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Ariel Kalma - Le Temps des Moissons (1975)


Born and raised in Paris, France, Ariel started playing the recorder at age 9 and saxophone at 15. During his successive studies of Electronics, Computer Science, Music and Art in Paris, Ariel performed with several bands, then toured the world and visited Europe, Japan, India, Eastern Canada, and parts of the USA. Apart from rhythm & blues, pop and jazz, he acquired assorted experiences in middle-age French, electro-acoustic, and modal music. All the travels broadened Ariel's musical horizons tremendously; listening to and playing with different styles, people, and instruments, intricate scales, techniques, timing and rhythms.

Ariel Kalma playing guitarAfter learning circular breathing from a snake charmer in India, Ariel practiced it on soprano sax - for many sleepless nights - in the basement of a cathedral in New York (when he was not playing upstairs on the large harmonium). Returning to France in late '76, Ariel could include those endless notes into his own long-delay-effect system with which he toured, playing solo concerts. Ariel contributed to the birth of (then) new music genres: minimalist, space, ambient, new age, electronic etc.

With his passion for recording and sound, Ariel always had a home studio and was also technical assistant to some of the composers at Paris' GRM - Musical Research Group part of the INA (Audiovisual National Institute), where he recorded some of his compositions.

Over 3 decades, Ariel Kalma published several vinyl LP's, cassettes, and CD's, many older ones out of print. His compositions have been used for modern dance-theatre, films, musical poetry, guided meditations, transformational groups. Ariel Kalma has also played on many albums in France - even throughout Europe, the US and recently Australia, where he lives. (ariel-kalma)



This has been the first solo recording LP from Ariel Kalma, recorded in 1975. After a long journey to India where he learnt the basics of modal music and singing, Ariel was inspired by the fusion of ancient and modern ways of playing music in the 70s with saxophone, ethnic instruments, effects, electric instruments and electronic filters. As making a record was expensive at that time, when the first thousand records were pressed Ariel run out of money so he bought blank sleeves and one by one, he drew the shape of his hand and numbered each LP. This first pressing is now rare and sought after!

Another detail made this LP memorable because it had not been done before: Ariel convinced the pressing engineer to loop the groove at the end of side 2 - thus creating an endless loop - and although it was casually mentioned on the cover, it caused surprises sometimes by sending listeners into trance. or on some occasions burning the motor of their turntable after endless hours! On this CD, Ariel included a loop of several minutes only, because the LP loop had an audio advantage: as time passed the sound of the loop changed because the diamond eroded the groove.

To the 3 compositions originally on the LP have been added 2 other ones from that period of time. Note from Ariel : Saxophone is powerful. It has raw sounds that are often filtered, polished for easier listening. I like to let my saxophone sing and when I play, I hear high-pitched, teasing sounds that I like so much. they titillate my senses. If it is too sharp for your ears, adjust your EQ till you are comfortable.
This has been the first solo recording LP from Ariel Kalma, recorded in 1975. After a long journey to India where he learnt the basics of modal music and singing, Ariel was inspired by the fusion of ancient and modern ways of playing music in the 70s with saxophone, ethnic instruments, effects, electric instruments and electronic filters. As making a record was expensive at that time, when the first thousand records were pressed Ariel run out of money so he bought blank sleeves and one by one, he drew the shape of his hand and numbered each LP. This first pressing is now rare and sought after!

Another detail made this LP memorable because it had not been done before: Ariel convinced the pressing engineer to loop the groove at the end of side 2 - thus creating an endless loop - and although it was casually mentioned on the cover, it caused surprises sometimes by sending listeners into trance. or on some occasions burning the motor of their turntable after endless hours! On this CD, Ariel included a loop of several minutes only, because the LP loop had an audio advantage: as time passed the sound of the loop changed because the diamond eroded the groove.

To the 3 compositions originally on the LP have been added 2 other ones from that period of time. Note from Ariel : Saxophone is powerful. It has raw sounds that are often filtered, polished for easier listening. I like to let my saxophone sing and when I play, I hear high-pitched, teasing sounds that I like so much. they titillate my senses. If it is too sharp for your ears, adjust your EQ till you are comfortable.

3 komentarze:

Pausts pisze...

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Anonimowy pisze...

1975, endless loop at the end of side 2, had not been done before? The Beatles - Sergeant Pepper (1967), Kevin Ayers - Whatevershebringswesing (1971). Hmm? Time going backwards ...

Anonimowy pisze...

Gong ‎– Camembert Electrique (1971) great blog anyway...;-)

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