The Tony Rice Unit – Mar West (1980)

FrontCover1Mar West is an album by American guitarist Tony Rice, released in 1980. It is credited to the Tony Rice Unit.
Mar West was reissued in 1987 along with Still Inside as Devlin minus the song “Mar East”.. (by wikipedia)
Mar West is the third recording by the Tony Rice Unit and like their other recordings, it features some of the best acoustic musicians on the scene. Mar West showcases music closely resembling swing jazz, and if it seems less inspired than an earlier effort like Acoustics, it is nonetheless a good instrumental album. Compare it to a lesser effort by Stephane Grapelli and Django Reinhardt: Perhaps the song choice is less than perfect and the musicians less inspired than usual, but who would want to miss it? Sam Bush, Richard Greene, Mike Marshall, and Todd Phillips join Rice for eight instrumentals. The title cut, which opens the album, also reveals its shortcomings. “Mar West” is one of those fast, open-chorded instrumentals that Rice enjoys writing. Rice kicks the piece off with quick-paced flat-picking that is technically perfect, but the solo continues for too long and is lacking in feeling. More successful is the measured “Waltz for Indira” with a nice mandolin part by Bush, and “Neon Tetra” with an inspired violin solo by Greene.
Perhaps the best cut on the album is “Nardis,” written by Miles Davis. “Nardis'” colored textures evoke a romantic mood and challenge the musicians to create distinctive, longing solos. Like the other Tony Rice Unit albums, emphasis remains focused on the skills of the individual musicians involved. Each instrumental provides the violin, guitar, and mandolin room for lengthy solos while Phillips’ bass keeps everyone grounded. Both Rice fans and lovers of good acoustic music will enjoy Mar West. (by Ronnie D. Lankford, Jr.)
Like Paul Brett, Tony Rice is a superb acoustic guitar Player … and it´s such a shame, the musicians like him are more or less unknown.
It´s time to discover the magic of Tony Rice !!!
Sam Bush (mandolin)
Richard Greene (violin)
Mike Marshall (mandolin)
Todd Phillips (bass)
Tony Rice (guitar, vocals)
01. Mar West (Rice) 5.33
02. Nardis (Davis) 3.47
03. Waltz For Indira (Rice) 3.23
04. Neon Tetra (Rice) 4.28
06. Is That So (Rice) 4.29
07. Whoa Baby, Every Day I Wake up With the Blues (Rice) 3.57
08. Mar East (Rice) 4.37
09. Untitled As Of Yet (Rice) 4.23


The Whistlebinkies – The Whistlebinkies 2 (1980)

FrontCover1For more than 45 years the Whistlebinkies have maintained one of the most distinctive sounds in the Scottish folk revival, their essential musical core of “rantin’ pipe and tremblin’ string”, along with clarsach, concertina and side drum winning over audiences throughout Scotland and Europe and as far flung as Memphis and Beijing.

The band pioneered the effective use of revived bellows-blown Lowland pipes, have consistently pursued a democratic group approach to their all-acoustic arrangements and frequently and successfully bridge the divide between Scottish traditional and “art” music, in collaboration with such institutions as the Royal Scottish National Orchestra, the Scottish Chamber Orchestra, Cappella Nova and such revered figures as classical violinist Yehudi Menuhin and avant-garde music luminary John Cage. They were also the first Scottish folk ensemble ever to play in China, in November 1991.
They were the first group to bring the pipes, clarsach and fiddle into regular performance, a combination that seems commonplace now. They continue to use only acoustic traditional instruments and prefer to play in a good natural acoustic without amplification. (by

“Following their highly acclaimed first album, this outing shows a wealth of excellencein the Whistlebinkies approach to the traditional idiom. Combining bothoriginal and traditional material with a skillful approach to arrangement, the whole excercise is a convincing example of what can and should be done in this field.” (by David Etheridge, Melody Maker 18 October 1980)

The album was No 1 in the Melody Maker folk music chart on 18 October 1980 and No 2 on 8 November 1980.


The Whistlebinkies are the Scopttish Version of “The Dubliners” … and one of the finest bands in  Scottish folk Music.


