Accordion
Showing 17–32 of 77 results
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Danny Meehan – The Navvy On The Shore
- The Navvy on the Shore/Cathal McConnell’s Reels
- The Japanese Hornpipe/McCormacks.
- Johnny’s So Long at the Fair/The Trip to the Cottage. Jigs
- Kitty Sean’s Barndance/Jamesy Byrne’s Downfall. Reel
- The Humours of Whiskey. Slip Jig
- Tom Ward’s Downfall/Crossing the Shannon. Reels
- Dr Gilbert/The Donegal Peter Street. Reels
- Herlihy’s Rant/Con Cassidy’s. Jigs
- The Dovecot-Lament/Docherty’s Strathspey.
- Rakish Paddy. Reel
- The Longford Tinker/Paddy Canny’s. Reels
- O’Donnell’s Air.
- Jamsey Byrne’s No 1 & 2. Reels
- Casey’s/Jimmy Meehan’s. Polkas
- Dermot Byrne’s Delight-Strathspey/Drowsy Maggie. Reel
- Napoleon’s Grand March.
- The Shaskeen. Reel
- Johnny Docherty’s-Piece/Father O’Flynn. Jig
- Sean Dún na nGall-Air/Bean a tí ar lár. Reel
- The Lowlands of Scotland. Reel
- Tarbolton/Over the Moor to Maggie. Reels
Press Reviews
Dirty Linen Reviews.01/02
Danny Meehan comes form southern Donegal, and his primary influences are from his own family and local players, though he also has ties to the great John Doherty and the tradition of travelling musicians he represents.
Meehan moved to London in the 60’s and has been part of the lively Irish musical community there ever since.
He was a member of a loosely knit band called, Le Cheile, who put out two exciting records in the mid 70s, but Navvy on the Shore is, incredibly, his first solo effort. Meehan is a strong player with the forceful attack typical of Donegal players.
He still plays many of the tunes learned as a youngster, but he has also added melodies from all over Ireland, tipping his hat now to Coleman, now to his old comrade Raymond Roland. His version of “Humours of Whisky”, should not be missed.
In fact, all three of these releases are graced with superb liner notes, and all should be eagerly sought by lovers of Irish Music. Duck Baker.
Musical Traditions Web Magazine
‘As you were close to the Favourite scene in the ’70s and ’80s’ stated our editor as the criterion for offering this review to me – and I admit that I feel more confident reminiscing about the pubs of North-East London than analysing the remarkable and eccentric fiddle style of Danny Meehan. At least it gives me a place to start.
Two good reasons, then, for buying this one straightaway: to enjoy this excellent and unique music and encourage the next release from Bow Hand.
Roger Digby – 30.10.00
With this recording we have a wonderful opportunity to listen to yet another of the under-recorded masters of Donegal fiddle music.
Danny Meehan was born in 1940 and grew up in Mount Charles, just west of Donegal Town. There, he was exposed to the music of a relatively unrecorded, apparently under appreciated circle of musicians, mainly fiddlers.
The influence of the Dochertys and their relatives was strongly felt, as it was in other parts of southwest and central Donegal. The liner notes, by Reg Hall, nicely elaborate on these influences.
Other influences on Danny’s playing, however, seem to my ears equally strong. As a young man Danny moved to London, where he fell in with the now famous London Irish music scene that included the likes of Bobby Casey, Michael Gorman, Margaret Barry, Reg Hall, and many other musicians, many of them brilliant.
The liner notes also state that Danny was also very much taken with Coleman. The result in Danny’s playing is the blend of a staccato, attacking Donegal style with a more understated southern style perhaps somewhere intermediate between the styles of Gorman, Casey, and Jimmy Power.
Danny’s style is nonetheless unique–a very lively, bouncy, attacking style, which is highly ornamented, featuring rolls, cuts, triplets, and quite a bit of unison double stops.
Having listened to the CD twice, I already have some favourite tracks. The first, “The Navvy on the Shore/Cathal McConnell’s” is rightly highlighted, since the playing swings along confidently, is cleaner than on some other tracks, the fiddle is higher in the mix, and the tunes too are nice and well-performed.
