Group 1850 – Live On Tour (1976)

FrontCover1This Dutch group was one of the earliest Continental European progressive rock bands.

The history of GROUP 1850 (aka GROEP 1850) starts from year 1964 from the band called THE KLITS. There were several changes in the line-up’s during the the decade their career lasted, only Peter Sjardin remained as the permanent member of the band. Their first public performance with the name GROUP 1850 was in the Scheveiningen Casion in March 1966. Their gigs gave them attention in the underground scene, and some single releases and radio airplay in Holland followed. In September 1967 they warmed up MOTHERS OF INVENTION at the Amsterdam Concertgebouw, and their first longplayer “Agemo’s Trip to Mother Earth” (1968) has been stated as the first Dutch concept LP.

Acid rock elements are clearly present in their first albums from the end of 1960’s, and PINK FLOYD’s “Saucerful of Secrets” album has surely been an innovator for them, like to so many other spaced out groups. Their music isn’t an exact copy of their innovator’s sound though, as there is a wide spectrum of different styles merged to the band’s music in custom of psychedelia’s artistic freedom. The overall feeling of the band’s early music is nonrelaxed but not very aggressive, probably pleasing the fans of music describings a cosmic journey within one’s mind.


The career of the band continued with both inactive and active periods and with continuous changes in the personnel. Musically maybe the most important event was release of the album “Polyandri” in year 1974. Their mostly instrumental music grew to a larger scope containing strong musical elements.

In the same year the keymembers of the GROUP 1850 performed with the name ORANGE UPSTAIRS (Oranje Boven). The released one album with this name and then changed back to GROUP 1850. The band broke up in 1975, and the members went to join other bands. The original vinyls of the group’s releases have reached high prices in the collector’s markets. (by


Groep 1850 was a Dutch psychedelic rock band that was founded in 1964 in The Hague. The band, despite never achieving success outside the Netherlands, are now considered one of the most innovative acid rock bands from the era .

Listen to this album and you´ll know why !

In other words: Excellent stuff !


Arthur Ebeling (guitar)
Neppy Noya(percussion)
Peter Sjardin (organ)
Hessel de Vries (piano, synthesizer)
Paul Van Wageningen (drums)


01. Aperitive 7.22
02. Hors D’Œvre 7.18
03. Main Dish 8.12
04. Side Dish 24.20
05. Dessert 6.02

Music composed by Peter Sjardin



Peter Sjardin, 2019:
Peter Sjardin2019

I am 75 now and all kinds of things are happening around us, for instance, after 50 years, Group 1850 is included in a newly published book “Psychedelia” about 101 iconic underground rock albums from all over the world and we are in it on page 180/181. Our LP Agemo’s Trip To Mother Earth, got reissued in a limited edition of 500 pieces, last year and was sold out in one week, so Universal reissued 500 numbered pieces more, also sold out in one week. English magazine, Flashback published an article and Ugly Things, from USA also published an article about us. It is amazing that so many young people still like our music. They are making a documentary about 1850 and they wanted me behind a drum kit, but after 1987 I did not play the drums, but I tried, while there was filming, my son, Remco recorded that with his telephone…
And furthermore I have 4 kids and 10 grandchildren and they keep me busy, I also like to make long rides on my mountain bike in nature, like from The Hague through the dunes to Zandvoort, about 110 km. (Peter Sjardin)

Dallas County – Same (1970)

FrontCover1Unfortunately I don´t know verymuch abot this real good group.

I know,  that this was their first and last album, released by Enterprise Records:

Enterprise Records is an American soul and jazz label founded as a subsidiary of Stax, which released Isaac Hayes’ early solo material. The label was named after the spaceship on Star Trek, which was label president Al Bell’s favorite TV show.  (by

And this album was produced by the one and only Don Nix:

Don Nix (born September 27, 1941, Memphis, Tennessee) is an American songwriter, composer, producer, arranger, musician, and author. Although cited as being “obscure” (Steve Kurutz does so on the website, he is a key figure in several genres of Southern rock and soul, R&B, and the blues. He played “Memphis soul” sound. (by wikipeda)


And on this album you can some of his real beauiful compostions.

