FolkWorld #66 07/2018

CD & DVD Reviews

Altan "The Gap of Dreams"
Compass Records, 2018

Artist Video

Altan

www.altan.ie

Last year Irish violinist and vocalist Mairéad Ní Mhaonaigh had been declared the TG4 Gradam Ceoil/Traditional Musician of the Year. Three decades ago she co-founded traditional Irish group Altan,[46] ultimately presenting Donegal reels and Irish language songs to audiences all over the world. Their latest album "The Gap of Dreams," its title taken from a Francis Carlin poem referring to the gap between this world and the otherworld which often has served as inspiration for traditional song and music, is an emotional return to an age where rural people gathered by the hearth to swap stories, sing and dance. This is reflected in Altan's virtuosic yet homely and jovial execution. "The Gap of Dreams" only features the band members, i.e. Mairéad besides piano accordionist Martin Tourish, bouzouki player Ciarán Curran and guitarists Mark Kelly and Dáithí Sproule. Everything starts with a family affair; Mairéad's slip jig "The Gap of Dreams" has been originally composed for a show commemorating the 100th anniversary of 1916.[59] Her daughter Nia Byrne has composed the following "Nia’s Jig" and Mark's son Sam "The Beekeeper," both kids join the proceedings on fiddle and concertina, respectively. The instrumental selections include traditional Donegal reels and those composed by Martin Tourish as well as a strathspey and a slow tune from Mark's pen. Among the English-language songs we find the well-known "Month of January" and the sad love song "Dark Inishowen". "Bacach Shíl' Andaí" is a nursery rhyme referring to the Battle at Killala in 1798, "Cumha an Oileáin" has been written by the late actor Tomas Mac Giolla Bhride about a drowning accident on Gola Island off the Donegal coast. "An Bealach Seo ‘Tá Romham" (This Road Ahead of Me) has been written by Moya Brennan of Clannad fame, the anthemic "Fare Thee Well, A Stór" by Padraigin Ni Uallachain. Which brings the album to a glorious finale.
P.S.: Altan are delighted to present their printed collection, "Altan: The Tunes". Comprising 222 tunes from 12 studio albums, this book delves into the history of the music and the musicians from whom it was collected. Please check it out @ www.altan.ie!
© Walkin' T:-)M


Connla "The Next Chapter"
Own label, 2018

Artist Video

www.connlamusic.com

Ciara McCafferty (vocals), Ciaran Carlin (flute/whistles) and Paul Starrett (acoustic and electric guitars) as well as siblings Emer Mallon (harp) and Conor Mallon (uilleann pipes/whistles) come from the cities of Armagh and Derry in Northern Ireland who got together at Ulster University. They named themselves after a character from Irish mythology upon whom is placed a series of obligations (Irish: geasa), thus Connla, the son of the Ulster champion Cú Chulainn and the Scottish warrior woman Aífe, cannot turn back once started, he must not refuse a challenge and he must never tell his name. Well, referring to this band I dare say they cut their own path without looking back, overcame some obstacles, and found a funky and jaunty sound at the end of the rainbow. Anyway, I dare to mention their name and tell you more about it. Connla's[62] sophomore album again is a winner and clearly opens The Next Chapter for the band with subtle arrangements of original music in the traditional vein. Their Organised Chaos is playful, sometimes jazzy and bluesy, but always well-thought-out and never messy. The song selection includes the well-known American gospel "Wayfaring Stranger", Sean Tyrrell's "One Starry Night", Felix Pappalardi's "One Last Cold Kiss" and Dick Gaughan's "Sail On" borne by Ciara McCafferty's passionate vocals that verges on the edge of jazz and pop music. The indisputable highlight is her haunting rendition of Riannon Giddens' "Julie," a verbal exchange between mistress and slave during the US Civil War.
© Walkin' T:-)M


Dàimh "The Rough Bounds"
Own label, 2018

www.daimh.net

The title "The Rough Bounds" does not describe the tattooed guy on the album's cover; Dàimh[52] (or rather its founding members) originally comes from the Lochaber area on the west coast of Scotland, which is known in Gaelic as Na Garbh Chrìochan, or The Rough Bounds in English. It is an inaccessible and sparsely populated area, historically regarded as a Jacobite stronghold from which Bonnie Prince Charlie launched his ill-fated campaign back in 1745. The remoteness ensured that it remained Gaelic speaking until recently. Released 20 years after their very first concert, Dàimh’s seventh album sees the addition of Alasdair White (The Battlefield Band)[58] who joins Gabe McVarish on fiddle. Their trademark still is high-octane dance music led by fiddle, pipes (Angus MacKenzie) and accordion (Murdo Cameron). The band members wrote most of the instrumental music; I particularly like guitarist Ross Martin's "Fossilised Fisherman" (not only because of its witty title). Martin is also responsible for a bassy backing, he is furthermore supported by a couple of guest musicians on percussion and bass such as Martin O’Neill and Duncan Lyall. The instrumental music climaxes in the sinister rendition of the lament "Chì mi’n Toman;" the album's touching ballads and swinging puirt à beul sets are carried by the bright vocals of Ellen MacDonald who first joined Dàimh for their live album.[59] As before, no song lyrics are featured in the booklet (it is taken for granted that most listeners wouldn't have any Gaelic anyway) but a couple of icons to give a clue about the topic. I'm not so sure about it, rather file it under amusing.

