WITH JORDANE TUMARINSON
During this interview, I change seat, place myself in front of another artist and ask him the questions I wish people asked me. Today, I speak to French composer Jordane Tumarinson. The artist takes some time to tell us about himself and his latest album L’Envol; an opportunity for us to discover a little more about this mysterious composer.
Jordane, tell us about yourself—what is your musical background, your influences? How did you become a composer and performer?
I started playing music when I was nineteen. My parents had a piano at home, and I was naturally attracted to it; I started transcribing sounds and imitating the music I could hear—I was a composing a little too. Later, during my studies in osteopathy I took some distance. It’s in 2017 that I returned to the instrument, and started composing a lot. I like Ambient music—Sigur Ros and Radiohead too. I take inspiration from everything really.
What about L’Envol? It is your second release—after Présence in 2018. How did you come up with the concept and the pieces?
L’Envol is a reference to what triggered my need to compose music, to that moment when I started taking it a little more seriously. It is a jump towards the unknown and the realisation of one’s dreams. In my case, creating music. It is an invitation for the listener to understand his purpose in life.
You mentioned that L’Envol was strongly influenced by nature. Many composers have taken inspiration in it to create music; I especially think of Debussy. How has that affected your creative process?
Nature is the starting point of everything. Human beings are a part of it too, and it seems natural to me that we take inspiration in it for our creative processes. Nature regenerates, soothes, cures and inspires. When I compose music, I often have natural images that spring to mind.
How would you describe yourself as a composer and musician? Do you consciously think about your musical approach and direction, or do you simply let the music flow without giving it too much of a conscious action?
It depends actually, it might be both approaches. Initially, I can decide on the tempo or mood of the piece, and the inspiration does the rest!
Am I right in thinking that your pieces find their starting point in improvisation? There is a very spontaneous feeling in L’Envol—particularly in pieces like Inertie—that seem to bring back the idea of impromptu.
Absolutely. To me, composition is improvisation with additional construction and development. Composition gives structure to improvisation and shapes it.
With English being the universal language today, a lot of non-native composers decide to leave their former language for the latter—guiltily including myself. However, you seem to ignore these conventions, and seem quite satisfied with your cultural foundations, as well as perhaps your influences. Is that a conscious choice? Do you like the idea of sounding French?
The French language is very rich, and it allows me to make the words resonate as close as possible to the energy of my music. It definitely plays a role in how I create music.
So after L’Envol, what’s next?
I have just released a new EP entitled Escale, and I am currently working on composing my third album!
Thanks very much Jordane. Last one for the road—one book, one album, one film—tell us about your latest cultural pearls?
I have so many cultural crushes; it is difficult to answer! My last discovery is the American sci-fi series OA, which deals with the relationship between conscience and reality. On a musical level, I recommend Piano Night by Bohren & der Club of Gore.
Bouncing on Jordane’s words, I strongly suggest to discover Bohren & der Club of Gore through two of their albums; their first release, Gore Motel, and Piano Night; both releases demonstrate two interesting facets of the German band… Read my review of L’Envol.