EVERY DAY IN JUNE

In 2019, Jor­dan PHILIPPE deci­ded to launch a solo pro­ject, EVERY DAY IN JUNE. The use of modern com­po­si­tio­nal tech­niques (sound pro­ces­sing such as war­ping*, micro-sam­pling**, and the use of audio effects) is skill­ful­ly com­bi­ned with a rich melo­dic and har­mo­nic know­ledge. The pro­ject reflects both the musi­cian’s opti­mism and matu­ri­ty.

The result is a natu­ral and spon­ta­neous elec­troa­cous­tic blend in which pop, elec­tro­ni­ca, rock, hip-hop, folk­tro­ni­ca, ambient, and soul-funk col­lide without hie­rar­chy, all with great sen­si­ti­vi­ty, musi­cal intel­li­gence, and a clear lyri­cal sen­si­bi­li­ty. The result is a new and intri­guing sound within the cur­rent elec­tro­nic music scene, firm­ly roo­ted in its time yet rich with influences.

In late 2023, Jor­dan PHILIPPE met Alex BOULIC, a video­gra­pher and set desi­gner, and they began wor­king toge­ther on EVERY DAY IN JUNE : a jour­ney into the ima­gi­na­tion of a musi­cian, both on stage and on screen, and an invi­ta­tion to dis­co­ver his world, a balance bet­ween ana­log and digi­tal, bet­ween gentle nos­tal­gia and rhyth­mic rea­li­ty, bet­ween dazz­ling light and com­for­ting sha­dow.

*War­ping : Able­ton’s War­ping fea­ture allows you to stretch audio files like elas­tic bands to mani­pu­late their tem­po and pitch inde­pen­dent­ly. This makes it pos­sible to change the pitch of one song to match ano­ther without alte­ring the tem­po, or to slow down or speed up an audio track without chan­ging the pitch. This ini­tial func­tion can be repur­po­sed for crea­tive ends by dis­tor­ting the sound and wor­king it like a sculp­tor works with clay.

** Micro-sam­pling : The sam­pling tech­nique, which involves using a pre­vious­ly recor­ded sound source (music, natu­ral sounds, or sounds from human acti­vi­ties, etc.) and inte­gra­ting it into ano­ther musi­cal context, can also be used crea­ti­ve­ly. A sound is sam­pled into small frag­ments that become inde­pendent of each other, and their sub­sequent rear­ran­ge­ment creates a new sound.

Live Cine­ma Concept

Live cine­ma is a hybrid of film concert and live audio­vi­sual per­for­mance. It consists of the real-time pro­jec­tion and mani­pu­la­tion of a film whose sound­track is per­for­med live on stage by a musi­cal artist.

His orches­tra­tion pro­fes­sor at the conser­va­to­ry alrea­dy said of him : “His suc­cess is all the more remar­kable given his aty­pi­cal career path, cha­rac­te­ri­zed by his open­ness to dif­ferent musi­cal approaches” (Antho­ny Girard, com­po­ser and pro­fes­sor of orches­tra­tion at the Paris Regio­nal Conser­va­to­ry).

After ear­ning a degree in Musi­co­lo­gy from the Uni­ver­si­ty of Rennes, Jor­dan Phi­lippe stu­died jazz com­po­si­tion and har­mo­ny with Pierre Ber­trand, Emil Spa­nyi, and Ben­ja­min Mous­say, then clas­si­cal orches­tra­tion with Alain Lou­vier and Antho­ny Girard at the Paris Regio­nal Conser­va­to­ry, where he recei­ved a gold medal in both jazz and orches­tra­tion. He also honed his skills on the saxo­phone and prac­ti­ced jazz and impro­vi­sa­tion with André Vil­lé­ger. He has par­ti­ci­pa­ted in nume­rous work­shops and mas­ter­classes with Dave Lieb­man, Archie Shepp, Bob Mint­zer, Ken­ny Wer­ner, Jer­ry Ber­gon­zi, Julien Lou­rau, Per­ico Sam­beat, Gaël Horel­lou, and others.