And Dallas Country was a Jazz Rock Band similar to Chicago, Blood Sweat and Tears or rather The Mob. Very rich sound with much winds. (by jlkyn)

So, if you like this fantastic brass-rock sound from this period of music (including a Jazz-Rock version of “Blowing In The Wind”) this album ist a pretty good addtion for your collection.

Hey guys, where are you now ?

Or: Who knows more ???


Ernie Chapman (bass, horns)
Vic Fouquet (bass, horns)
Ramsey Horton (keyboards)
Sammy Jaramilio (vocals)
Galen Jeeter (trumpet)
Jim Jeeter (reeds)
Byron Parks (trumpet)
Ken Pugh (guitar)
Ron Sprouse (trombone)
Ray Windt (percussion)

Dallas County
01. The Toll (Nix/Pruitt) 3.01
02. Mad Dog (Nix/Pruitt) 2.03
03. Small Vacation (Nix/Pruitt) 2.30
04. Roads (Nix/Pruitt) 2.58
05. Reflections (Puckett/Horton) 3.49
06. If We Try (Pugh) 3.50
07. Love’s Not Hard To Find (Nix/Horton) 3.13
08. Blowing In The Wind (Dylan) 3.36
09. She Didn’t Say Just Why (Pruitt) 2.18
10. It Shall Pass (Corerro) 3.00



Their first single on Stax Records:

Jack Bruce – Live At Rockpalast (1980)

FrontCover1And now I´ll start with a real great edition:

Jack Bruce (Cream) was guest at Rockpalast in 1980 at the first time – on the occasion of the 7th Rockpalast Night, broadcasted to millions of people all across Europe Live via Eurovision. The Lineup was Jack Bruce & Friends: nobody less than Billy Cobham (Miles Davis, Stanley Clarke) on drums, Clem Clempson (Humble Pie, Colosseum) on guitar and David Sancious (Bruce Springsteen, Santana, Eric Clapton, Sting) on keyboard and guitar. It’s fascinating to watch and listen to four equitable and brilliant musicians in their blind comprehension on stage. As Jack Bruce And Band he presented a further concert in 1983 at Zeche/Bochum. Again with David Sancious and this time Bruce Gray on drums. To complete this boxset there is another extraordinary Jack Bruce solo concert from 1990 at Live Music Hall in Cologne. The Rockpalast Legacy of an unique and legendary artist! (Press release)

It is no exaggeration to state that Jack Bruce was probably the most inventive bassist of the twentieth century. He straddled the worlds of jazz, blues and rock seamlessly, and his bass guitar playing was unprecedented in its sheer imaginative breadth and power. Crucially, he was also a vocalist of incredible range and dynamism. His contribution to Cream surely needs no elaboration. As a rock star he was a veritable human dynamo, but as a jazz musician he was extraordinary too. He played a pivotal role on Carla Bley’s seminal work Escalator Over The Hill (JCOA, 1971), where he also played bass guitar alongside his old friend John McLaughlin who had previously appeared on Bruce’s pukka jazz album, Things We Like (Polydor, 1970; Atco, 1971). Bruce died, at the age of 71, on 25 October 2014, yet his memory and music are still very much alive, as this magnificent box set demonstrates.


Following the CD and DVD package Rockpalast: The 50th Birthday Concerts (MIG, 2014) and the earlier DVD set Jack Bruce At Rockpalast (Studio Hamburg Fernseh Allianz, 2005) this is the first CD release of these earlier German concerts, but they’re also accompanied by the DVD discs.

As CD1 opens to the familiar strains of “White Room,” what immediately hits the listener is the thumping resonance of Bruce’s long scale bass guitar which showed no signs of diminishing since his departure from Cream over a decade before. Punctuating the more rock-based numbers such as “Hit And Run” there are the subtle gems which demonstrated Bruce’s unique and exceptional talent not just as a musician but as a composer. “Theme For An Imaginary Western” from Songs For A Tailor (Polydor, 1969) is one such example as is “Post War” from Harmony Row (Polydor, 1971). Then, fairly obviously, is the quintessential rock anthem for the ages, “Sunshine Of Your Love.”


