German Nimbus 1980, masterpiece of fusion [No Download!]

I hate to do this to you again Tom but I will simply quote your recent review at this time before adding my own thoughts to your inevitably correct assessment:

Of all the albums in his latest dig, I have to say Nimbus (Germany) is one that I keep hearing about, but never have actually heard. Its reputation is stellar, so does it live up to the "hype" as it were? I use the term hype carefully, but I fear to say that there are many out there who do, in fact, hype this one to me. As in "buy my CD-R... now!" (I don't buy or trade CD-Rs, but that doesn't seem to stop the solicitors of such).  And one can't possibly have a deep dive expedition without at least one Kraut Fusion album, now can we?  "Yet another instrumental progressive fusion rarity from the vast German private press scene. But this one's a cut above the norm, with excellent compositions spiced with a healthy does of progressive rock, keeping things interesting all the way through. The keyboard work in particular stands out. Unfortunately, the sound could do with some cleaning up, which makes a reissue all the more necessary. This is certainly in the top tier for this style, so hopefully one of the German labels will step up to the plate someday."

The music is as The AC describes, a highly melodic instrumental jazz rock album, with guitar and keyboards in the lead. Bands like Surgery, Mosaik, Moira, and Profil are all good guideposts here, and all just as obscure as hell too (though at least the former did get reissued by Garden of Delights

Priority: 3

I probably would have rated it higher, but I have more of a predilection for fusion, obviously.  In order to present a suitable track for sampling I elected to use the fourth track.  The first (Hymn) is a relatively simplistic, perhaps commercially oriented fusion or fuzak track, the second takes it a bit further in a symphonic direction with the summer's evening sound, the interaction particularly of rhodes and electric guitar make for a wonderful interplay, though the invention is not sustained to the end as I felt it should be.  As we often see in these situations, the third track is a throwaway noise thing, luckily less than a minute long.  The fourth is called Forum and it is here that you can listen:




Note how nicely the keys and guitar play together here, a big feature of this record's attractiveness.  Unfortunately, side b comprises the two long progressive and interesting tracks (Living and Sinus), particularly the final one where a kind of Crimsonesque ambition prevails.  Altogether, worth seeking out, and apparently on contacting band members, from where my own rip originated, they are quite open to a release of this work.  Perhaps if there is more clamour for it they will be more convinced?

Blackberry Winter, US 1975 [no download]

You will notice that the copy for sale here is a little pricey-- 300 USD -- which perhaps goes a long way towards explaining why I am not allowed to present a download.  Instead I will feature some great songwriting from this record with the very evocative cover painting, my favourite being a song called Aging:





Although relatively trite as lyrics the evocation of aging, musically, is really artistically remarkable.  Another standout track, After the Rain with its lovely chorus modulation up a minor third:






Another great song, Answers:





So what we have here is some very crafty, original songwriting, no special progressive tendencies, but surprisingly beautiful-- not as compelling as the Exceptions album, but certainly well worth seeking out to hear.  I think it really deserves a cd reissue, on the basis that plenty of middle-aged men will love this type of mid-seventies soft rock material, though I'm sure Tom would disagree.

Bellvista's The Painter from the US 1982 [review no download]

This magnificent album in the progressive fusion vein is the mastermind of Peter Calo, and predictably it's guitar-oriented and smooth, but excellent and unknown.

The Poet:





I've listened to this track a hundred times and every time I just get sucked into it again listening to what this genius guitarist was trying to tell us with his slow-paced E flat introduction, almost sounding improvised, leading into plucked, pizzicato chords in G and a melody in unison on 1st and 6th strings octaves apart, then conjoined with those absolutely gorgeous high harmonics played  almost simultaneously (like Lenny Breau was able to do).  I'm reminded of the poem by Baudelaire about Albatrosses who are caught on long sea voyages by sailors, their wings are clipped and they must remain on the boat's deck as the cruel humans amuse themselves with these giants birds.  Thus, the kicker in the last stanza: The poet is similar to this bird who wishes he could fly but can't and instead walks the earth ungainly and awkward, to be laughed at by everyone.  And one could say the same about any serious artists-- including the composer of this record, certainly.


