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Review

Ariel Kalma is the kind of musician that collectors live their lives to find at the bottom of a dollar record bin, and the kind who fellow musicians hope to become. He is a composer who worked on the periphery of a fringe movement, whose early adherents have recently seen an explosion in popularity...

- Vivian Hua, redefinemag.com

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Le Temps des Moissons

... this album has in certain circles attained mythical status among prog / jazz purists. Originally appearing in 1975 it was the culmination of a musical learning curve that had led to a young aspiring Paris born musician Kalma to visit India to learn and absorb the native techniques to melody. The resulting album was the by product of that period of self growth and realisation.... The re-mastered opus by Ariel Kalma is a truly certifiable lost gem from the backwaters of prog’s rich and sometimes wayward forgotten tapestry.

- marklosingtoday.com
 

Le Temps des Moissons

Electronic ragas of the 70s
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!

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Le Temps Des Moissons (Remastered original LP from 1975 including additional tracks) - Ariel Kalma

 

 

For more music go to Ariel's catalog.

 

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.

Ceci fut le premier disque solo d'Ariel Kalma, enregistré en 1975. Après un long séjour en Inde où il apprit les rudiments de la music modale et du chant, Ariel fut inspiré par le mélange d'ancients et modernes facons de jouer de la musique, mixant ses saxophones avec des instruments ethniques, des effets, des instruments electriques et des filtres électroniques. A cette époque, faire un disque coutait cher et lorsque le pressage des milles premiers disques fut effectué, Ariel n'avait plus d'argent disponible; il acheta des pochettes blanches et dessina sur lune après l'autre le contour de sa main et numerota chaque disque. Ce premier pressage est rare et recherché de nos jours !

Un autre détail contribua à rendre ce LP mémorable, du fait que cela ne fut pas fait auparavant : Ariel convaincu l'ingenieur du pressage de boucler le sillon à la fin de la plage 2 - créant ainsi une boucle sans fin - Et malgré que ce fut mentionné sur la pochette, créa des surprises : parfois génerant une transe chez l'auditeur. ou en quelques occasions, brulant le moteur de leur tourne-disque après des heures sans arrêt ! Sur le CD, Ariel a inclus une boucle de quelques minutes seulement car le LP bouclé offrait un avantage auditif supplémentaire au CD : en long terme le diamand de la platine usait le sillon un peu plus, provoquant un continuel changement sonore, comme une Reternelle...

Aux trois compositions originellement présentes sur le LP on été ajoutées deux autres de cette période. 
Note d'Ariel: le saxophone est puissant. Il a des sons crus qui sont souvent filtrés, polis pour une écoute plus aisée. Dans cet album, j'aime laisser mon saxophone chanter, et lorsque je joue j'entend des sons aigüs, provoquant, et je les aime beaucoup. ils titillents mes sens. Si c'est trop acide pour vos oreilles, réglez votre équalisation jusque ce que vous soyez confortable. 

 

1. Le Temps des Moissons
- Music of the morning and end of afternoon for one tenor saxophone, harmonium, wah-wah pedal & long delay space/time feedback effect - only active loops, no overdubs. Here we can hear the Indian influence of the composition: an introduction starting softly, slowly building up the theme, tuning each note and fine tuning the echoes, creating a space from where the theme can be exposed. Then the rhythmic part takes over and develops. Ariel added a third part, which is not in the Indian tradition, but more present in literature: a conclusion where the saxophone let go and disappears into space.

- Music du matin et fin d'après midi pour saxophone ténor, harmonium, pedale wah-wah, et effet de long echo espace/temps - boucles actives seulement, pas de surimpositions. Ici on peut entendre l'influence Indienne de la composition : une introduction débutant doucement, batissant lentement le theme, accordant chaque note et les echoes créant un espace d'où le theme est exposé. Puis la partie rythmique prend place et se développe. Ariel ajouta une troixième partie qui n'est pas dans la tradition Indienne, mais présent en litérature : une conclusion où le saxophone se laisse aller et disparaît dans l'espace.

2. Bakafrica 
- Promenade along the dunes on a camels back. Loy Ehrlich: electric guitar - Brahim el Belkani: Hajouj (djonkoloni) - Ariel Kalma: sax, echoplex, percussion, filters. Paris, 1974, Brahim, a Marroccan friend was visiting and Ariel gathered musicians of various parts of the world in his studio. One day this piece was born out of Ariels idea to make a piece based on the African bass that Brahim played and a tempo constantly changing in speed, as a camel would in crossing the desert.

- Promenade sur les dunes à dos de chameau. Loy Ehrlich: guitar electrique - Brahim el Belkani: Hajouj (djonkoloni) - Ariel Kalma: sax, echoplex, percussion, filtres. Brahim, un ami Marrocain lui rendant visite, Ariel Ariel reunit des musiciens de diverses originesdans son studio. Basé sur la basse Africaine que jouait Brahim, ce morceau fut concu sur l'idée d'Ariel d'un tempo constament changeant en vitesse, come un chameau le ferait en traversant le desert.

3. Voyage Reternelle 
- Abstract sax and bizarre rhythms plus loops, vari-speed tape recorder and vintage drum machines. This mix was made for a giant multi-screen disolve units slide show at the Paris Kinopanorama, 1973

- Sax abstrait et rythmes bizzares plus boucles, magnetophone vari-speed et boite à rythme ancienne. Ce morceau fut concu pour un diaporama multi-écrans au Kinopanorama de Paris en 1973.

4. Fast Road to Nowhere
- Jaws harp, bamboo flute, a voice and tuned echoes play around a melody from the Middle East: the road is narrow and steep and I walk alone...

 - Guimbarde, flute de bamboo, voix et echoes accordés samusent autour dune mélodie du Moyen-Orient : « la route est étroite, ardue, et je marche seul. »

5. Reternelle 
- Dance for two saxophones and their harmonies for morning and evening to turn on the music and sing on the loop. Tuning loops and echoes for one saxophone is already hard, and here Ariel plays it on both saxophones, creating changing patterns that move rhythms around.

- Dance pour deux saxophones et leurs harmonies. Musique du soir et du matin : tourner sur la musique et chanter sur la boucle. Accorder boucles et echoes pour un saxophone est déjà difficile, et ici Ariel le pratique sur les deux saxophones, creant des motifs changeants qui font tourner les rythmes.