The first two CDs capture Bruce’s 1980 concert with the same line-up that appeared on I’ve Always Wanted to Do This (Epic, 1980). The set is populated by seven of the numbers from that album, including “Hit And Run” and “Facelift 318,” but undoubtedly the most impressive number, as found on CD2, is an extended version of the electrifying “Bird Alone” (dedicated to Charlie Parker) which runs to twice the length of the original. Here, Bruce introduced more of his trademark twists and turns which so infused his earliest, and arguably, most memorable albums. But in addition to those tracks and five Cream numbers, there’s also Billy Cobham’s high-voltage instrumental “X Marks The Spot.” (by Roger Farbey)


Jack Bruce (bass, vocals)
Clem Clempson (guitar)
Billy Cobham (drums)
David Sancious (keyboards, guitar)



CD 1:
01. White Room (Bruce/Brown) 5.47
02. Post War (Bruce/Brown) 7.44
03. Hit And Run (Bruce/Brown) 4.39
04. Running Back (Bruce/Brown) 4.26
05. Facelift 318 (Bruce/Brown) 3.47
06. Theme From An Imaginary Western (Bruce/Brown) 5.15
07. X Marks The Spot (Cobham) 7.43
08. Dancing On Air (Bruce/Brown) 8.40

CD 2:
01. Out To Lunch (Bruce/Brown) 5.52
02. Living Without Ja (Bruce/Brown) 3.21
03. Politician (Bruce/Brown) 7.18
04. Bird Alone (Bruce/Brown) 12.29
05. Sunshine Of Your Love (Clapton/Bruce/Brown) 7.48
06. N.S.U. (Bruce) 3.53
07. Spoonful (Dixon) 8.04



Front + backcover of the box:

Stomu Yamashta´s Go – Live From Paris (1978)

LPFrontCover1Stomu Yamashta (or Yamash’ta), born Tsutomu Yamashita (山下勉, Yamashita Tsutomu, 15 March 1947), is a Japanese percussionist, keyboardist and composer. He is best known for pioneering and popularising a fusion of traditional Japanese percussive music with Western progressive rock music in the 1960s and 1970s.

In the latter part of the 1970s, he led the supergroup “Go” with Steve Winwood, Al Di Meola, Klaus Schulze, and Michael Shrieve.

Yamash’ta was born in Kyoto, Japan on March 15, 1947. He entered to study at the Kyoto Academy of Music in 1960.[2] His father was the director of the Kyoto Philharmonic, and he became a percussionist in the orchestra when he was 13. He studied music at Kyoto University, Juilliard School of Music, and Berklee College of Music, and has also lectured in music. His innovation and acrobatic drumming style earned him many accolades. In the 1960s he performed with Thor Johnson, Toru Takemitsu, and Hans Werner Henze amongst others. He changed his name from Tsutomu Yamashita to the phonetic Stomu Yamash’ta and in 1969 gained worldwide recognition during a concert with Seiji Ozawa and the Chicago Symphony Orchestra. Time reviewed the concert declaring ‘the star of the evening was Stomu Yamash’ta who stole the show with his virtuoso performance’, and when it was over the audience gave him a five-minute standing ovation.


At the turn of the 1970s he worked with Peter Maxwell Davies and brought the Red Buddha Theatre company from Japan to Europe, acting as their director, producer and composer, writing and performing in the multi-media event The Man From The East, with Morris Pert’s Come To The Edge providing the musical backing.

He has composed for the British Royal Ballet; contributed pieces from his albums to the Nicolas Roeg film The Man Who Fell to Earth (starring David Bowie); performed in Peter Maxwell Davies’s score for Ken Russell’s The Devils and in John Williams’ score for Robert Altman’s Images (1972). He has also composed film scores. His Space Theme was used by the BBC on The Hitchhiker’s Guide to the Galaxy.

Stomu Yamash’ta also appears in the last episode of Tony Palmer’s All You Need is Love: The Story of Popular Music.


Originally known as Tsutomu Yamashita, most of his albums for Western audiences use the name “Stomu Yamash’ta”, though some (such as Go and Raindog) use the name “Yamashta” (without the apostrophe).

