Track Listing 1) Lord Mayo / The Green Groves of Erin (LM) 2) The Bucks of Oranmore (LM) 3) Grannie's Gravel Walks (LM) 4) O Hag You Will Kill Me/Give Us A Drink of Water (LM) 5) Oliver Goldsmith's Lament/Broadway Hornpipe/ Bunch of Keys/ Boys of Ballisodare (LM) 6) Colonel Fraser/Arthur Darley's Swedish Jig (A) 7) Thatched Cabin Air and Reel/Master Crowley's Reel (LM) 8) The Banshee/Trim the Velvet (A) 9) The Old Bush/The Galty Reel (LM) 10) Connemara Jig/Over the Isles to America/Fahey's/Buckley's Fancy (LM) 11) Old Woman of the Mountain/The Posh Potman/Con Curtin's/The Old Pensioner (A) 12) The Maid Behind the Bar/ Sherlock's / McFadden's Reels (A) 13) Rocking the Cradle (Lament and jig) (A) 14) The Tree Fellers/ Concert Reel (A) 15) Keegan's Fancy (A) 16) Corcoran's Jig/The Mist Covered Mountain/ George White's/The Dublin Reel (A)     Tracks are taken from 2 LPs by Le Chéile: Lord Mayo, Inchecronin 7424, 1974 and Aris, Inchecronin INC7423 (1978). Source is indicated on track listings as 'LM' for Lord Mayo and 'A' for Aris. Recorded by Ian Grant RIP Click on underlined tracks to hear MP3 sound samples

We are delighted to announce our release of this classic recording.

Le Chéile - Lord Mayo/Aris
Inchecronin CD INCHCD0601 Temporarily out of stock

This is a compilation CD, based on recordings made in the 70's issued at that time as 2 LP's, "Le Chéile - Lord Mayo" and "Le Chéile, Aris" on the Inchecronin Label.

There were a handful of traditional groups who pioneered some innovative arrangements and recordings at that time and these inspired P.J Crotty, who, together with Raymond Roland, Liam Farrell, Danny Meehan plus backing/accompaniment with Kevin Boyle and John Roe, compiled a medleys of traditional tunes and the result was the recordings of, "Le Chéile" and, "Le Chéile, Aris",

There are some absolute gems on this recording - Raymond's Broadway Hornpipe, his concertina playing, PJ's Bunch of Keys, and the lively rendition
of Buckley's Fancy. Enthusiasm and sparkle were added by Liam's tenor banjo, and Danny's lively Donegal style fiddle playing produced some truly wonderful music. Kevin Boyle, Guitar and John Roe, Piano emboldened the performers with their fine accompaniments.

This remastered CD has been released as a tribute to Raymond and PJ, who sadly are no longer with us. Raymond and PJ are still terribly missed,
and still greatly loved, for everything they gave.

Irish Music in London 60's & 70's.

The 1960s and 70's were "Golden Years" of traditional music in London, for musicians and foi many enthusiastic followers. The 'Mecca' was Fulham Broadway, West London, where there were regular sessions in the Kings Head, The Hibernian Club, and perhaps the most notable venue - The "White Hart". This was the venue where Raymond Roland and Liam Farrell were well established, and where any travelling musicians made a point of visiting.

Raymond Roland was born in 1933 in Ballyshea, Craughwell, Co Galway. His mother Lucy, a fine fiddle player, was one of the renowned Gardiner family from Bailymote, Sligo. Her brother John Joe was a celebrated flute player and fiddler, and sister Kathleen Gardiner (Harrington) was one of the most distinguished fiddle players of the time and went on to be the founder member of the 'Kincora Ceili Band'. Raymond's father JJ Roland also played fiddle. Many a session was held at the house with such eminent musicians as Joe Cooley, Paddy Fahy, Peter Brodrick, and Paddy Carty. It was no wonder that Raymond and his brother Oliver also became exceptional musicians. Raymond's sisters Imelda and Yvonne were not instrumentalists but couid lilt any tune. Imelda went on to compose the hugely popular reel 'Imelda Roland's Reel which Raymond learnt and often played as part of his vast repertoire. Raymond came to England in 1958 accompanied by his soon-to-be wife, Rose. They married in 1960. He met up with Liam Farrell
soon afterwards. This was the beginning of a perfect musical partnership and, indeed, a life-long friendship. They set up in the White Hart in Fulham, which became 'the place to be' to hear the very best of Irish music. Raymond had the pleasure of playing with the cream of Irish traditional musicians - PJ Crotty, Roger Sherlock, John Carty, Bobby Casey, Tommy Mc Carthy. John O'Shea, Danny Meehan and many more.
Raymond has been described as the 'master of the slow air' and his rendition of Oliver Goldsmith's Lament could stun an audience into silence and bring a tear to the eye. He was always willing to share tunes and expertise, encouraging younger musicians (including myself) to 'Shtick with it!' Which I did! When Raymond died prematurely of cancer in 1986, Irish music in London was dealt a huge blow. He was undoubtly 'King of the Hill' and impossible to replace. There was always a great feeling of happiness being in his company, listening to his anecdotes, and of course his music.
He will forever be in the hearts and minds of pleasure of meeting him. Annette Roland