Article: Bardentreffen 2018

By the way, for the upcoming Bardentreffen festival in Nuremberg, Dàimh invited young Griogair Labhdruidh[36] to join in a special concert under the motto: Scottish Mouth Music meets modern Rap!

© Walkin' T:-)M


Calum Alex MacMillan "Till"
Vertical Records, 2017

www.calumalexmacmillan.co.uk

Isle of Lewis native and double Mòd Gold Medal winner Calum Alex MacMillan had been the Dàimh vocalist for six years; he still featured on background vocals supporting Ellen MacDonald on "Turas Dhòmhsa Chun na Galldachd" on their latest album (see review above). "Till" is his second solo recording, and the album's title bears a lot of subtle meanings: in Gaelic it simply means return maybe referring to his visits home and song collecting; in English it might point to cultivating the soil as well as looking forward, which serves as a brilliant metaphor for the handling of traditional music. Calum's main source had been his old man, John ‘Seonaidh Beag’ Macmillan, who also composed the "An Iarran Mònach" lamenting the decline of the peat cutting tradition: “Besides sharing his own songs, dad played me loads of his reel-to-reel tapes from years ago, of other folk singing, old BBC programmes and suchlike. I also discovered that my great-auntie, in the next village, had tapes that her late auntie had made, of singers she knew in the area. I have a lot of singers going back on both sides of my family, and there were a good many others, really quite widely-known singers, living nearby when I was growing up, who sang songs by local bards – some of them written by my ancestors. The ones on the album have so many interconnections for me: with my childhood, my family’s history, with that particular place and that community.” Apart from a set of waulking songs, Calum selected a mix of significant ballads of which "Mo Nighean Donn" and "Fil o Ro" might be well known all over the place. William MacKenzie (known as Bàrd Cnoc Chusbaig) is one of Lewis’ best known bards and an ancestor on Calum's mother’s side; he composed the lament "Fàgail Shiadair" after the death of his beloved wife and before his emigration to Canada. William's nephew Alexander (Sandy a’ Phoileat) wrote "Nam Faighte Long Dhomh" wishing he could give the bard a native burial. The songs are carefully fleshed out by a who's who of contemporary Scottish folk musicians such as Julie Fowlis, Greg Lawson, Ross Martin (Dàimh), James Mackintosh (Shooglenifty), James D. Mackenzie (Breabach) and Manus Lunny (Capercaillie). Halfway through the album, Calum also displays his skills on the bagpipes with the lively execution of two original jigs.
© Walkin' T:-)M


Danú "Ten Thousand Miles"
Doon Productions, 2018

Artist Video

www.danu.net

In some way or the other, I have accompanied Irish trad group Danú from the outset.[1] Since formed in 1995 as part of the Irish delegation to the Lorient Interceltic Festival, they have travelled "Ten Thousand Miles" to become one of the premier bands in traditional Irish music.[57] Recently Danú recruited Nell Ní Chróinín from the Múscraí Gaeltacht of Co. Cork as their new vocalist. This TG4 Traditional Singer of the Year 2012 turns out to have a crystal-clear singing voice. There are two revelations here, the captivating 18th century aisling "Ar Maidin Inné Dom" and the spirited fox chase "Fiach An Mhadra Rua". The English language songs include the popular "Master McGrath" about an Irish greyhound who did win the Waterloo Cup 1868, 1869 and 1871, respectively, the 18th century song "Ten Thousand Miles," which gave this album its fitting title, and the rebel song "The Foggy Dew" of the 1916 aftermath;[59] the latter two with a sublime string arrangement by Danú's fiddler Oísín McAuley. Of course, there are subtly arranged and beautifully executed instrumental sets on Danú's altogether ninth album. The selection features slides, reels and hornpipes from the likes of Mairtin O'Connor, Phil Cunningham and Llan de Cubel fiddler Simon Bradley. Oísín wrote a pair of lively slip jigs.
Well, what can I say. After their first ten thousand miles, there might be more travelling ahead. Long may they run...
© Walkin' T:-)M