Go was a rock supergroup formed in 1976 by Stomu Yamashta (percussion and keyboards), which included Steve Winwood (vocals and keyboards), Al Di Meola (lead guitar), Klaus Schulze (synthesizers) and Michael Shrieve (drums). Go is the Japanese word for “five”.

Go recorded two studio albums, Go (1976) and Go Too (1977). The band also recorded June 12, 1976 concert they performed in France, which was released as the album Go Live From Paris (1976).

Go Live from Paris is the second album by Go, recorded live in Paris at the Palais des Sports on 12 June 1976. (by wikipedia)


The primary difference when comparing this live performance and the rendering simply titled Go (1976) is that Go Live From Paris (1978) presents the proceedings (as they exist) in a properly linear fashion, as correlated to the Eastern mythology that informed the extended two-part suite. This is in direct contrast to Go, which assembled the contents out of sequence. The stage show was recorded at the Palais Des Sports in Paris, France on June 12, 1976 and the recital setting allows for considerably longer and more exploratory interaction amongst Stomu Yamashta (percussion/piano), Steve Winwood (vocals/keyboards) and Michael Shrieve (drums).


They are joined by legendary jazz axeman Al DiMeola (guitar) as well as Tangerine Dream and Ash Ra Tempel veteran Klaus Schulze (synthesizer) — all of whom had contributed to Go. Filling out the band are Jerome Rimson (bass), Pat Thrall (guitar), Brother James (congas) and Karen Friedman (vocals). In terms of sheer intensity, it is hard to beat DiMeola’s searing leads and Winwood’s blue-eyed soul on the driving “Ghost Machine,” easily topping its former incarnation. “Surfspin” lands into the funky mid-tempo “Time Is Here” highlighted by Karen Friedman’s expressive exchanges with Winwood, while Rimson punctuates the rhythm with some penetrating bass interjections.


This is followed by the sole Winwood composition “Winner/Loser,” which further exemplifies how the spontaneity of the concert yields results that best their predecessors. In fact, on the whole the material on Go sounds like a blueprint for the exceptional and inspired outing found here. The second movement commences with fairly even renditions of the trifecta “Solitude,” “Nature” and “Air Voice” — which had previously been given the name “Air Over.” “Crossing the Line” is an additional zenith, spotlighted by Winwood’s emotive vocals and the untamed and otherwise incendiary frenzy of fretwork courtesy of DiMeola. Clocking in just shy of a quarter-hour, “Man of Leo” provides another opportunity for the players to loosen up and fuse their collective improvisations behind DiMeola’s intense soloing and the similarly seminal instrumental offerings from Shrieve, Rimson — who is at his most melodic — and Freidman’s haunting warbles. (by Lindsay Planer)


Brother James (congas)
Al Di Meola (guitar)
Jerome Rimson (bass)
Klaus Schulze (synthesizer)
Michael Shrieve (drums)
Steve Winwood (piano, vocals)
Stomu Yamashta (keyboards, percussion)
Karen Friedmann (vocals)
Pat Thrall – guitar (solo on “Crossing The Line”)


01. Space Song (Yamash’ta/Quartermain) 2.26
02. Carnival (Yamash’ta/Quartermain) 1.20
03. Wind Spin (Yamash’ta/Quartermain) 8.19
04. Ghost Machine (Yamash’ta/Quartermain) 3.47
05. Surf Spin (Yamash’ta/Quartermain) 1.32
06. Time is Here (Yamash’ta/Quartermain) 7.39
07. Winner Loser (Yamash’ta/Winwood) 5.09
08. Solitude (Yamash’ta/Quartermain) 1.56
09. Nature (Yamash’ta/Quartermain) 3.27
10. Air Voice (Yamash’ta/Quartermain) 0.58
11. Crossing The Line (Yamash’ta/Quartermain) 7.49
12. Man Of Leo (Yamash’ta/Quartermain) 14.19
13. Stellar (Yamash’ta/Quartermain) 1.25
14. Space Requiem (Yamash’ta/Quartermain) 3.12