P.J. Crotty was born in Moyasta, Kiirush , Co. Clare. Music was an important part of the Crotty family - his father played fiddle, sisters played tin whistle and his brother played flute. P.J.'s first instrument was the tin whistle and later the concert flute. He was a member of The Cooraclare Ceili Band from West Clare before he emigrated to London. PJ. emigrated to London during the late 1960's and was fortunate to meet and play with many musicians i.e. Kevin Burke, Raymond Roland, Roger Sherlock, Bobby Casey, John Bowe, Tommy McCarthy, Danny Meehan, Kevin Taylor and many others. He played for seven years in The White Hart, Fulham, Broadway, London and 'Le Chéile' was formed as a result of those memorable sessions. P.J. met and married Angela Crehan from Co. Clare, also a musician and from a musical background. They returned to Ireland settling in Lahinch, Co. Clare in 1979 with their two daughters Fiona and Roisin. Irish traditional music was a very important part of PJ's life which he promoted in Lahinch during the 1980's by bringing famous groups to the area {e.g. The Chieftains, Makem &. Clancy. Ryan's Fancy) while he continued to piay at local sessions. PJ. organized a Folklore School in Lahinch which ran successfully for a number of years. He contributed to the 'Willie Clancy Summer School' by teaching, playing at recitals, sessions and concerts. He formed a duet partnership with James Cullinan, fiddle player and they were very much in demand at musical events throughout Ireland. They produced a CD in 2002 called 'Happy to Meet" accompanied on piano by Carol Cullinan. Unfortunately P.j.'s health deteriorated and even though he fought his illness bravely, sadly he passed on in January 2005. Special tribute has been paid to PJ. in his home place at the Nell Galvin Traditional music weekend. P.J. will be remembered for his sweet and hearty music, his sense of humour, numerous jokes and his lively and sincere personality. Ita Crehan

Liam Farrell (tenor banjo) from Ballygawley, Co. Tyrone, is now 70 years of age, still lives in Epsom, Surrey and is working as a tree-feller. He is still climbing trees and cutting them down with a chain saws....and he still has all his fingers.

Danny Meehan (fiddle) from Mountcharles, Co. who has recently returned to live in his beloved Donegal after spending 50 years paving the streets of London. He still travels back regularly and can often be heard in sessions at festivals all round the country.

John Roe (piano, guitar) runs an Air-Conditioning company and lives in Purley, Surrey.

Kevin Boyle (guitar, mandolin, piano) is a teacher based in Croydon, Surrey.

Tom Madden, whose 5-string banjo appears on a couple of tracks, was last seen in London about 10 years ago but his whereabouts now are not known.

Support from this project was received from the "Across fhe Wafer" Archival project at the Music Department, University College, Cork and the Irish World Academy of Music and Dance, University of Limerick.

The legacy of Irish Musicians in post-war London
"Native music, like native language, is an organic thing. It has specific dimensions and it grows through the sensitivities and processes of being absorbed and recreated by new generations. Like the native language the motifs and themes explored in the old songs and in the brief little cycles of the dance music repertoire, encapsulate, 'an gol is an gaire' - the cry and the joys, the melody and counter melody, the harmony and discord which lie at the heart of human experience. It is a cry at the sense of loss,but lso bursting into song . it is an anticipation of the triumph of the human spirit in the face of adversity".