“Humours of Whiskey,” a Donegal slip jig, is played unaccompanied, very briskly, with great spirit, in two octaves, and in a setting somewhat similar to (but also different from) that played by Francie and Mickey Byrne and recorded by Altan. Danny does a fine job on some Donegal showpieces, including “The Japanese Hornpipe” and a couple of strathspeys. I was particularly taken with his playing of “Rakish Paddy,” not the Donegal version, but a nonetheless wonderful, elaborate, four-part version. We are also treated to a duet of Mick O’Connell, an All-Ireland accordion champion who apparently learned a great deal from Danny, backed by Reg Hall. Very nice playing on that track–Mick definitely has the touch. There are 21 tracks in all, and definitely you’re getting your money’s worth in terms of sheer amount of music, especially considering that the CD is reasonably priced.
From the point of view of the Donegal fiddle aficionado, the CD is valuable not only for the above-mentioned reasons, but also because there are a few tunes recorded here that are not recorded on any other commercially available recordings of Donegal music–indeed, there are a few Donegal-sourced tunes I’d never heard before. One is based on a song Danny’s grandmother used to sing, called “Johnny’s So Long at the Fair.” Another is a polka, sourced from his father, called “Jimmy Meehan’s.” There’s a very nice strathspey Danny calls “Dermot Byrne’s Delight,” which, the liner notes say, “comes from a much younger fiddle player … who is now playing with Altan.” Finally, there’s a piece, either a song tune or a march, called just “Johnny Docherty’s.” Many of the other Donegal-sourced tunes–about half of the several dozen tunes–are in settings close to those of players such as James Byrne and Con Cassidy, while others are interestingly different. Unfortunately, Danny did not record “Danny Meehan’s,” the reel so masterfully played by Tommy Peoples on The High Part of the Road as one of “McCahill’s Reels.”
I’d recommend this to any fan of Donegal fiddling and anyone interested in the London Irish trad scene. The playing is very solid, listenable, and traditional. Larry Sanger
£14.99 -
Dave Sheridan and Company – Sheridan’s Guest House
Dave Sheridan
“Every musician playing on this album. It was an absolute privilege to play with you. I would like to thank all of the local musicians who I learned tunes from over the years. Thanks also to the John Me Kenna Society, Nancy Woods, John Regan, Meaiti Jo Sheamuis, Tom Mulligan, Fiachra 0 Torna, Liam Kelly, Damien Stenson, Sean Me Cague, all the lads in Monaghan, Galway, Leitrim, Sligo and Dublin for their musical friendship over the years, Jimmy Mc Kee, Gaye Mc Donagh, Sister Anne, Donal and Eithne in the Mater Dei Music Department and all the staff in St Michael’s College,
I would like to thank Mam, Paddy, Gerard, Marian and of course Miriam, as well as my extended family for the support they have given me over the years. A special thanks to Brian Mc Donagh who recorded the album. Even though he is one of the most laid back men I ever had the pleasure of meeting, the amount of work he did on this recording was phenomenal.
I would sincerely like to thank two men who, without their influence, I may have never played music. They are Sean Gilrane and My Father Joe. Sean is playing the Flute on track 10 and was a huge encouragement to me down the years. He also composed Enya’s Fancy, the first tune on this track. Dad would always bring me to local sessions, classes and Fleadh Ceoil’s
and wait, sometimes into the early hours until the session was over. I could have played music until my ‘heart was content*……thanks lads”!
Although this fine recording is over 2 years old, we at Copperplate believe it too good to have fallen throught the cracks of the torrent of good recording of traditional music coming out of Ireland in recent years. We will be undertaking a full scale mail out to retail and media, in the hope of helping this brilliant recording to achieve it’s full potential. We are delighted to add this title to our roster.
Press Reviews
The Folk Diary
Dave is a very talented young flute player from County Leitrim and he plays in that breathy straight-ahead fashion that is quite reminiscent of Matt Malloy. In fact a lot of the ensemble playing here – Dave surrounds himself a total of fifteen musicians at various places on the album – sounds like an updated Bothy Band, particularly when the flute is heard in tandem with fiddle or pipes and a bouzouki is providing accompaniment.