Open The Door For Three "The Joyful Hour"
Own label, 2017

www.openthedoorforthree.com

Open The Door For Three[60] is an US based trio made up of fiddler Liz Knowles, uilleann piper Kieran O'Hare and singer and bouzouki player Pat Broaders. Pat Broaders is the only native Irish; he grew up in Dublin and learned the uilleann pipes from Leon Rowsome. In the late 1980s he switched to the bouzouki, the rest is history. Pat toured with group Bohola[25] and French music and dance show Celtic Legends, where he met uilleann piper and flutist Kieran O'Hare and fiddler Liz Knowles. The latter is a classically-trained violinist from New York who has performed as soloist with several orchestras, but left her mark on traditional Irish music as fiddler for Riverdance and member of Cherish the Ladies,[46] String Sisters and the Martin Hayes Quartet. If you have seen the "Michael Collins" film starring Liam Neeson you can hear her fiddle playing. Open The Door For Three is a trio of well-rehearsed friends with verve and mutual understanding on their third album "The Joyful Hour". There are six imposing dance tune sets for which Liz has composed supplementary harmonies and counter melodies. Additionally there is a beautiful descriptive piece commemorating the Battle of Knocknanuss in 1647 and two enchanting slow airs. Pat Broaders is a casual vocalist; his selection of traditional songs rather tends to English sources (Martin Carthy's "Creeping Jane" and Nic Jones' "Clyde Water") than Irish ("Carrig River", Len Graham's "Ye Lovers All"). However, it suits Pat and the band's overall sound very well. The one and only complaint, at least, the Hour is Joyful but it isn't an hour but three-quarters of an hour only, I could easily have done with more :-)
© Walkin' T:-)M


Snuffbox "Playing For Free"
Skye Records, 2017

Artist Video

www.snuffboxmusic.com

Snuffbox is a traditional music trio based in Glasgow, Scotland. It is made up of BBC Radio Scotland Young Traditional Musician of the Year 2017 Charlie Stewart on fiddle, who is well versed in both the demanding Highland style and the more flowing style of their Irish neighbours, his teacher being Marie Fielding and Lauren MacColl, respectively. Rufus Huggan adds his cello fusing folk and classic; the fiddle-cello union becoming quite popular in recent times, though Niel and Nathaniel Gow have already been fond of this combination in the 18th century. Guitarist Luc McNally has recorded a duo album with Eddie Seaman[62] and already added his dynamic backing to Sketch[58] and the Iona Fyfe Band.[64] The opening set of lively reels is showcasing their trademark original sound, which is both melodic and expressive. The three instrumentalists are taking turns as the lead, race neck-and-neck or provide harmony and counterpoint. The album's title track composed by the band is a free flowing piece of music (and no comment about the folk music circuit). Charlie Stewart's slow air "Onions" is in the tradition of Niel Gow and builds up from a haunting lament to a dramatic finish; he had played it at the finals of the BBC Radio Scotland Trad Awards to good effect. Last but not least, Luc McNally delicately gives us two songs written by Rufus Huggan, though clearly the band's focus and competence still lies with instrumental music.
© Walkin' T:-)M


Boxing Banjo "Round #1"
Own label, 2018

www.boxingbanjo.com

Tenor banjo player Mícheál 'Mick' Healy from Castlebar in Co. Mayo had been only nineteen years old, when we reviewed his 2012 debut album "Pleckin' About."[50] Last summer Mick and his older brother Dara (button accordion), who took part in many recording sessions such as "Pleckin’ About" or Sinéad Healy's "Shuffle the Deck,"[54] decided to quit their daytime jobs as school teachers to become professional musicians. Together with Joseph McNulty (fiddle) and Seán O'Meara (guitar), the latter has performed and toured with The Olllam,[50] their new outfit called Boxing Banjo has released their debut album. "Round #1" is an exciting mix of traditional Irish music and American old-time and bluegrass music. It is rhythmical and sonorous, which recalls the 1920s show band style of the Flanagan Brothers (Mick became acquainted with it playing with the Brock McGuire Band)[45] on the one hand and bands such as North Cregg or accordionist Mairtin O'Connor (composer of the included "Rocking the Boat") on the other. There are jigs and reels, barndances and Sliabh Luachra polkas. With Mairtin O'Connor's Irish-Hungarian "Carna Czardas" and Michel Bordeleau's crooked Quebecois "Fleur de Mandragore" they leave the beaten track for a moment or two. The lads only cool things down for Brian Finnegan's 7/8 tune "Marga's Moment". There are four gifted vocalists in the band, but only two songs featured here, both delivered by Mick. His selection is taken from contemporary folk music, namely a frisky rendition of Bob Dylan's "Don't Think Twice," including a splendid bluegrass banjo break, and James Taylor's "Fire and Rain" with strings and all.
© Walkin' T:-)M