The Whistlebinkies, 1982

Peter Anderson (scottish drums)
Mick Broderick (drums, vocals)
Rhona Mac Kay (harp, vocals)
Eddie McGuire (flute)
Bob Nelson (fiddle)
Rab Wallace (pipe)


01  Waukin’ O’ The Fauld (McGuire) 3.34
02. The Bonnie Moorhen (Traditional) 4.00
03. The Pipe Strathspey And Reel (Traditional)  3:50
04. The Fiddle Strathspey And Reel (Traditional) 2.19
05. Phiuthrag’sa Phiuthar (Sister O Sister) (Traditional) 3.09
06. Broderick’s Bodhran (Wallace) 3.09
07. Great Is The Cause Of My Sorrow (Traditional) 3.53
08. The Pipe March (Traditional) 3.39
09. Gealach Nan Eilean (Island Moon) (Traditional) 2.16
10. The Fossil Grove (Traditional) 3.44
11. Freedom Come All Ye (Henderson) 4.37



The Whistlebinkies today

Albert Mangeldsdorff & Giancarlo Schiaffini – Roma (1980)

frontcover1One of the few shows organized by the Italian RAI in 1980. I had doubts on how to credit this set, from an idea of Pasquale Santoli to unite some famed soloists with RAI Big Band, playing Ellington tunes or tunes dedicated to Ellington composed by the soloists: the Incostant Sol blogspot lists this as “Albert Mangelsdorff Quintet with RAI Big Band”, which could be correct since Mangelsdorff’s name is top of the official bill included here, BUT all spoken intros are by Schiaffini, a couple of his own tunes are played too, and track, Saint James Infirmary, is played by a trio featuring him as the only soloist, so it seems he is the actual leader of the “group”. Quite probably, this was a one-off affair [actually, there was a second date played in Mestre the following day], since Mangelsdorff at the time was mainly playing solo or in duos, and not with a quintet. The show took form in two diferent sets: only the early part of the second set is here (re)broadcast [Incostant Sol has a longer version of this]. This program is introduced by a short speech by Schiaffini (recorded late) remembering the show. (survivor69)

Recorded live at the Teatro dell’Opera di Roma, Roma, Italy; April 21, 1980

Thanks to survivor69 for sharing the show at Dime.


Paolo Damiani (bass)
Billy Higgins (drums)
Albert Mangelsdorff (trombone)
Giancarlo Schiaffini (trombone)
Manfred Schoof (tromba, flugelhorn)
RAI Big Band
Gennaro Baldino (trombone)
Giancarlo Beccattini (trombone)
Doriano Beltrame (trumpet)
Beppe Carrieri (saxophone, flute)
Alberto Corvini (trumpet)Michele Lacerenza (trumpet)
Sal Genovese  (saxophone, flute)
Baldo Maestri (saxophone, flute)
Maurizio Majorana (bass)
Carlo Metallo (saxophone)
Gianni Oddi (saxophone, flute)
Marco Pellacani (trombone)
Dino Piana (trombone)
Roberto Pregadio (piano)
Pino Rucher (guitar)
Cicci Santucci (trumpet)
Roberto Zappulla (drums)

Giancarlo Schiaffini


CD 1:
01. Interview – Schiaffini 2.10
02. Supraconductivity 10:08
03. Spoken Introductions 1:00
04. Introduction / March of The Jazz Aspects 13.42
05. Horizon 15.47

CD 2:
01. Mood Indigo 6.59
02. Saint James Infirmary 10.28
03. Band introductions 1.36
04. Duke of Medley 20.49
05. Radio Outros 0.30
06. Mood Azur 3.42

albert-mangelsdorffAlbert Mangelsdorff


Atomic Rooster – Live At The Marquee 1980 (2002)

Muro do Classic RockLive at the Marquee 1980 is a live album by British rock band Atomic Rooster, recorded at London’s Marquee Club. No known live soundboard recordings exist of the 1980 (Crane/Du Cann/Hammond) lineup of Atomic Rooster and the source cassette tape, belonging to Du Cann, was recorded via a single onstage microphone. (by wikipedia)

These are the last-ever live recordings from the classic Rooster line-up of John Du Cann, Vincent Crane and Paul Hammond, recorded at the Marquee Club in London where they played regularly.

This 1980 gig is drawn from the personal archives of John Du Cann. It marks the return of original drummer Paul Hammond.