He is probably at his best playing reels and though there is that exhilarating flat-out feeling to them, it is clear that he is always playing within himself and allowing a feeling of space in the music. Strangely enough, the most interesting track is probably the one where Dave plays different instruments; he doubles on low whistle and button accordion on Johnny Allen’s and Paddy Gavin’s before bursting into one of Scotland’s most popular session tunes and it is fascinating to hear the slightly different emphasis that the Irish put on The Easy Club Reel.
Vic Smith.
Taplas
ALTHOUGH predominantly an Irish flute album with many opportunities to hear solo flute, Dave Sheridan’s feast of jigs and reels are considerably augmented by a large group of friends. Pipes, low whistle, fiddle, piano accordion, guitars, mandola, bouzouki, keyboards, electric bass, percussion and bodhran help to keep the music varied by playing in different combinations.
It’s driving, lively and upbeat The arrangements keep the music ever changing. It defiantly doesn’t sound ‘all the same1 as some uninitiated sceptics may sometimes accuse Irish music of being. The sound is often very full and padded out, setting it apart from other more typical trad CDs.
The one song is surprising, because it sounds more like a Broadway production than a traditional song. It’s very polished, nonetheless!
There’s a lot going on here, but it’s not overwhelming and in-your-face, but full of treasures to be unearthed as you return to it time and time again. Imogen O’Rourke
The Living Tradition
Co. Leitrim people never seem to shout about their musicians. OK, we know about Joe McKenna, Ben and Charlie Lennon, the MacNamara family, but 1 don’t understand why so much talent isn’t boasted about. Maybe it’s because Leitrim’s overshadowed by its next-door neighbours, Donegal and Sligo?
Dave Sheridan is a young Leitrim flute player, now teaching in Dublin, who deserves to be more widely known and appreciated. He has a fine drive about his playing with discreet ornamentation that still allows the basic tune to shine through. He’s laid down fifteen tracks, most of them around 3′ 30″, of ‘standard’ jigs and reels with a few less well-known tunes. Sixteen musicians, plus a singer, are on just about everything from accordion to uillean pipes. Not all of them play at the same time, so there’s a great variety between tracks. A special round of applause for track 3; Brian Rooney’s outstanding fiddle sets fire to The Maid on the Green and the Humours of Drinagh. He reminds me of the older fiddle style of players like James Morrison. One of Sheridan’s old mentors, Sean Gilrane, plays flute on his own composition, Eania’s Fancy, on track 10 then follows on with Captain Kelly’s and The Salamanca.
There are discreet and sensitive bodhran players, in spite of the base lies you’ve been told. The secret is playing so that musicians are aware of it without noticing it. Neil Lyons plays bodhran on most of the tracks, with Liam Cryan, Junior Davey and Hugh Sullivan picking up the rest. Track 2 (Christy Barry’s, King of the Pipers/Michael Dwyer’s) gives a valid answer to the spoilsports who insist that no more than one bodhran should be played in a session. Lyons and Cryan both play but don’t overpower the set.
Sheridan’s cousin, Conor, sings Sheridan’s own composition Our Beautiful Tradition, a song about older musicians wondering if the younger ones will carry on the well-loved old traditions. I liked the song immediately because it’s the first one I ever heard on this thorny subject. The answer is the latest crop of musicians; the tradition’s safer now than it’s been for decades. As well as the song, Sheridan’s own polka and reel, Enjoy Your Stay/In Sheridan’s Guest House start the final track. The last reel, Safe Home, makes a logical ending to the whole CD. I only wish that all sixteen had gone out in a blaze of glory on this track.