HighTime "Sunda"
Own label, 2018

Artist Video

Artist Video

www.hightime.ie

Irish trio HighTime were overwhelmed by the ecstatic response when touring with the Irish Spring Festival in 2018.[65] German audiences appreciated their close rapport and great enthusiasm. All three are literally living on the same mountain overlooking Ardmore Bay on the Irish west coast of Connemara, where musicians, singers and dancers almost grow on every tree. Conall Flaherty (flute, whistle) had been performing with shows Rhythm of the Dance and Celtic Legends, after being taught by his neighbour Marcus Hernon,[61] fellow flute player and flute maker who also did compose some complementary tunes to go with the songs. His younger brother Séamus (harp) supported Cherish the Ladies at Celtic Connections 2017. Ciarán Bolger (guitar) also has toured with Celtic Legends. This makes for a quite unfamiliar and particular line-up. They are playing sessions and céilís in the locality and eventually formed a band in 2017. Their debut album "Sunda" (Irish for sound, in the meaning of a stretch of water, or is it a pun actually?) features a pleasing tone. Their three-part harmonies are subtle and sophisticated. The song selection covers catchy English-language ballads ("The Village of Cloch Bhuí") and contemporary folk songs (Richard Thompson's "Beeswing"), as well as haunting Gaelic sean-nós ("An Tiarna Randal") and lusty sea shanties ("South Australia"). After all, their ancestors had been seafaring people until recently, while HighTime are now making waves in the realm of traditional and folk music.
© Walkin' T:-)M


The Friel Sisters "Before the Sun"
Own label, 2017

Artist Video

www.frielmusic.com

Anna, Sheila and Clare Friel are Glaswegians with roots in the Donegal Gaeltacht (Doire na Mainsear to be precise). Playing fiddle, flute and uilleann pipes, respectively, the girls honed their instrumental skills with sessions at Huidi Beag's (managed by Francis Mooney, father of Altan's Mairéad Ní Mhaonaigh, see review above). Five years ago, the siblings released a critically acclaimed debut album.[53] In 2016, they won the Trophée Loïc Raison at the Interceltic Festival Lorient; early this year Clare became the TG4 Gradam Ceoil Ceoiltóir Óg (Young Musician of the Year), being the first person in Scotland to win this Irish award. The Friel Sisters' sophomore album "Before the Sun" led them into the studio, whereas they recorded their debut literally in their living room. Supported by Hajime Takahashi (guitar) and Cathal Ó Curráin (bouzouki), it is distinguished by precision and ambition besides its raw authenticity. "Free and Easy" is a family song taken from their great aunt. Anna gives a poignant version of the emigration lament "Kelvin's Purling Streams," while the girls sing in unison on slower songs such as "Stór a Stór a Ghrá" and "Easter Snow". The instrumental tracks feature "Merry Sisters," being cheerful and strong. Sheila and Clare composed "It's in the Wind," the title referring to the wealth of musicians in their small but fertile native townland. "Before the Sun" is pure Donegal music that already intrigued veterans like Tommy Peoples, and it should put you under a spell too.
© Walkin' T:-)M


Niall Murphy, Cathal Hayden, Stephen Hayden "Bow Brothers"
Own label, 2017

Artist Video

www.cathalhaydenmusic.com

After a professional career spanning four decades, Co. Tyrone's Cathal Hayden[14] teamed up once again with his younger brother Stephen, who started in folk rock band Upstairs in a Tent and recently joined his brother in Four Men and a Dog[40] and the Mairtin O'Connor Trio.[39] Co. Armagh's Niall Murphy of Cara Dillon's band and Breaking Trad[59] completes this three-piece fiddle outfit fittingly called Bow Brothers. This is unadulterated traditional Ulster fiddling, firm, full-blooded and muscular. Cathal has written the opening set "John F’s/Derrygortnea," Otherwise it is pure trad from the "Kesh" jig to the "Homeruler" hornpipe (the one and only exception: Brendan McGlinchey's "Farewell To London"). They undertake a "Trip To Kinvara" and pay a visit to less known places as well. Most peculiar, I recall "The Mountains Of Pomeroy" as a song and barndance, but is delivered here as a gracile slow air. Niall, Cathal and Stephen are backed by accompanists such as Seamie O'Dowd, Sean Og Graham, John Joe Kelly and Brian Mc Grath. Near the finish line, O'Dowd puts the brakes on and sings "The Foggy Dew," namely the haunting version of the late Luke Kelly dating back to the 17th century. But this is just a pit stop in an enduring race.
© Walkin' T:-)M


Caroline Keane & Tom Delany "Never Say Goodbye, Say Good Luck"
Own label, 2017

keanedelanymusic.bandcamp.com

Caroline Keane and Tom Delany started playing together in 2010, while studying at the Irish World Academy of Music and Dance at the University of Limerick. Both had grown up in musical households. Under the guidance of Noel Hill, Caroline had been exposed to the musical traditions of West Limerick and Sliabh Luachra and came up with a very lively and vivid style of playing the concertina. Tom Delany had been born and raised in France as the son of an Irish father and took up the uilleann pipes inspired by the rhythmic and crisp style of the travelling pipers (Johnny Doran, Paddy Keenan, etc.). These days they are members of folk quartet FourWinds[58] and recently made their base in Dingle trying to make a living from playing the town's pub circuit. "Never Say Goodbye, Say Good Luck" is a beautiful duet album of concertina and pipes, and a couple of friends such as guitarist Donogh Hennessy and harpist Elaine Hogan. However, the main focus is duet playing with some solo tracks thrown in for good measure. It is pristine traditional Irish music on a sound footing, into which Caroline and Tom breathe new life. Their selection covers a wide spectrum: the opener features the classic "Paddy Taylor's Reel" and the "Famous Ballymote". "Hold the Reins" (which I know as "Dublin Lads") is sandwiched in and its title serves as kind of a motto for their tearing pace. There are tunes from the pen of Richie Dwyer, Paddy Keenan, Junior Crehan and Ed Reavy, to name just a few. Caroline is especially fond of Seán Ryan tunes, because of its warmest traditional feel, and three of them are put into one set of jigs. French flutist Michel Bonamy had introduced Tom to the music of Co. Clare and his peculiar "Métro Blues" introduces the well-known Carolan composition "Princess Royal." Both Caroline and Tom account for a lovely original tune, respectively.
© Walkin' T:-)M