John Du Cann has said that the band used up so much energy that immediately on leaving the stage they would feel like collapse, and that the thought of an encore was crippling. (Promotion text)

This rare concert from 1980 features the classic line-up of Vincent Crane on Hammond organ, John Du Cann on guitar and vocals, and Paul Hammond on drums. While the sound quality is average (along the lines of a good bootleg) there is no denying the raw power and energy this band was able to muster on the stage.

Muro do Classic RockMany Atomic Rooster favorites are covered here, including “Death Walks Behind You”, “Tomorrow Night”, “Seven Streets”, and the bands lone hit single “Devil’s Answer.” While earlier live recordings showed the band a bit tighter and Du Cann’s voice in better form, there are still tons of monolithic riffs here, like on “In the Shadows”, and evil Hammond sounds from the master Crane. Some of the more effective tunes in this set happen to be “Gershatzer” and “I Can’t Take No More”, where the band gets to stretch out a bit and jam. Du Cann’s guitar style is like a cross between early Tony Iommi and Jimmy Page, and his bluesy riffs and solos are all over tracks like the raw ‘They Took Control of You” and the tasty instrumental “Watch Out”, where he trades licks with Crane’s funky Hammond lines. Hammond makes his presence felt throughout the set with his maniacal style that for many fans helped ease the loss of Carl Palmer back in the early days of the band.

For Atomic Rooster collectors, this is a must have, but those new to this influential band would be better starting with their first three studio albums first. Despite the average sound quality and cheesy booklet notes, this is a nice package, and a decent live document of an important band in heavy metal and progressive rock history. (Pete Pardo)

Raw and exciting !


JohnDuCann + Vincent Crane, 1980

John Du Cann (guitar, vocals)
Vincent Crane (organ
Paul Hammond (drums)

Muro do Classic Rock

01. They Took Control Of You (J.Du Cann/C. Du Cann) 7.15
02. Death Walks Behind You (Du Cann/Crane) 6.40
03. Watch Out! (Crane) 4.48
04. Tomorrow Night (Crane) 6.29
05. Seven Lonely Streets (Du Cann) 8.37
06. Gershatzer (Crane) 10.04
07. I Can’t Take No More (Du Cann) 8.51
08. In The Shadows (Du Cann) 11.24
09. Devil’s Answer (Du Cann) 5.58
10. Do You Know Who’s Looking For You? (Crane/Du Cann) 4.40
Muro do Classic Rock



Paddy Glackin & Jolyon Jackson – Hidden Ground (1980)

frontcover1This is a masterpiece of Irish Folk !

Paddy Glackin (born 5 August 1954) is an Irish fiddler and founding member of the Bothy Band. He is considered one of Ireland’s leading traditional fiddle players.

Paddy Glackin was born on 5 August 1954 in Clontarf, Dublin. His father Tom Glackin was a Dublin policeman and notable fiddle player who instilled in Paddy a deep interest and love of the music of his native county-Donegal, and taught him and his brothers Kevin and Seamus to play the instrument. As a result of his father’s influence, Paddy was playing fiddle in the Donegal style by the age of six. During his primary school years, he took classical violin lessons in Chatham Row in Dublin, which gave him an important technical grounding in music and helped develop his formidable technique. His playing style, however, was developed more informally at home, where his father organized regular Wednesday afternoon music sessions with many musicians, including Seamus Carroll, Larry Redigan and Frank O’Higgins. Seamus Carroll was particularly encouraging and helpful, teaching Paddy the techniques of Sligo-style fiddling.

While on a trip to Donegal with his father, music collector Breandan Breathnach, and Clare fiddle player John Kelly, Paddy encountered the music of the legendary travelling fiddler John Doherty, who would have a profound influence on the young musician.[2] Glackin frequently cites Doherty as his main influence. Paddy’s musical influences, however, are not limited to Donegal; he also cites fiddlers such as John Kelly, Tommy Potts and Padraig O’Keeffe as important in shaping his overall approach. Through the influence of his father and these talented fiddlers, Paddy began to master a variety of Irish styles and amass a significant repertoire. In 1973, the nineteen-year-old Paddy became fiddle champion at the All-Ireland Fleadh Cheoil.