Copperplate Distribution believe this CD is ‘too good to fall through the cracks’, so they’re publicising this two-year old recording. I’m glad they have; it’s a real treat. For all it’s a studio recording, this has an impromptu feel because of the different line-ups on each track; I don’t think any two sets have the same musicians playing together. Copperplate’s blurb says, ‘Imagine a friendly hostelry somewhere in the Irish countryside…’ I don’t want to do that, because this isn’t a bit like a pub session; that would be full of the usual distractions. This feels more like a spontaneous gathering of musicians in someone’s house and you’ve been honoured by being invited. Welcome to Sheridan’s Guest House. Mick Furey
LiveIreland.com
Sheridan’s Guest House by Dave Sheridan from Ireland is a joy of a thing. He has about 16 guest musicians on the album. He is a wonderful flute player out of Leitrim, we believe. A massive talent, and there is such a sense of joy in this album as he generously shares the spotlight with his musical friends. This is just flat-out wonderful. Rating: Four Harps
Bill Margeson
www.netrhythms.com
Here’s another great recording that but for the kind auspices of Copperplate Distribution would have fallen through the cracks and remained largely unheard in the UK. It was made over 2 years ago, but has all the timeless appeal of the best of Irish traditional music.
Co. Leitrim-born Dave is a fine flute player who gathered together an assortment of his musician friends to partake of a session in that metaphorical guest-house-cum-caravan somewhere in the Irish countryside. The 15 tracks, mostly jigs and reels, may be carefully planned as far as arrangements are concerned, but they’re played with all the spirit of the convivial session and the varieties of texture Dave and his accomplices conjure up is quite miraculous. Dervish’s Brian McDonagh, who’s recorded the album, has given the sound a unified bloom that’s full and attractive, yet lets the individual contributions breathe within the total sound-picture. I don’t think I’ve ever enjoyed a flute-centred record quite as much, in fact, for the spirit of the music-making is so infectious; even though the whole affair’s obviously a studio production rather than a live recording, there’s a great feel of different musicians dropping in for each set and being accommodated and allowed free rein.
This accentuates, but in a thoroughly nice way, the degree of contrast between individual tracks, and makes for some imaginative touches — as on the Johnny Allen’s set (track 5), an isolated instance of Dave forsaking the flute for the button accordion and bringing in Seamie O’Dowd on dobro alongside Padraig McGovern’s uilleann pipes and some excellent rhythmic underpinning from Neil Lyons and Keith Kelly. This set forms a real contrast with that preceding, a more strict-tempo approach to a pair of jigs (Maid On The Green and Humours Of Drinagh) where Brian Rooney’s spirited fiddle steps it out with Dave to Kevin Brehoney’s lively piano vamping. That sort of points up the glory of this album — that it’s emphatically not just another series of ‘more jigs and reels’ in ‘OK, so what?’ performances, but a pleasing and often intriguing sequence of inventively varied renditions. And when you glance down the list of musicians (apart from those mentioned, there’s Oliver Loughlin, Damien O’Brien, Michael McCague and Padraig O’Neill to name but four), you just know you’re in for some scintillating musicianship.
After all this positive commentary, however, I feel obliged to voice my one reservation regarding the disc: the inclusion of a song, a composition of Dave’s own (Our Beautiful Tradition), the admirable sentiment of which rather fails to light my candle on account of the smooth yet overwrought manner in which it’s sung by Dave’s cousin Conor. No such problem besets Dave’s self-penned polka and reel on the final track — the only other exception to the exclusively traditional source material used throughout this classy record. David Kidman
The Irish Democrat
GIVEN THE ongoing popularity of all forms of traditional Irish music and a seemingly never-ending stream of high quality recordings from both new and established musicians and groups it’s not surprising that the odd album falls through the cracks of critical recognition.
Sheridan’s Guesthouse would appear to be one such album. Originally released in 2006, this collection of traditional tunes has been put together, arranged and produced by Leitrim flautist and Dublin-based teacher Dave Sheridan.
Assisted by sixteen musician ‘friends’ of the highest calibre, including Dervish’s Seamie O’Dowd (guitars) and Brian McDonagh (mandola), they combine to deliver a delightful and varied set of traditional music with a distinctly upbeat, though not frenzied, feel.
The album ably showcases Sheridan and co,’s musical talents and passion for the tradition. On Johnny Allen’s and Paddy Galvin’s, Sheridan demonstrates that, in addition to being a fine flautist, he’s no slouch on the button accordion, while O’Dowd’s splendid rhythmic guitar playing is a particular joy, providing the drive behind many of the tunes.
