Nimbus Obus

Ensemble Nimbus is a Swedish quartet (keyboards, clarinet, viola and percussions) that belongs to the tradition of Scandinavia's orchestral-grade progressive-rock with a touch of Univers Zero. A very modern and lively twist on the Zamla/RIO/Zeuhl type sound, but high-tech and very very lively, featuring Hasse Bruniusson (ex-Zamla Mammaz Manna) on drums. Bruniusson is also a member of the better known Roine Stolt's Flower Kings where he is the bands percussionist. Within Ensemble Nimbus he also plays acoustic & electric drums as well as adding the percussion. This band, yet another Swedish band, is described as the "second generation of European… RIO. "Garmonbozia" is their 3rd studio album.

Ensemble Nimbus is a Swedish quartet (keyboards, clarinet, viola and percussions) that belongs to the tradition of Scandinavia's orchestral-grade progressive-rock with a touch of Univers Zero. A very modern and lively twist on the Zamla/RIO/Zeuhl type sound, but high-tech and very very lively, featuring Hasse Bruniusson (ex-Zamla Mammaz Manna) on drums. Bruniusson is also a member of the better known Roine Stolt's Flower Kings where he is the bands percussionist. Within Ensemble Nimbus he also plays acoustic & electric drums as well as adding the percussion. This band, yet another Swedish band, is described as the "second generation of European… RIO.

Ensemble Nimbus is a Swedish quartet (keyboards, clarinet, viola and percussions) that belongs to the tradition of Scandinavia's orchestral-grade progressive-rock with a touch of Univers Zero. A very modern and lively twist on the Zamla/RIO/Zeuhl type sound, but high-tech and very very lively, featuring Hasse Bruniusson (ex-Zamla Mammaz Manna) on drums. Bruniusson is also a member of the better known Roine Stolt's Flower Kings where he is the bands percussionist. Within Ensemble Nimbus he also plays acoustic & electric drums as well as adding the percussion. This band, yet another Swedish band, is described as the "second generation of European… RIO.

The Pop-Liisa and Jazz-Liisa broadcast session series presents previously unreleased and forgotten gems from the biggest names of Finnish prog and jazz of the 1970's. Never bootlegged and known up until now only to a few faithful servants (and largely thought to have been lost for ever), these sessions offer a hitherto unrivalled look into the state of Finnish jazz and progressive rock between the years 1972-1977. Imagine if the sessions recorded by John Peel had only recently been discovered, and you get an idea of the cultural weight of what is being brought into the light of day here…

Shivkumar Sharma is accompanied on this album by Zakir Hussain. Nimbus's importance as the first CD pressing plant in Britain meant that its recording wing had developed a keen and early appreciation of the technology and potential of CD production. A beautiful, sensitively played pairing.

Ravel - Piano Works - Vlado Perlemuter (1973) {2CD Set Nimbus NI 7713/4 rel 1996}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 329 Mb | MP3 @320 -> 296 Mb
Full Artwork @ 300 dpi (png) -> 43 Mb | 5% repair rar
© 1973, 1996 Wyastone Estate / Nimbus Records | NI 7713/4
Classical / Impressionism / Early 20th Century / Piano

This set has been a favorite with critics since it was issued in 1979. Vlado Perlemuter studied Ravel's music with the composer. His approach is more colorful and dramatic than that of many other pianists. All the rigorous classical form Ravel used comes through, but so does a powerful musical personality. Just try, for example, the Toccata from Le Tombeau de Couperin, where Perlemuter builds up to a thrilling climax. The sound is more resonant than ideal, but this is still the best recording of Ravel's piano works ever made. Perlemuter's own Vox mono versions are poorly recorded; stick with the Nimbus edition.

Terje Rypdal was born in Oslo in 1947 and has made a considerable name for himself as one of Europe’s leading jazz guitarists. In recent decades he has taken to composing serious concert works and these two large-scale Sonata structures, lasting 29 and 24 minutes in duration respectively, were both written for the violinist Birgitte Staernes, an outstanding artist who specialises in modern music. There is much to fascinate the listener in these scores, not least in their coloration and texture; where they tend to part company with established points of reference is in their melodic and structural characteristics, not that these are necessarily bad things in themselves, providing that the composer is sufficiently inventive to hold our interest.