paddy-glackin01During his college years in Dublin, the city’s vibrant traditional music scene offered Glackin opportunities to meet fellow players his own age and perform a wide variety of venues. He became friends accordionist Tony MacMahon, flautist Matt Molloy, uilleann piper Paddy Keenan, brother and sister Mícheál Ó Domhnaill and Tríona Ní Dhomhnaill, and Dónal Lunny—all of whom would go on to prominent careers in Irish traditional music. Together they formed the group Seachtar, later renamed The Bothy Band, which would become one of the leading traditional bands in Ireland. The Bothy Band played a vital role in energising the Irish traditional music scene in the 1970s. After playing with the Bothy Band for eighteen months, Glackin decided to leave the popular group due to the demands of recording and touring:

“It just wasn’t for me and I certainly never wanted to do the album, tour, album, tour thing. I can see the need for doing it, but I always found it a little false. When I go out to play, it’s on my own terms. I look forward to it and I really enjoy doing it.”

Glackin took a job as an archivist and as Traditional Music Officer for the Irish Arts Council. He later transitioned into the broadcasting business, taking a position with RTÉ radio as a sports producer, presenter, and eventually editor. While maintaining his profession in RTÉ, Paddy continued to perform and record Irish music. In 1977, he recorded the first of several solo albums for the Gael Linn label. Simply titled Glackin, the album features several tracks recorded with his father Tom and his brothers Kevin and Séamus; it is still considered a classic in the genre. His brothers would later release an acclaimed duet recording titled Northern Lights. Glackin has since released numerous recordings, including seminal ones such as Doublin (1978) with the piper Paddy Keenan and In Full Spate (1991) with Dónal Lunny. More recently, Glackin recorded the duet album Seidean Si (1995) with piper Robbie Hannon, and Reprise (2001) with his former Bothy Band colleague, the late Mícheál Ó Domhnaill.


Although Glackin is quite outspoken in his preference for a pure soloist approach to the tradition, he has been involved in a number of experimental recordings, including Roaratorio by the American avant-garde composer John Cage and Hidden Ground, a recording from 1980 made with the late multi-instrumentalist Jolyon Jackson which is notable for its use of synthesizers alongside Glackin’s pure traditional fiddle playing. This recording anticipated the trend for mixing traditional Irish music with synthesizers.

Glackin continues to perform, and he teaches annually at the Willie Clancy Summer School in Clare. (by wikipedia)

Jolyon Jackson (3 September 1948 – 18 December 1985) was an Irish musician and composer.

Jackson was born in Malaya where his father, Patrick Jackson, was Deputy Commissioner of the police and would receive the CBE. His father was from County Limerick, of a Cork family; his mother was the singer Charmian Jenkinson. They lived at Poul-na-murrish, Annamoe, County Wicklow.

jolyon-jackson01He was educated in Salisbury Cathedral School and Bradfield College, Reading. He studied at Trinity College, Dublin in the late 1960s, where he graduated in Arts and Music. He integrated himself into the musical life of Dublin, first with the group ‘Jazz Therapy’, and later with ‘Supply, Demand and Curve.’ He played cello, recorder and keyboards–including organ, piano and synthesizer.

He married Teresa Le Jeune from Delgany, County Wicklow and they had a son, Linus.

Jolyon Jackson died in London of Hodgkin’s disease on 18 December 1985.

The band ‘Supply, Demand & Curve’ was formed in 1970 and initially consisted of Jackson, Brian Masterson—who had played with Jackson in ‘Jazz Therapy’ during 1968-69—and Paddy Finney. They had a weekly gig at the Project Arts Centre and later played mainly in folk clubs in Dublin and beyond.

With a line-up of Jackson, Masterson, Finney and Roger Doyle—who had also been in ‘Jazz Therapy’—they undertook a tour of Canada in 1973. Rosemarie Taylor (keyboards and vocals) and other musicians joined them off and on over the years.

They released their eponymous album in 1976 on the Mulligan label (LUN 009). It contained eleven tracks, ten of which were composed by Jackson. It had taken several years of snatched studio time to complete, and included contributions from some musicians who were no longer in the band by the time the LP was released.

Other recordings on which Jackson featured include Camouflage by Sonny Condell, and Taylormaid by Rosemarie Taylor—both released on Mulligan in 1977. He subsequently appeared as a guest musician on albums by The Chieftains, Midnight Well, Christy Moore, Terry and Gay Woods, and also reunited with Doyle who, by then, had created the music-theatre company Operating Theatre with Irish actress Olwen Fouéré.