Dulahan "Where The Music Takes Us"
Own label, 2017

Artist Video

infodulahan.wixsite.com

Fiddler, harpist and pianist Adèle Greene comes from Belfast, while guitarist and banjo player Joe Greene is a native of Inishowen. They met in Donegal when studying Irish music in the late 1990s; twenty years later they are married to each other and live down in Co. Kildare. Under the disguise of Dulahan (which denotes a kind of headless fairy knight in Irish mythology), they play together traditional Irish music with a Donegal edge ever since. They say: We decided to title our album Where The Music Takes Us because our love of Irish traditional music has taken us to all parts of Ireland and beyond, either in search of a good session to meet and join in with other musicians or to perform as the duo Dulahan. We’ve made many friends and learned a host of new tunes on our travels. It starts with a lively opener, some polkas composed by Joe and Adèle, followed by a traditional barndance and highland and a selection of jigs and reels. Fiddle and banjo are variously taking lead, with Joe backing on guitar throughout the album. Let me mention their obvious love for Carolan tunes; altogether three airs and planxties are featured, with Adèle providing her own harmonies thanks to modern recording techniques. There is also a beautiful take on James Scott Skinner's lament "Hector the Hero", James Oswald's 18th century "Miss Faw's Minuet" and the klezmer tune "Itzikel" (a.k.a. "Frailach"), which Lúnasa had introduced to Irish music on their first album. "Port Na Fáilte" (i.e. Welcome Jig) has been composed by Joe and Adèle to celebrate their native country, the land of a hundred thousand welcomes, which is an invitation to join Dulahan on their musical journey.
"Where The Music Takes Us" is available @ claddaghrecords.com!
© Walkin' T:-)M


Éilís Crean "Searbh Siúcra (Bitter-Sweet)"
Own label, 2017

Artist Video

www.eiliscreanmusic.com

First of all, I have to talk about one of the many unsung heroes of traditional Irish music, who often act only locally and rarely leave their home turf. Eddie Kelly is a fiddler and button accordionist, born in 1933 near Ballinisloe, Co Galway. He moved to Roscommon in 1958 and became involved in its music scene, though still practised the particular East Galway style of traditional Irish music. Eddie turned out to be a gifted composer in this style and wrote altogether 21 jigs, reels, hornpipes as well as slow airs and laments. Several tunes found its way into the common session repertoire. Browsing through my record collection I discovered Eddie Kelly tunes (I think so) on albums from Dan Brouder,[48] Cara,[29] Shannon Heaton,[35] Brian Kelly,[25][33] the Kilfenora Céilí Band,[39] Lúnasa[5] and Slide.[19]
Éilís Crean, born in Ballintubber/Roscommon, had the chance to become Eddie's pupil before moving to Tennessee. Overseas she formed a company called The Irish Gift to promote and preserve the East Galway style in general and the music of Eddie Kelly in particular. This recording features all 21 compositions, plus 16 traditional and Paddy Fahey tunes Eddie used to play. Some of them had been transposed to different keys though than originally envisioned by Eddie. Crean’s sweet fiddle playing is supported by a stellar cast, including John Regan on button accordion, Michael McGoldrick on flute, Kevin Burke on fiddle and John Doyle on guitar.
East Galway Music is distinguished by a measured pace and a lonesome sound, I would call it the blues version of traditional Irish music, often it is referred to as draíocht (enchantment).[29][35][55] Hence the album's title Éilís has chosen. "Searbh Siúcra" literally means bittersweet, but it also refers to the concept of yin and yang, opposing forces that complement each other and cannot be separated in real life – sadness and joy, movement and standstill, past and future ... The way I see it, East Galway Music is the entire existence in a nutshell.
© Walkin' T:-)M


