MARCAS Ó MURCHU
1. The Little House Under the Hill + Tom Ginley's Fancy + The Titanic Jig
2. The Game of Love + Lass of Farranfore + The Dream of Home (reels)
3. The Humours of Ballinafad + The Bridal Jig
4. The Sligo Fiddler's Farewell + My Dancing Bride (air + hornpipe)
5. Devanney's Goat + Miss McGuinness (reels)
6. Jack Roes + The Balinamore Reel
7. Peter Touhey's + Port Roise (jigs)
8. Waltz Blanchard
9. The Rising Sun + Doodly Doodly Dank (jigs)
10. The Whistler at the Wake + The Old Flail (jigs)
11. The Mill of Kylemore + The Baltimore Salute + The Lansdowne Lass (reels)
12. Mainstair na Búille (air)
13. Paddy Doory's Jig + The Blarney Pilgrim (jigs)
14. The Boy in the Gap + The Boy in the Boat + The Boy on the Hilltop (reels)
15. The Shores of Lough Gowna + Willie Coleman's + The Trip tp Sligo (jigs)
16. The Callan Lasses + Over the Moor to Peggy + Colin Boyd's Favourite (reels)
17. Tripping to the Well + A Kiss Behind the Door (polkas)
Click on underscored titles to MP3 hear sound samples.
Turas Ceoil is the new album from Belfast flute-player Marcas Ó Murchu, released on the Clo lar-Chonnachta (CIC) label.
Turas Ceoil means a musical journey, a title that aptly captures the essence of this album which pays homage to the roots of the tradition, with tunes from as far back as the eighteenth century, while also looking to the future with new compositions by Ó Murchu. He is joined on the album by guest musicians that include Teada's Oisin Mac Diarmada, Ben Lennon, Jose Climent, Sean Óg Graham, Gearoid Mooney, Seamus Kane, Ciaran Curran and Seamus Quinn.
The colourful CD booklet includes 24 pages of information about the tunes as well as photos of the musicians.
Murchu is originally from Belfast but has been living in Derry for many years.
He is a master of the rolling Sligo-Leitrim-Roscommon style of flute-playing.
He is in constant demand internationally as a performer and as a music tutor.
He teaches at many of the music schools throughout the country, including the
Willie Clancy Summer School and the Frankie Kennedy Winter School. As well as
being a musician, Ó Murchu also presents a music show on RTE Raidio na
Gaeltachta every summer.
Turas Ceoil is his second album. His first, Ó Bheal go Beal, was released in 1997.
Copperplate is very proud to have this title on our roster and to help it achieve its full potential will be supporting this release with a full-scale promotional mail out to media and retail.
The Folk Diary
It is now ten years since Marcas released an album, 'Ó Bhéal go Béal', which had a huge impact on the traditional music community in Ireland. Ten years later another album of his mesmerising flute playing is bound to have a similar impact. As a young man, he met and learned from the great rural flute players in the Roscommon/Sligo area that his family originated from, so that we can still hear the influence of the likes of Josie McDermott in his playing.
One of the great things about his playing is that he is able to give the music a modern feel without in any way compromising the traditional lilt of
the tunes. The album is very carefully programmed with solo items in different rhythms mixed with Marcus working with a variety of different
settings, with the best track saved for the seventeenth and last; two delightful polkas.
Every single tracks bubbles with vibrancy on an album that stands as a type example of what can be done to make an album of traditional music exciting. This is outstanding stuff. Vic Smith
Few labels guarantee a great album, but Ireland's Clo-Iar-Chonnacta comes close. Here's another winner. Marcas O Murchu's Turas Ceoil is just the best. This flute player has gathered some of the tradition's great players around him, ranging from Altan's Ciaran Curran on guitar and Oisin McDiarmada on fiddle to Ben Lennon on fiddle, with the great Seamus Quinn on piano. There are more, but the trad buff gets the drift. This album is really filled with the northwestern style of flute---you know the deal--- Sligo, Roscommon and Leitrim. Polkas, reels and jigs abound. One complaint. There are only two airs, with one thrown overboard too quickly in favor of adding a hornpipe. We have long argued against recording a gorgeous air, only to have it turn half-way through into an uptempo piece of business. It is as if the musician does not trust the audience to cherish the air, hold it close to the heart, and make it a part of their soul. Rather, it seems to say, " Okay, we won't bore you any longer with this. We know what you want, hear comes some faster stuff." Shame. BUT--that is only nitpicking! This is a great, great album by a master musician. Flute players the world 'round know about, and respect, this brilliant interpreter of the staccato, yet flowing style that marks his geographic style of playing. We are rapidly losing the regionally stylistic features of Irish traditional music for a number of reasons frequently described here. The point is that these styles can still be found, thanks to labels like Clo-Iar-Chonnacta, and true-to-the-bone musicians like Marcas O Murchu. This is a great album. Not very good, mind you. Great. Bill Margeson. Rating: Four Harps