Stomu Yamashta in 2019:

Van Morrison & The Danish Radio Big Band – Live at the Kulturcafe, Centersal, Ishoj, Denmark (1987)

FrontCover1Sir George Ivan “Van” Morrison OBE (born 31 August 1945) is a Northern Irish singer-songwriter, instrumentalist and record producer. His professional career began as a teenager in the late 1950s playing a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands, covering the popular hits of that time. Van Morrison rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band Them, with whom he recorded the garage band classic “Gloria”. His solo career began under the pop-hit oriented guidance of Bert Berns with the release of the hit single “Brown Eyed Girl” in 1967. After Berns’s death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks (1968). Though this album gradually garnered high praise, it was initially a poor seller.

Morrison has a reputation for being at once stubborn, idiosyncratic, and sublime. His live performances at their best are seen as transcendental and inspired; while some of his recordings, such as the studio albums Astral Weeks and Moondance, and the live album It’s Too Late to Stop Now, are highly acclaimed.

Moondance (1970) established Morrison as a major artist, and he built on his reputation throughout the 1970s with a series of acclaimed albums and live performances. He continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and The Chieftains.

VanMorrison (1987)

Much of Morrison’s music is structured around the conventions of soul music and R&B, such as the popular singles “Brown Eyed Girl”, “Jackie Wilson Said (I’m in Heaven When You Smile)”, “Domino” and “Wild Night”. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz and stream-of-consciousness narrative, such as the album Astral Weeks and the lesser known Veedon Fleece and Common One. The two strains together are sometimes referred to as “Celtic soul”. He has received two Grammy Awards, the 1994 Brit Award for Outstanding Contribution to Music, the 2017 Americana Music Lifetime Achievement Award for Songwriting and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2016, he was knighted for services to the music industry and to tourism in Northern Ireland. He is known by the nickname Van the Man to his fans. (by wikipedia)


And here´s a wonderful, a brilliant live concert together with The Danish Radio Big Band … what a great addition to every Van Morrison collection … it´s a must to have !

I had a request for this recently and to save myself some transfer time i thought i’d see if this already existed here [Dime]. What i found of this well-known Van show was a bootleg of the incomplete show just including the songs Van sang plus a couple of tracks from another show. After grabbing this i went back to my 31-year-old cassette. I remembered it being longer and it was. My tape has what I believe to be the complete FM broadcast including a version of one of the songs not included on the bootleg. i also believe my copy is better quality. I got this a few months after the show was on the radio. (davmar77, September 2018)

Recorded live at the Kulturcafe, Centersal, Ishoj, Denmark; February 28, 1987
Very good FM broadcast.


Van Morrison (vocals)
The Danish Radio Big Band:
Palle Bolvig (trumpet)
Lennart Gruvstedt (drums)
Ole Kock Hansen (piano)
Steen Hansen (trombone)
Lars Hougaard (trombone)
Bent Jædig (saxophone)
Uffe Karskov (saxophone)
Fleming Knudsen (saxophone)
Perry Knudsen (trumpet)
Ture Larsen (trombone)
Vincent Nilsson (trombone)
Benny Rosenfeld (trumpet)
Bjarne Roupé (guitar)
Jesper Thilo (saxophone)
Lars Togeby (trumpet)
Mads Vinding (bass)
Jan zum Vohrde (saxophone)
Ethan Weisgard (percussion)
Axel Windfeld (trombone)
Jens Winther (trumpet)

Alternate front + backcover:

01. Say It (instrumental) (Nilsson) 5.18
02. DJ talk 0.36
03. I Will Be There (Morrison) 2.49
04. DJ talk 0.49
05. A New Kind Of Man (Morrison) 3.41
06. DJ talk 0.26
07. Haunts Of Ancient People 6:06
08. DJ talk 0.29
09. Celtic Swing (instrumental) (Morrison) 5.16
10. Listen To The Lion (Morrison) 5:52
11. DJ talk 0.33
12. Vanlose Stairway (Morrison) 5.01
13. DJ talk 0.51
14. Scarborough Fair (instrumenta) (Traditional) 6.27
15. DJ talk 0.22
16. Got To Go Back (Morrison) 5.06
17. DJ talk 0.21
18. Here Comes The Night (Berns) 3.31