Theresa Kavanagh "An Choill Uaigneach - The Lonesome Forest"
Own label, 2017

Artist Video

www.theresakavanaghmusic.com

Born to Donegal parents in Glasgow, Theresa Kavanagh managed to learn the tricks-of-the-trade from fiddlers Francis Mooney (father of Altan's Mairéad Ní Mhaonaigh, see review above) and Seamus Gibson (nephew of Tommy Peoples). She released an excellent debut album in 2006. She encountered a difficult and low phase of life and stepped out of the lonesome forest (An Choill Uaigneach) only recently to present an superb collection of instrumental fiddle music. It is bittersweet fairy music expressing Theresa's emotional roller coaster ride. There is loneliness and longing, heart and soul, gloomy blues and joyful expectation. The supporting line-up is great: Brendan Kavanagh (flute), Kathleen Boyle (accordion), Manus Lunny (guitar, bouzouki), Fraser Fifield (saxophon), Ewan Vernal (bass), Donald Shaw (piano, keyboards). Theresa Kavanagh is a highly skilled fiddle player in Tommy Peoples style and the album is actually featuring two Tommy Peoples tunes.[62] There is traditional fare as well as some Danny O'Donnell and Ed Reavy tunes, but most of it comes from Theresa's head and heart. Last but not least, there is a poignant song from John Doyle, "Searbh an Scaradh" (Bitter the Parting). Yes, well, bitter's the parting when one has just become acquainted with her and come to appreciate her art, but I am full of hope that Theresa stays out of the forest for quite a while.
© Walkin' T:-)M


Declan Folan "All In Good Time"
Own label, 2018

www.facebook.com/...

There's "Music in the Glen," as the old reel is titled. The glens in question are located in the heart of Co. Sligo. Hailing from Bunnanadden, Declan Folan was fortunate to know fiddlers such as Fred Finn, Peter Horan, Paddy Ryan, PJ Hernon and Ben Lennon. Today Declan is regarded to be one of the foremost performers in the Sligo fiddle style. His solo album has been in the making for a decade or so. He was always asked when he's going to record and he replied, "All In Good Time". Now the time's right! It is firm and rhythmic fiddle music with some unobtrusive backing from piano, guitar and bodhran (e.g. by Shane MacGowan). Talking of Sligo fiddling, it is not a return to the renowned 78rpm recordings of Michael Coleman and his associates, though there are some Michael Coleman and Larry Redican tunes, but rather a revisit of the sound of the seventies, as characterised by his teachers, a young Frankie Gavin and compositions by Charlie Lennon, Martin Mulhaire, John McEvoy and Brendan Tonra. Some traditional tunes have been set into new keys, his arrangements are building up, he is generally fiddling around, so to speak. There is an easy-going duet with flutist Damien Stenson and a showband piece adding saxophone and banjo.
As Declan let us know, "All in Good Time" is available from Maddens Bar Belfast, Claddagh Records Dublin, The Coleman Centre Gurteen, The Record Room Sligo, Custys Music Shop Ennis, McQuaids Music Shop Neenagh, and Ben O'Neills Music Shop Dungarvan!
© Walkin' T:-)M


Bobby Gardiner "melodeon mad!"
Own label, 2018

www.bobbygardiner.com

For half a century, Bobby Gardiner is regarded as one of Ireland's most distinguished button accordionists.[7][43] Hailing from Lisdoonvarna, Co. Clare, Bobby played with luminaries such as Micho Russell. At the tender age of fifteen, he joined the Kilfenora Céilí Band[39] and learned how to create a great rhythm and get the dancers up on their feet. In the early 1960s, Bobby emigrated to the US and got to know legendary artists such as Andy McGann, Joe Cooley and Paddy Killoran. In 1970, he moved back to Ireland and settled down in Tipperary tutoring a new generation of accordion players (e.g. Benny McCarthy of Danú fame, see review above) and raising a musical offspring himself. Indeed, Bobby's new album features contributions of daughters Kelley (piano), Lynda (concertina) and Fíodhna (low whistle) on several tracks.[54] Two years ago, he had acquired a Beltuna D melodeon which made him put the accordeon on the shelf for a while, since the melodeon's lovely old time sound took him back to the recordings of the 1920s/30s: Technology is much advanced, there are iPods now I'm told, but none of them can bring a tear like the gramophone of old. Thus "Melodeon Mad," featuring Jack Talty (piano), Garry O'Briain (guitar), Brian Flemming (percussion) and Caithlin McGowan (step-dancing), turns out to be an acoustic trip from Michael Coleman to the Flanagan Brothers. There are jigs and reels, hornpipes and a slow air. Bobby couldn't resist to include his favourite waltz, "The Blue Danube" by Austrian composer Johann Strauss Jr., though admittedly the help of Ciara O'Connor on cello and fiddle and a little improvisation and imagination had been necessary since the melodeon is only able to play in one major scale. Another track, a fine polka, features a 100-year-old Hohner melodeon and him lilting. So it never gets boring, and when Bobby Gardiner is calling the Hohner arthritic, it is by no means a depiction of his own abilities and artistry.
© Walkin' T:-)M