The one song on the album, Our Beautiful Tradition, is sung by Dave’s cousin Conor Sheridan. A celebration of traditional Irish music, it is written from the standpoint of an older musician and questions whether it will survive and flourish amongst the younger generations. Given the opening paragraph of this review, I would say that the answer is fairly obvious.
However, while I approved of the song’s sentiments, the arrangement and slightly breathless vocal delivery leaned a bit too far in the direction of MoR for my taste – a bit too Daniel O’Donnell and not enough Christy Moore, if you like.
That minor criticism aside, this is an excellent album, which deserves a wider audience. So, take a break and check in to Sheridan’s Guesthouse. You’ll be sure to have a pleasant stay. David Granville
Hot Press Magazine
In the liner notes for his debut CD young Leitrim flute player Dave Sheridan thanks his Dad profusely for all the hours he spent waiting to drive the fledgling musician home from trad music sessions that continued late into the night. Listening to the aptly named Sheridan’s Guesthouse, you get the feeling that you’ve happened upon such a session-and a damn fine one it is too. An ever changing cast of players join in for a tune or two, anchored by the crack string team of Brian Mc Donagh (mandola) Seamie O Dowd (guitars) and Michael Mc Cague (bouzouki); but always at the centre of things is Sheridan, with his fluid, unflashy style, sound technique and solid ryhthm. A beautiful album throughout! Sarah Mc Quaid
Froots Magazine
It’s easy to have a soft spot for Leitrim, that gentle-paced Irish country whose traditional music seems to match the rises and rolls of the landscape and the tone of the flute players is as clear as the glassy waters of Lough Allen. Dave Sheridan is one such instrumentalist and comes from the tiny village of Killargue, halfway between Manorhamilton and Drumkeeran, but he’s not just a dab hand on the flute, but the button accordion and low whistle too, as Sheridan’s Guesthouse amply illustrates.
For any recording debutant it’s always a boon to be surrounded by inspirational companions, so Dave has corralled the doyen of local accompanists, Sligo’s Séamie O’Dowd, into the studio as well as the ex-Dervish man’s string-plucker in arms, mandola-player Brian McDonagh, and a host of other musicians from his musical stomping ground.
While Dave’s flute takes on lark-like qualities, not least on the effervescent opener Mulhaire’s/Kiss the Maid Séamie proves a bedrock throughout this utterly enjoyable album. However, the sparks truly fly when Dave hooks up with with long-time London-based fiddler Brian Rooney for Maid on the Green/Humours of Drinagh, while the thoroughly foot-stomping set of reels kicked off by Johnny Allen’s sees his accordeon trading notes in remarkable rapidity with the uilleann pipes of Patrick McGovern.
Elsewhere, there’s a flute duet to die for, Enya’s Fancy, featuring Dave’s cousin Seán Gilrane, and two tracks revealing the talents of fiddler Pádraig O’Neill from Dublin (clearly revealing himself as one of Ireland’s greatest wasted talents — as for why, the story’s too long to tell).
So book yourself a room in Sheridan’s Guesthouse, the rooms might need refurbishing, but the house band is a killer. James O Donnell
Gordan Turnbull
Hailing from County Leitrim, this impressive debut album features a large number of guest musicians (hence the title), with the flute playing being the central thread running through it all.
The flute playing is highly accomplished, dynamic and in a modern flowing style rather than the rhythmic style traditionally associated with Leitrim (such as Packie Duignan). The guests are too numerous to mention in detail here, but notably include Brian Rooney (fiddle) on one track, Junior Davey (bodhran) on several others and Brian McDonagh and Seamie O’Dowd from Dervish providing backing on all but two tracks. Some of the arrangements are inventive and forward-looking, but still very much within the tradition.
This is a delightful and exhuberent recording that reminds me of Jimmy Noonan’s The Maple Leaf in the sheer joy of playing that comes over to the listener.
£14.99 -
Gerry Diver – Diversions
Press Reviews
Live Ireland Web Site
THIS is a young fiddler!!! Wow! Joined by a myriad of guest stars, this Manchester-based fiddler is overwhelming! All the energy, all the drive, all the talent!!
This may well be our favourite album out of all these, and he is a serious contender for Newcomer Of The Year, or Musician of the Year! Now, go find this album. Get on it, and you will be rewarded.