Jackson was an early adopter of home-recording, buying an eight-track recorder and setting up a studio at his home in Dún Laoghaire, where he recorded the seminal album Hidden Ground (Tara 1980) with fiddle player Paddy Glackin, on which he arranged the music and also played all the instruments surrounding the fiddle.

Compositions for television include the RTÉ series Hands, Visions of Transport and To the Waters and the Wild.

Jackson also involved himself in music for the theatre, most notably in the music for the W. B. Yeats trilogy based on the Saga of Cú Chulainn, performed in the Noh style and directed by Hideo Kanze at the Abbey Theatre. Later on, he also composed music to accompany the exercises of the Gurdjieff movements. (by wikpedia)


And together they produced this brilliant album: They blended traditional Irish with modern arrangements and instrumentation. Exciting, innovative, radical in its time and still sounding fresh.

The good thing about this album is that although the accompaniment includes evertyhing but the kitchen sink:synthesizers, piano, electric and bass guitars, cello, recorder and something resembling beer bottles being played under water, the tunes are played by Paddy Glackin on fiddle in a purely traditional manner without any jazzing up at all. It sounds weird to begin with but it grows on you with every listening. (by bmilesnagopaleen)


Paddy Glackin (fiddle)
Jolyon Jackson (cello, bouzouki, mandola, mandolin, guitar, bass, harmonica, bodhrán, keyboards, synthesizer, tambourine, whistle, recorder)
Paul McAteer (drums, percussion on 11.)
Fran Breen (drums on 01., bottles on 08.)
Brian Masterson (bass on 01.)


01. The Long Note 3.05
02. The Jug Of Punch / Eddie Kelly’s Reel 3.18
03. Rodney’s Glory / The Bank Of Ireland 4.35
04. The Japanese Hornpipes 3.11
05. Give Me A Drink Of Water / My Mind Would Never Be Easy / The Rakes Of West Meath 3.37
06. The Green Fields Of America 3.06
07. Reevy’s Reels / Dowd’s Favourite 3.30
08. The Drunken Sailor 4.41
09. The Butterfly 3.15
10. Port Na Bpucai 4.12
11. Top It Off / Promenade / The Congress Reel 4.11

All tracks: Traditionals




Embryo with Charlie Mariano and the Karnataka College of Percussion – Life (1980)

lpfrontcover1Embryo is a musical collective from Munich which has been active since 1969, although its story started in the mid-1950s in Hof where Christian Burchard and Dieter Serfas met for the first time at the age of 10. It was one of the most important German jazz-rock bands during the 1970s and has also been described as “the most eclectic of the Krautrock bands.

As far as EMBRYO live albums go, each one that I’ve heard so far, seems to have their own individual direction and sound. The “BREMEN 1971” radio broadcast is typical Krautrock from their early period, then INVISIBLE DOCUMENTS seems to start the crossover from Krautrock, into freejazz, and worldmusic. With “LIFE” I think that Embryo really took their adventurous nature with world music to the extreme, for maybe the first time. Much of this CD sounds like it was recorded by Indian musicians, rather than some jazzfusion Germans. Although the famous Jazz sax player Charlie Mariano is sitting in on this set, you also have the “Karnataka College of Percussion” providing a thick bed of Indian percussion. Since EMBRYO, like MAGMA, is a band lead by a jazz drummer that went rock in the 1970s, this thick percussion sound works with the EMBRYO band concept. I would not buy this, expecting anything like the EMBRYO you might know from OPAL, or FATHER SON AND HOLY GHOST, or even APO-CALYPSO. Instead, this is the band, as explorers of world music, with Jazz icing on the cake. As far as the sound goes, it’s fantastic. The recording is clean and sharp, and the orchestrated plethoria of drums represents itself well. My only criticism of the CD, is that EMBRYO seems dominated and overwhelmed by the Karnataka College of Music’s percussion. Still, it’s enjoyable listen that sets the stage for their double live CD, LA BLAMA SPAROZZI, which documents their Indian-Middle Eastern touring from the end of the 70s and into the early 80s. I personally love Indian music, and enjoy the jazz sax solos, and vibraphone playing, mingled into it. I believe that Embryo’s more extreme, purist world musical experiments ended up influencing a lot more followers of this genre than they are given credit for. (by W.T.Hoffman)