Next, the Painter, which is somewhat more commercialized fusion:






And the song entitled Belle Vista just shocked me too with its fade-in approach of a delicate deconstructed A chord passing from major to minor like the doppler shift of a streetcar rumbling by, then the very evocative scene, perhaps Napa valley, of rolling hills created with the light chord change from A to D minor to C to Bsus, which beautifully moves to B major, G, B, G, A, then D minor again, C, Bsus.  This sequence which sounds so odd on paper works absolutely perfectly due to the fact the B melody recalls the same arpeggio of the A intro (and the preceding Bsus sounds like that same minor to major transfer) and the 'return to' A recalls the same phrase.  Only until the guitar solo do the chords clarify themselves as such, it's kind of like an aural illusion (analogous to the optical kind) as the B and A sound like the same.  Have a listen:





And stay until the end when the outro takes off in a chord progression that is really unexpected, not the usual circle of fourth type series.   A lot of thought or alternatively a lot of inspiration went into that track.  Was he sitting on one of those (godawful) trenitalia in Tuscany, perhaps, when he thought of it?

Piano Choir's Handscapes 2 [no download, review only]

So:  those who love progressive music please salute this installment.  This group of pianists made two records in the mid-seventies, and this one was posted by the boxes of toys blog so I direct you there. Bascially if you donate to Gianni, even just a small amount, you can access the wav rip.  I recommend it.

The group consists of the following musicians: Danny Mixon, Harold Mabern, Hugh Lawson, Nat Jones, Sonelius Smith, Stanley Cowell, Webster Lewis.  The full information can be found on discogs.  First of all going quickly over that tracklist you can be sure we are dealing with some very ambitious progressive music here, just from perusing the titles.  The wonderfully named Hugh Lawson composition Ballad For The Beast From Bali-Bali starts with grand piano and synth noodling, but without hesitation moves into the arena of George Gruntz's wonderful piano conclave: intense, odd, fusiony, and oh-so interesting.  The track that follows, Sonelius Smith's The Need to Smile threw me to the floor with the opening mellotron strings soprano touches, as an electric piano plays an almost dissonant obligato in a different key, the different keyboards (electric, synth, acoustic) charm us with their weaving together of a complex pattern, like one of those richly hued arab carpets full of colors and geometry:





And that title!  yes, listening to these consummate artists, there is indeed a need to smile...

Barbara Ann is a gospel, Keith Jarrett-influenced acoustic composition by Webster Lewis.  This track and the first of side b were posted on soundcloud by Gianni.  The Prayer for Peace by Stanley Cowell, the last track, will shock you like an electrocution if you love polytonality and advanced-level, postgraduate composition.  It's a stunner.  I recommend it for teaching purposes at university schools of music-- advanced composition classes only for the most highly talented please.






"...seven consummate keyboard artists...together as one, and as one, together."

Their first record, a double LP, was available online and for me is somewhat more disappointing.  It's more meandering, sometimes completely free and improvised and less cohesively progressive.  Less generously it could be described as all over the place.

La La Lapla's Seathrough from UK 1979 [review, no download]

Here's an album that although nothing special from the curating prog standpoint, really got under my skin in terms of its endearing arena rock ambitions.  We are in the late seventies Britain here so you can except a slight punkish attitude on top of the hard-driving Iggy Pop or twisted-mouth vocalizing David Bowie reminiscences.  There are several clear attempts at commercial success that failed probably only on the basis they were perhaps too thought-out, not simplistic enough, for the average radio listener at that time.  Any song for example that uses in its title the words "Rock n' Roll" can be expected to be pandering to radio hit whoredom.  But listen to the charming oddness of their "Rock n' Roll Little Thing.  In particular, notice the distinctly very odd (for rock) modulation out of the key (B?) to a minor second up (C) after the chorus.





A softer attempt with Belinda's Song to me really recalls the soft Kiss songs like Beth.





David's Song:





Database information here.  A sadly neglected record, with what I consider to be a gorgeous cover (artist, Les Williams).  Band members' names are Barry Jones, vocals, Bruce Drummond, guitar and vocals, Paul Houldey, drums, Roger Gerrard, bass, and Colin Jarman on keys.  Was their anonymous doom sealed by the ridiculous chosen name, perhaps?  Note the high price of the copy on sale from osurec.