Blood, Sweat & Tears – Nuclear Blues (1980)

FrontCover1Nuclear Blues is an album by the band Blood, Sweat & Tears, released in 1980. This was the band’s eleventh studio album and their first release for MCA/LAX Records. Nuclear Blues was produced by Jerry Goldstein, who had previously been known for his work with the band War. Even though it had only been three years since they released their last album Brand New Day, the band contained a new line-up with David Clayton-Thomas being the only remaining member from that period.

This album failed to make it on the Billboard Album Charts. This incarnation of Blood, Sweat & Tears disbanded the following year; although various incarnations of the group have existed and toured in the years since, to date this remains their final studio album.

Nuclear Blues was reissued in Germany in 1985 on the Platinum label under the title Latin Fire. (by wikipedia)

This 1980 edition of rock’s longest-running horn band is definitely not your father’s Blood, Sweat & Tears. Frontman David Clayton-Thomas is still on board, but everybody else is new.


The musical emphasis has mostly shifted, from pop/soul with a jazz flavor to out-and-out fusion jazz, such as “Agitato,” and the lengthy and often quite lovely “Spanish Wine” suite, with only an occasional lead vocal (a radically re-arranged cover of Jimi Hendrix’s “Manic Depression”). Big exceptions include the title tune, in which Clayton-Thomas vents his paranoia about Three Mile Island, and an impassioned, if relatively straightforward, cover of the old blues standard “I’ll Drown In My Own Tears.” (

A highly artistic suite on Side B, relatively accessible songs on Side A – this looks like Mirror Image (1974), which may well be my all time favourite Blood, Sweat & Tears album. But it doesn’t sound like that. Nope – Nuclear Blues was released in 1980, so it was technically the Eighties, but there is nothing ’80s-like on this album. I guess in the B, S & T universe the combined 1960s/1970s were meant to last forever.


Whereas the aforementioned Mirror Image really flirted with contemporary pop features (like “Love Looks Good on You”), Nuclear Blues does something more timeless… or more 1960s. The title track is funky, but here that adjective has nothing to do with funk as in disco funk; actually it has more to do with classic R&B. “Manic Depression”, then, is a Jimi Hendrix cover of course. I really like the idea of a parallel universe in which covering Hendrix was a relevant (or even hip?) thing back in 1980. Loyally to the good ol’ B, S & T, the version doesn’t sound like Hendrix at all. “I’ll Drown in My Own Tears” is a cover of a blues standard. It is basically nice, though overlengthy. David Clayton-Thomas sings the lead on the vocal tracks, but as you see, those aren’t very numerous.


The rest is jazz fusion, often with a Spanish twist. I appreciate it, but I am not so heavily into it. In fact, my rating is primarily for “Nuclear Blues”; otherwise the album is just decent, though it contains no bad tracks. I kind of like the feel that doesn’t feel forced at all. It is like the guys had just got together and made another album, which has actually ended up being quite highly artistic and so on. (by fairyeee)


David Clayton-Thomas (vocals)
Bruce Cassidy (trumpet, flugelhorn)
Vern Dorge (saxophone, flute)
Bobby Economou (drums)
David Piltch(bass)
Robert Piltch (guitar)
Earl Seymour (saxophone, flute)

01. Agitato (Cassidy) 5.54
02. Nuclear Blues (Clayton-Thomas) 4.24
03. Manic Depression (Hendrix) 4.17
04. I’ll Drown In My Own Tears (Glover) 7.22
05. Fantasy Stage (Clayton.Thomas/Piltch) 5.41
06. Suite: Spanish Wine 15.09
06.1. Introduction: La Cantina (Piltch) 2.15
06.2. Theme: Spanish Wine (Cassidy) 1.02
06.3. Latin Fire (Cassidy/Economou/Piltch/Martinez/Dorge/Seymour) 2.22
06.4. The Challenge (Cassidy/Economou/Piltch/Martinez/Dorge/Seymour) 2.15
06.5. The Duel (Cassidy/Economou/Piltch/Martinez/Dorge/Seymour) 2.20
06.6. Amor (Cassidy/Economou/Piltch/Martinez/Dorge/Seymour) 3.16
06.7. Reprise: Spanish Wine (Cassidy) 1.42