He has been active on the French music scene for over fif­teen years, as an arran­ger for a show by Ben­ja­min Mous­say, as a saxo­pho­nist with Alain Van­ken­hove for his pro­ject « Influence » (for 16 dan­cers and 12 musi­cians), and with Ze Big Band and their pro­ject based on the com­po­si­tions of the great Ame­ri­can saxo­pho­nist Ricky Ford. He also regu­lar­ly per­forms in small ensembles (trio, quar­tet, etc.).

He has pur­sued nume­rous musi­cal pro­jects and col­la­bo­ra­tions, culmi­na­ting in the crea­tion of his first large jazz orches­tra in Paris in 2009 : the Quin­ze­tet Orches­tra (fif­teen ins­tru­men­ta­lists selec­ted from among the most pro­mi­sing young musi­cians on the Pari­sian jazz scene). Its pre­miere, cen­te­red on the theme of water, took place in Februa­ry 2010 at the Mau­rice Ravel Audi­to­rium of the 13th arron­dis­se­ment conser­va­to­ry.

He has also ini­tia­ted ambi­tious and diverse pro­jects (crea­ting Out Of Nola, Dyna­mic Block­bus­ter, and the big band La Machine Ronde), with which he has recor­ded seve­ral albums and per­for­med hun­dreds of concerts, and has pro­gres­si­ve­ly inte­gra­ted com­pu­ter music into his com­po­si­tions.

He has also col­la­bo­ra­ted, as a saxo­pho­nist, flau­tist, and arran­ger, with nume­rous artists from diverse back­grounds, inclu­ding Pierre Ber­trand (Paris Jazz Big Band), Mah­moud Ahmed (Ethio­pian sin­ger) and the Badu­me’s Band, Biki­ni Machine, Le Swing Socie­ty, Dam”-Fonk, and Per­cu­ba­ba. In 2019, Jor­dan Phi­lippe laun­ched his solo pro­ject, Eve­ry Day In June, where the use of modern com­po­si­tio­nal tech­niques (sound pro­ces­sing such as war­ping, micro-sam­pling, and the use of audio effects) is skill­ful­ly com­bi­ned with a rich melo­dic and har­mo­nic know­ledge that demons­trates both the artist’s opti­mism and matu­ri­ty.

The result is a natu­ral and spon­ta­neous elec­troa­cous­tic blend in which pop, elec­tro­ni­ca, rock, hip-hop, folk­tro­ni­ca, ambient, and soul-funk col­lide without hie­rar­chy, all with great sen­si­ti­vi­ty, musi­cal intel­li­gence, and a clear lyri­cal sen­si­bi­li­ty. A new and intri­guing sound in today’s elec­tros­phere, roo­ted in its time but rich in influences, and above all a gua­ran­tee of unde­niable truth and musi­cal strength.

A ver­sa­tile film­ma­ker, Alexandre Bou­lic explores the world of image and ima­gi­na­tion through his docu­men­ta­ries, reports, and art videos. Pas­sio­nate about live per­for­mance, he also desi­gns sets for contem­po­ra­ry dance pro­duc­tions, concerts, and shows for young audiences. From his first crea­tion in 1998 at Le Quartz in Brest with « Maman, Regarde » to his latest at the CCN in Le Havre with « Clar­té, » his mul­ti­me­dia desi­gns are imbued with ele­gance and poe­try.

In paral­lel, he directs high-end adver­ti­sing films for pres­ti­gious clients in both the public and pri­vate sec­tors, col­la­bo­ra­ting with agen­cies such as Big Suc­cess, Léon Tra­vel, Qiva­te­va, and Les Others Stu­dio.

Cur­rent­ly the Audio­vi­sual Stu­dies Coor­di­na­tor at Rennes Ynov Cam­pus, he is dedi­ca­ted to pas­sing on his expe­rience to future gene­ra­tions while conti­nuing to expe­riment with cross-dis­ci­pli­na­ry forms of audio­vi­sual expres­sion.