Tony O'Connell "'live and well"
Own label, 2017

tonyconcertina.wixsite.com

Tony O'Connell is a well-known concertina player in his native Ireland who now presents his first solo recording after three duet albums with Leitrim fiddlers Andy Morrow and Ben Lennon and flutist Éamonn O'Riordan, respectively.[31][32][37] He hails from Glin in West Limerick, though lives in the heart of the Sliabh Luachra region these days. Tony has mastered the concertina to good effect since taking it up at the age of 10 in the late 1980s. He taught himself a simple rhythmical style, featuring bass lines, counterpoint, drones and chordal accompaniment, with which he won the junior All-Ireland championship three times and subsequently the senor title. Tony is currently performing in a trio with fiddler Bríd Harper and bouzouki player Cyril O'Donoghue, who both contribute to the album besides Arty McGlynn on guitar and Trevor Hutchinson on bass. He selected a gorgeous mix of traditional music, played on a number of different concertinas, and left nothing to be desired: ​there are lively slides and polkas from Sliabh Luachra, recently composed music from the likes of Peadar O'Riada, Tommy Peoples, Tommy Potts, the Dwyers and the Mulcahys, plus tunes from Cape Breton and Scottish strathspeys. The sweet but sad note is provided by the beautiful rendition of old love songs "Cailín Na Gruaige Doinne" and "Bessie, You’re The Beauty Of Rossinure Hill".
© Walkin' T:-)M


Shane Mulchrone "Solid Ground"
Raelach Records, 2018

www.raelachrecords.com/...

Shane Mulchrone comes from the Ballina area in the north western Irish Co. Mayo and has been playing the tenor banjo for more than 20 years. He finally made his recording debut. This instrument of Afro-American origin, which had been introduced into traditional Irish music a century ago, has been placed in the hands of a real virtuoso. His execution is rhythmic, but he stays away from trendy Irish-American fusionists such as We Banjo 4,[61] JigJam[64] or newly-formed Boxing Banjo (see review above), rather delivers the pure drop. Shane reckons he's inspired by the landscape all around him, and his tune selection features popular and lesser known reels and jigs taken from the oral tradition as well as some recently composed melodies. He sometimes performs solo, sometimes is supported by Noel O'Grady (bouzouki) and Jack Talty (piano). Melodeon player Heather Cole-Mullen is featured on the schottische "The Boys of Knock/Johnny Will You Marry Me" evoking a 1920's American Flanagan Brothers style, which also holds for his treatment of the barndances "O’Flynn’s Fancy/Delaney’s Donkey". For good measure, Shane features the slow air "Cuaichín Ghleann Néifinn," originally a seán-nos love song which translates as Cuckoo of Glen Nephin; dealing with slower tunes on the banjo can be a challenge but Shane masters it beautifully. Furthermore, he plays tenor guitar on "Fowley's Mazurka/Billy's Boffin Waltz," and this adds to the variety of this recording.
© Walkin' T:-)M


Sylvain Barou & Ronan Pellen "The Last Days Off Fall"
Coop Breizh, 2017

Artist Video

www.sylvainbarou.com
www.ronanpellen.com

Breton flutist Sylvain Barou has not only mastered his own fest-noz tradition but the traditional music of Celtic neighbour Ireland as well, both as a soloist[49] and an ensemble member (Guidewires,[40] Barou Lunny Rynne).[51] For years, Sylvain has been collaborating with Breton jazz guitarist Jacques Pellen, playing the cittern and bouzouki as well, whose debut album is eventually thrown on the market. It is Irish Music through and through, uncompromising but played with heart and soul. The album features a fine selection of of reels, jigs and hornpipes (such as "Séan Ó Duibhir An Ghleana" which is originally a song), both from traditional sorces and recently composed by the likes of Ed Reavy, Jackie Daly, Maurice Lennon and Tommy Peoples. Frankie Kennedy's slow reel "The Cat That Ate the Candle" and slow airs such as "The Wounded Hussar" and "Dark Lochnagar" display Sylvain's subtle phrasing and Ronan's lyrical accompaniment. The "Tredudon" reels had been composed by Irish group Slide (Bracken DeBarra Lynch)[34] in Ronan's garden fifteen years ago, showcasing Sylvain's muscular attitude; "The Last Days of Fall" has been written by Sylvain himself. Last but not least, Sylvain and Ronan revisit a set of ton doubl gavottes, composed from the 1970s to the present, and seek out a Brazilian choro for good measure. It fits very well; these two musicians are not limited by style and genre but their own artistic abilities which ending can barely be seen in the distance ...
© Walkin' T:-)M