All the influences, Mc Goldrick, Carty, Mairin Fahy, this boy has done his homework, practiced and practiced and come up with his own deal! We are blown away. (God help us, he also plays a great banjo and a passable bass!!) Lots of diversity. Let’s repeat. Wow!! Bill Margeson
Net Rhythms Music Web Site
Donegal-born, Manchester-based fiddle player Gerry presents a very eclectic mix of tunes indeed on this his debut album.
Opening with a stirring set of reels, followed by a Grappelli-style Hooley (mm, that tasty jazzy shuffle!), a fairly laid-back version of Bonnie At Morn (with vocal by Lisa Knapp, who also sings The Blacksmith later on), then a set of Roumanian Hora. Get the picture?
Sure, Gerry excels himself instrumentally as you’d expect (principally on fiddle, but with occasional excursions onto banjo, guitar or bouzouki), always the musical virtuoso but without being over-flashy, and sometimes he’s multi-tracked.
Variously, he enjoys instrumental support from Ed Boyd, Tim Edey, Ollie Blanchflower, Gino Lupari, James O’Grady and Richard Pryce (to name but a few), and there’s even a Pete Townsend credited on double bass on one track!
Taken individually, each track is a gem; Gerry has the knack of pulling together disparate musical strands into a seamless whole, at any rate within the compass of each of the individual tracks; the drawback is that in the final analysis I can’t help feeling that the very Diver-sity of styles and material weakens rather than strengthens the album’s overall identity – but you may well disagree. David Kidman
Froots October 2003.
Belfast fiddler Gerry Diver’s debut album lives up to it’s name, with everything from Jazz, Western swing and homegrown traditions. While his approach is cheeky and competent, it struggles as times to make a definitive personal statement.
However, its victories outnumber its defeats; potentially a major border crosser in embryonic form.
Hot Press. Sept 2003
This is a grand jolly debut CD. No slouch on the fiddle and banjo, Donegal’s Diver also plays guitar, bazouki, bodhran, bass, shaker and is a dab hand at writing new tunes, several of which feature on the album notably, Hot Summer Hooley, a bouncy tribute to the swing jazz style of Stephane Grappelli. A pair of Rumanian horas and two Peter Ostroushko tracks add an international element to the mix and Lisa Knapp sings a Northumbrian lullaby called Bonnie at Morn as well as an interesting waltz tempo version of the classic The Blacksmith. Sarah McQuaid
Pay The Reckoning. Music Web Site September 2003
Diver (fiddle, banjo, guitar, percussion, bass) is a major talent. No two ways about it. You don’t even need to listen to the album to know that he’s in the first division. Simply check out the list of people who’ve gone out of their way to guest with Manchester’s maestro. Lisa Knapp (vocals, fiddle), Tim Edey (guitar, accordion), Lucy Randall (bodhran, bones), Gino Lupari (bodhran, bones), Ed Boyd (guitar, bouzouki), Ollie Blanchflower (double bass), Jo May (djembe), James O’Grady (pipes), Ben Clark (drums), Edel Sullivan (fiddle), Pete Townsend (bass), Johnny Hennessy-Brown (cello), Les Hill (pedal steel) and Richard Pryce (double bass) contribute their various and varied talents to a smorgasbord of an album.
Diver’s tastes are diverse. Eastern European influences feature at various points on the album, as does a Western Swing/country jazz aesthetic on the epic “Hot Summer Hooley”.
However Irish traditional tunes form the album’s bedrock. Some quality sets here, grounded in the “pure drop” approach, but accommodating more than a little experimentation. “Ferny Hill/Rakish Paddy/Christmas Eve” is a real corker and leads into the compelling “The Orthodox Priest/Charlie Lennon’s/The Sailor’s Bonnet”.
“Henry’s Jig/Calliope House/The Munster Buttermilk” gets our vote for the highlight of the album. The first jig was composed by Diver himself as a tribute to his dad. The closing jig is the first tune he ever learned. There’s a very real sense of the forces that drive Diver in this set; that, despite his love of exotic musical forms from other places, his roots are very much in the Irish tradition. A modern classic. Utterly contemporary and yet solidly traditional.
