time and attention for conducting this interview with us.