Mary Courtney "Freedom's Pioneers"
Own label, 2018

www.marycourtneymusic.com

Singer, guitarist and bodhrán player Mary Courtney hails from Castlegregory in County Kerry, Ireland, but is based in New York these days. She usually plays with a traditional group named Morning Star, and is sometimes supporting Larry Kirwan's Irish-American Celtic fusion group Black 47.[20] The latter suggests that she has a political mind, namely focussing on the struggles of the Irish for national freedom – from the wars of the Gaelic earls (Michael Joseph McCann's "O'Donnell Abu") and the 1798 United Irishmen uprising (PJ McCall's "Boolavogue")[4] until the 1916 Easter Rising (Canon Charles O'Neill's "The Foggy Dew")[59] and the recent Troubles in Northern Ireland (Dominic Behan's "The Patriot Game"). Her song selection starts with labour leader and revolutionary James Connolly's poem "Freedom's Pioneers;"[54] it is usually sung to the tune of "Boys of Wexford" but the chosen "Mountains of Pomeroy" is an equally fitting, fast-paced marching tune. It is followed by a haunting a capella ballad about "James Connolly;" her rendition is powerful and passionate. Eventually, Mary Courtney returns to her native Co. Kerry with Sigerson Clifford's "Boys of Barr na Sráide," which is both a song about political freedom and the longing for home. Mary's approach is straight-forward but elaborate and subtle. After all, it's been a long way from The Clancys belting out rebel songs ...
© Walkin' T:-)M


Matthew Byrne "Horizon Lines"
Own label, 2017

Artist Video

Artist Video

www.matthewbyrne.net

"Horizon Lines" is the already third solo album of Newfoundland folk singer and guitarist Matthew Byrne (who is also on the road with The Dardanelles). His song selection draws from both sides of the Western Ocean. It is kicking off with the happiest sounding sad song he knows, "Long Years Ago" from his grandmother's singing. Traditional music runs in the Byrne family anyway. It is a nice touch that his old man Joe is featured as well and sings "Kitty Bawn O'Brien" by Cape Breton singer/songwriter Allister MacGillivray. Matthew himself wrote "Adelaide," a true and touching story from his family, or as he says: a traditional song waiting to be written! Furthermore, Matthew gives fine renditions of his favourite lumber camp song, "The River Driver," the 400 years old Irish love and war ballad "The Woods Of Truagh" and the 19th century Scottish whaling song "Farewell To Tarwathie". It is very important for him to tell a proper story, but to do so with catchy tunes. The entire "Horizon Lines" album proves that Matthew Byrne has become a true-born ambassador for Canadian folk music; his music is pure and genuine but also full of spirit and life.
© Walkin' T:-)M


Basco "interesting times"
GO' Danish Folk Music, 2017

Artist Video

www.bascoband.com

These are interesting times for sure, though we're interested here in Danish neo-folk band Basco's[53] latest musical output only, which is interesting enough to say the least. Basco are Ale Carr (cittern), Andreas Tophøj (violin, viola), Hal Parfitt Murray (violin, mandolin) and Anders Ringgaard (accordion, trombone). They came together fifteen years ago as a motor for Hal's output of original tunes. This is the band's sixth album, once again featuring a sublime blend of traditional Irish, Nordic and North American styles with jazzy and bluesy influences. The result is rather intricate than easy-listening, though it is never a burden but ultimate joy. The album kicks off with the raucous "The Way Of All Flesh." While "A Flat In Berlin" depicts the busy life in the fast-lane between the big city's building blocks, the "Tesla Waltz" is evoking a gentle stroll in the countryside. Tracks such as "Roses In The Vase" and "The Diplomat's Lament" then are reflective and melancholic still-lifes. Basco selected two appropriate traditional songs to make it their own. The well-known Child ballad #58 "Sir Patrick Spens" tells the tale of a maritime disaster. "The Three Mothers is a less frisky variant of the Napoleonic anti-war song known as "Mrs McGrath;" US rocker Bruce Springsteen had already slowed down Pete Seeger's approach, the Basco lads finally turn it into a haunting lament for the son whose legs have been blown away by a cannonball. Love, war, disaster – Basco are fully aware of the times we live in. The album notes prefigure the crossroads we're facing which might lead to the full depths of human suffering. Before insight and activity comes reflection: Take a moment. Sit yourself down in a comfortable chair, and pour yourself a goodly glass of whatever heals you. Listen, ponder and sip your drink, and we’ll see you all out there tomorrow ready to sniff the air, feel the grass, and see which road seems better.
© Walkin' T:-)M


Bart Praet "DuO"
Home Records, 2018

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Bart Praet is a flutist and piper from Belgium I've known before only from Ghent's folk quintet Elanor.[55][61] His latest venture is titled "DuO," but it is actually a solo project. "DuO" might refer to two things. First of all, Bart has grand support and backing from renowned guitarist Philip Masure (Comas, Urban Trad, Fling, etc). Secondly, Bart has selected both traditional tunes and written original melodies. The traditional selection features mainly tunes from Galicia in northern Spain (e.g. the well-known "Aires De Pontevedra"), which includes several muiñeiras as well as a march and a rumba. He plays a fiery Irish reel set. His original compositions are inspired from Flemish and French music, incorporating different European traditions as well as subtle influences from other musical genres. Bart plays flutes, whistles and uilleann pipes, his execution is to the point; as we know it, Philip Masure proves to be a soulful accompanist on guitar, cittern and percussion. Though there is nothing spectacular, Bart has found a path off the beaten track where you can pluck some beautiful and colourful flowers. Some are well-known species, others have yet to be classified.
Please have a listen @ BandCamp!
© Walkin' T:-)M



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