** (coming soon)


Galapagos Duck – St James (1976)

OriginalFrontCover1Galapagos Duck began in the late 60’s while the members were engaged in a winter season at the New South Wales skiing resort ‘The Kosciusko Chalet’ Charlottes Pass. After returning to Sydney band continued to work and became well known in the Australian Jazz and music scene during the 70’s when it was the house band at the emerging Jazz night club ‘The Basement’ near Circular Quay.

Since these humble beginnings the ‘Duck’ it has been suggested, has become the best known jazz band in Australia and a household name throughout the Country.

The band has worked and continues to work in Concert Halls, Night Clubs, at Jazz Festivals, in the Recording Studio, and on Radio and Television.

Although the membership has changed, of necessity, the direction of the band has always remained the same and that is to create a performance experience that while jazz oriented is able to be appreciated and enjoyed by everybody.

Galapagos Duck02

Based in Sydney Australia the Galapagos Duck was an integral part of the foundation and success of the Jazz Club The Basement.

The band performed in the club continuously for 16 years during which the Basement became known as one of the greatest Jazz Clubs in Australia and the World. The ‘Duck’ also toured extensively all throughout Australia visiting the Capital cities on many occasions and performing frequently in country areas including the remote areas of Western Australia and the Northern Territory.

Aside from festivals there have been extremely successful performances in England, Germany, France, Switzerland, Belgium, China, Indonesia, Vietnam, Thailand and Laos. Having always drawn members from the very best of Australian musicians the Band has shown its versatility through work with Dance.

Galapagos Duck01

There have been many appearances on Television including the Bi-Centennial TV spectacular and appearances on ‘Hey Hey Its Saturday’. The Band has also been involved in Film – writing and performing the soundtrack for ‘The Removalist’ and appearing in the Australian Films ‘Rebel’ and ‘Emerald City’. (taken from their website)

And here´s their third album:

The album was produced by Horst Liepolt for his 44 Records label – Liepolt seems to have been behind most of the city’s jazz releases, festivals and venues in the 60s and 70s.

Galapagos Duck04

It features the ubiquitous rhodes and wah-wah woodwinds of the period and has a good loose, live feel on most tracks, with little overdubbing. Strange mix of tracks as an overall album, though – sometimes it’s riffing on contemporary forms, then suddenly lurches back to trad New Orleans, particularly when Burrows is on clarinet. Reading between the lines, this was a band that had to please many audiences to maintain a working lifestyle in a city that was just starting to develop a jazz scene that went beyond the apeing of classic forms – so there’s still a bit of crowd-pleasing going on here. Nevertheless, enough good stuff here to make it worthwhile, and I like McNamara’s work on keyboards in particular. Hope you enjoy it! (


Don Burrows (clarinet, saxophone, flute)
Tom Hare (trumpet, drums, saxaphones, flugelhorn)
Marty Mooney (saxophone, flute, clarinet)
Paul McNamara (piano)
Chris Qua (bass, violin, flugelhorn)
Willie Qua (drums, flute)

Galapagos Duck03

01. House Of The Rising Sun/St James Infirmary (Tradional) 10.11
02. Flutin’ (Burrows/Hare/Mooney/McNamara/C.Qua/W.Qua) 1.59
03. Ivory Moss (Hare/C.Qua/Mooney) 4.47
04. For Elizabeth (Burrows/Hare/Mooney/McNamara/C.Qua/W.Qua) 0.44
05. Hey Timbales (Mooney/Hare/C.Qua) 2.58
06. That Particular Model (McNamara) 3.34
07. What Am I Doing Here (McNamara) 3.47
08. Teo (McNamara) 3.57
09. Mr Bojangles (Walker) 2.14
10. Squeelers And Grunters (Burrows/Hare/Mooney/McNamara/C.Qua/W.Qua) 1.59