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