This was the music heard in London in the 69's and 70,s in the "satellite" pub settings across London, the London company was good: Raymond Roland (RIP), Mairtin Byrnes (RIP), Paddy Coyne, Bobby Casey (RIP), P.J. Crotty (RIP), Brendan McGiinchey, Roger Sherlock, Michael Gorman (RIP), Johnny Gorman, Edmund Murphy (RIP) John and Bart Carty, Johnny Minogue, Frank O'Mahony, Tommy McCarthy (RIP), Joe Ryan, Vincent Griffin, Liam Farrell, Andy O'Boyle (RIP), Paddy Malin (RiP), Paddy Taylor (RIP), John Bowe, Gabe Sullivan, Mick & Billy Whelan, Finbar Dwyer, Michael Dwyer (RIP), Julia and John Clifford (RIP), Con Curtin, Paddy Hunt (RIP), Paddy Breen (RIP), Lucy Farr (RIP), Sean Maguire (RIP), Tony Ledwith, Danny Meehan, Jimmy Power (RIP) - musicians from all over Irelanjust to name a few...

All played an important part in the great revival of interest in the music post-War, uplifting spirits amongst the Irish, generating a sense of pride in identity when the stock of the Irish was low. Rousing sessions of music and dance sprung up across London in the 50's, 60's and 70's. 1 remember, "The Favourite", off the Holloway Road, White Hart", Fulham, "The Sugawn Theatre", Ballspond Road, East London, home of the distinguished novelist Jerry O'Neill, "The Brighton" and the Irish Centre in Camden Town, again just to name a few.

The development of music in London, at which I and others have been engaged for some time, followed this age long weekly festival of music, and could only have happened against this backdrop.

I have always been a reluctant visitor here. My stay has lasted too tong, a journey that was more like the discoveryof the three Princes of Serendip than a conscious route of the imagination. The trip has, however been imaginative and creative and I was happy to be part of the "festival" and to lend a hand. The music that has in recent years taken over my life is a treasure of the heart also, a quiet weeping of the soul for times long gone.

In recent years, young musicians can be found in an intimate sessions. They will meet in a pub, or a flat and rattle the night with "humoresques" vented from lived experiences. When it comes to music, the laughter fades as each or all settle into a leisurely performance of the old tunes - flutes, fiddles an occasional bozoukim accordion, or bodhran, until the "muse" interrupts the tune with some witticism that cannot be contained and wrecks the rhapsody. These are gentle folk more attuned to social interaction than the conformity particular to the proscenium arch. Nothing much has changed since the times of the "White Hart", except the faces!
They learn from one another - a strange setting for a university of music you might think, but then the location is irrelevant as long as the atmosphere and focus is there and the raw material, the students and the music is abundant and the "library" is well stocked - recordings and live performances of great musician.

"Did you hear this one? Someone asks, "have you heard Rooney's version?" "How does it go?" This is an ongoing workshop, unhurried by any exam syllabus. Their interest and focus is not just the tunes how a particular performer turns a tune; often a subject of heated debate. As in literature,
it is not the volume of words but verbal participation and the poetics of the music that gains their attention. "Tommy Peoples makes a great job of this one" - where uncluttered expressive notes speak messages from heart to heart. "Mairtin Byrnes is the greatest", Lament Gillespie avers. Young Sean Keegan takes time from his classical studies to find recordings and listen to the great Tommy Potts. Potts fascinates these young people because he went further than most in his melodic excursions and re-construction of old tunes, "My Love is in America", but eventually turns to his own selections, in quiet pursuit of the heart of the music, as he perceives it. The gargantuan, abrasive, "foot to the floor" performers are avoided as pit-bull terriers by these chaps. It is the cult of the music rather than the cult of personality that drives them. Their music is thoughtful, sensitive, nothing gross or flamboyant - did you hear "Gabe Sullivan play this one", one will ask. Their respect for the older generation of musicians is total.

This is the backdrop, the larger canvas if you like against which one has to view the young musicians of today in London, who listen and hear anew the subtlety and turns of the great performers, from times past in London and elsewhere, a true testimony to the legacy of those performers of the past and a tribute to the openness and artistic sensibiiities of the newcomers. Brendan Mulkere May 2004

 

Press Reviews

Return to home page

Click on spinning disc for purchase details

Please visit our website sponsor:

(c) 2004 Copyright CopperPlate Distribution