This record has a surprisingly low average rating, most probably because hardly anyone understands it. The Karnataka College of Percussion is an Indian school where you can be taught the Indian art of drumming. It is a highly sophisticated art, and it is all the more difficult to play live. Embryo prove that they have learned their lessons well, and Charlie Mariano was trained in Indian music too, so he definitely is an asset. It is, however, NOT an album of traditional Indian music, played by a jazz rock band plus extension, it is a collaboration and definitely a fusion of Western and Indian music. One of the tracks on the album even is in 6/8, a meter Indian musicians don’t play in at all. Since I am a drummer and can appreciate the complicated patterns played here I will give the album five stars.
(by baldfriede)


Christian Burchard (vibraphone, marimba on 01., 02. + 04.)
Edgar Hofmann (saxophone on 01., 02. + 04.)
Friedo Josch (flute on 01., 02. + 04.)
Uwe Müllrich (bass on 01., 02. + 04.)
Michi Wehmeyer (harmonium on 01., 02. + 04.)
Jay Zier (guitar on 01., 02. + 04.)
T.N. Ashok (vocals)
B.N. Chandramouli (kanjira)
V.R. Chandrasekhar (mridangam)
N.N. Dinesh (dholak)
M. Gururaja (jew´s harp)
Principle T.A.S. Mani (mridangam)
M.R. Mohankumar (drums)
M. Raghavendra (vocals)
R.A. Rajagopal (dholak)
T.N. Ramesh (ghatam)
T.N. Shashikumar (dholak)
S. Srishyla (mridangam)
Charlie Mariano (saxophone on 01. + 04.)


01. Cello Cello (Burchard/Mariano/Hofmann/Josch/Wehmeyer/Müllrich) 15.27
02. Telisirama (Burchard/Mariano/Hofmann/Josch/Wehmeyer/Müllrich) 7.16
03. Talatarangini (Traditional) 14.44
04. Marokkanische Seerauber (Moroccan Pirates) (Burchard/Mariano/Hofmann/Josch/Wehmeyer/Müllrich) 11.35





Joe Diorio – Bonita (1980)

FrontCover1Joseph Louis Diorio (born August 6, 1936, Waterbury, Connecticut, USA) is an American jazz guitarist. He has performed with legends of jazz such as Sonny Stitt, Eddie Harris, Ira Sullivan, Stan Getz, Pat Metheny, Horace Silver, Anita O’Day, and Freddie Hubbard.[1] In recent years he also recorded albums with modern performers including Robben Ford, Gary Willis, David Becker and fellow guitar education legend Mick Goodrick.

Following in the footsteps of an uncle, Diorio took up the guitar, studying formally in the early 1950s at a local music school. He worked for a while with local bands, but in the early 1960s he ventured into New York City, where he played with several jazz musicians.

In April 2005 he struggled to regain the full use of his left hand following a stroke he suffered at his West Coast residence in San Clemente.

Diorio currently teaches at the University of Southern California. He was also one of the first instructors for the Guitar Institute of Technology. He has published several instructional books and videos, and has released 10 albums under his name. (by wikipedia)


The talented guitarist Joe Diorio has mostly recorded for obscure record companies throughout his career including this set for the completely forgotten Zdenek label. The early-’80s LP features Diorio (who has always had his own sound) in a trio/quartet with other Los Angeles-based musicians: keyboardist Carl Schroeder, bassist Bob Magnusson and drummer Jim Plank. Diorio stretches out on five standards (including Jobim’s “Bonita”) plus one of his originals, playing some fine post-bop guitar that is often strikingly original. (by Scott Yanow)

Listen to this more or less unknown jazz musicians … this is a superb album !


Joe Diorio (guitar)
Bob Magnusson (bass)
Jim Plank (drums, percussion)
Carl Schroeder (piano)

01. Bonita (Jobim) 5.00
02. If I Should Lose You (Robin/Rainger) 6.42
03. Spring Can Really Hang You Up The Most (Wolf/Landesman) 4.02
04. Talla Sunshine – Naima Rainbow, Dance For Their Father (Diorio/Berardi) 4.41
05. Bloomdido (Parker) 2.41
06. Hello Young Lovers (Hammerstein/Rodgers) 6.45
07. Send In The Clowns (Diorio) 3.10