Folking.com Music Web Site
Gerry Diver brings to mind a young Kevin Burke from the opening track ‘The Shepherd’s Bush Reel/Goldhawk Road/
The Procrastination Reel’ and it’s bound to set the listener in mind of The Bothy Band on heat (!) with its driving rhythm
and soaring fiddle.
The only problem I have with it is that all of the musicians seem to have a problem in keeping up and unfortunately nobody seems to have a chance to draw breath such is the unrelenting speed. There are quite a few clipped notes in order to attain
the speed which is a shame really as Gerry is without doubt a fine musician.
The second track, a more evenly paced Grappelli style jazz infused number called ‘The Hot Summer Hooley’ really swings
and collaborator Tim Edey’s “Django” guitar is the ideal compliment but why, oh why the inclusion of the pedal steel guitar – more than a bit jarring for my tastes I’m afraid.
No, I must admit that although I know the album is supposed to focus on the instrumental talents of Gerry it is on the songs
that I am most impressed. The simplistic approach taken on bouzouki backing the delicate (but delicious) vocals of Lisa Knapp is a real coup.
‘Bonny At Morn’ has long been a favourite of mine and Lisa gives it depth without making it insipid. It has to be said that when he’s not going for gold in the speed stakes this talented multi-instrumentalist proves his worth either leading the field or accompanying.
For me, Gerry has a lot of potential but it appears at the moment it’s a case of trying a bit too hard although hopefully by
that all important second album he’ll achieve his ultimate goal. Pete Fyfe
The Irish Post 19.7.03
You’re unlikely ever to find yourself thinking: now, what I’d really like to listen to is some Irish traditional music mixed in with a bit of Stefan Grappelli/ Northumbrian/ Rumanian/ English/ Ukraine music. But should that mood ever descend upon you, I have the very album.
Diversions contains all the above — plus a few self penned numbers as well.
Of these, The Shepherd’s Bush Reel and The Procrastination Reel put me in mind of the old joke: How do you tell one Irish tune from another? Answer: by their names.
The thing is there’s about 6,000 pieces in the Irish national store of traditional music stretching back these last 300 years or so.
Now we’re talking here about a very precious music, the best in the world as far as I’m concerned, and I seldom listen to anything else.
But one would have to say that being a fairly rudimentary music, as all folk music is, 6.000 pieces is really all we need.
Everything you can do with the ‘ould music’ has more or less been done — and there’s nothing about any of the self-penned music on this CD to persuade me otherwise.
Let me say here and now: there’s some absolutely terrific musicians on this album, not the least Gerry Diver on fiddle himself.
There’s some exceptional accordion playing from Tim Edey, and of course, you can’t really improve on Gino Lupari on the bodhran.
But by the end of the album you feel with all that musical firepower as his disposal, Gerry might have been better visiting just one or two places in the world and confining his musical style accordingly. Malcolm Rogers
£14.99 -
Goitse – Tall Tales and Misadventures
“Holy smokes!!! – I thought the whole bunch of us was going to jump out of our seats when Goitse played our Showcase at the World Music Centre at the University of Limerick. Surely, we’ll see you in the U.S. and in Milwaukee.’ – Ed Ward, Executive Director and Founder of Milwaukee Irish Festival
‘Goitse are band that were conceived and developed here at the University of Limerick over the four years. The band has developed in that time into one of the more individual and exception voices in folk and traditional music.?Individually the members of the ensemble are leaders in their field. Áine Mc Geeney is one of the leading young traditional fiddlers in a northern style whose vocals is a marriage of contemporary and traditional technique. Colm Phelan is one of Ireland’s leading young percussionists, and an exceptional bodhran player, providing new dimensions to the voice instrument. Conal O’Kane brings new complexity to guitar accompaniment through his adoption of contemporary themes and styling. James Harvey is simply the best young tenor banjo player about at the moment and Tadhg O Meachair is one of the busiest and individual musicians in Europe today.?Goitse produce a new sound, and are leading exponents in their field individually. They have managed to help reinvigorate a tradition looking for new directions in ensemble and contribute to this practice in a unique and startling way.?I recommend Goitse whole-heartedly.”? – Niall Keegan, Course Director, ? BA Irish Music and Dance
“Goitse impressed me with their tangential take on the tradition, yes they can play it straight but they have the musical imagination and the dexterity in their fingertips to move, groove and syncopate with the best of them.?Alumni of the University of Limerick’s prestigious Irish World Music Academy they are glowing examples of the potential-energy we all know is locked inside traditional music.?The difference with Goitse? Bravery. They have the spark to make it (trad) explode.”? – Sean Laffey, Editor Irish Music Magazine
‘Grab hold of them while you can!”? – Michael O Suilleabhain, Head Of World Academy of Irish Traditional Music and Dance, UL.
www.liveireland.com 2015 Livie’s Awards
TRAD GROUP OF THE YEAR: Goitse
Goitse has established itself as a massively popular band among trad fans the world over. Rightly so. This wonderful quintet released Tall Tales & Misadventures to worldwide recognition in 2015. Rightly so. This talented group is highly respected and still young enough to have all their best years in front of them. They are wonderful. Their music is unequalled for energy, ability, and intelligence. So young to be so good. Wow!
Press Reviews
SONGLINES Feb 2015
* * * * Let these rascals spin you a yarn
Album number three from the Irish ?ve-piece Goitse (the name is an informal Irish greeting, meaning (‘come here’) follows 2012’s splendid Transformed with more than agreeable panache.
Tall Tales & Misadventures reins in much of the excess energy and impetuosity that characterises the band in performance and which spilled across their ?rst two outings on disc.
Usefully so. It should do much to raise the pro?le of this energetic, but tightly knit ensemble, formed while still students at Limerick University’s Irish World Academy of Music and Dance.
There’s a vivid and vital sense of an out?t reaching its maturity; this is playing of considerable ?nesse, ?exibility and ?air. Taking centre stage is Aine McGeeney, whose feisty ?ddle and silky vocals are beautifully evocative on the plaintive ‘Ye Lovers All’. James Harvey’s characterful banjo is delicate and delightfully brittle on ‘ Changing Lanes’ , while the dextrous piano accordion of Tadhg O Meachair is gleefully virtuosic on’ Misadventures ‘, a particular highlight.
There’s tremendous subtlety on display,too. courtesy of bodhran champion, Colm Phelan and Conal O’Kane’s eleganty expressive guitar. In all, it’s a big forward for a band with a promising future ahead of them. Michael Quinn
R2 Magazine Nov/Dec 14 ***
Everyone else does it so l should join in – it’s pronounced “Gwi-cha”, which only goes to prove my theory that Gaelic was invented just to piss off the rest of us.
Tall Tales & Misadventures is the third album from this young quintet from Limerick. Goitse play Irish music with a light touch.
There are no guest appearances except for Martin Brunsden’s double bass on four of the eleven tracks and Kieran Munnelly’s backing vocals on ‘Carrick-A-Rede’. For the most part, the band could play the album live. The opening set is the ‘Tall Tales’ of the title. The note relates how banjo player James Harvey mailed himself across the border into the USA because his visa was late and he learned the last tune in the set from the delivery van radio. The fiction is maintained for ‘Trip To Dixie’. The misadventures involve an over-enthusiastic sprinkler system, a golf cart and a ‘Salmon Coloured Ticket’, all related in tune.
The album mixes the fun with moments of beauty such as Tadhg O Meachair’s tune ‘A Decent Lunch’, which opens the ‘Kansas City Knockout’ set, and ‘Ye Lovers All’. The up-tempo Gaelic song ‘Ta Sé ‘Na La’ is something they should do more of. Dai Jeffries
Froots Mag 11.14
Originally formed in Limerick University this Irish quintet delivers an authoritative third album. Sprightly instrumentals with exciting and unexpected twists topped off with winsome vocals. The rough edges have been honed into an exciting energetic package with requisite bulls eyes hit.
www.liveireland.com
We KNOW we have previously reviewed Tall Tales and Misadventures by Goitse. But, it was a case of too little, too early. This is their best album yet. What is not to love about Goitse? On Imeda Bhroga’s and my LiveIreland,com show, based out of Dublin, Ireland every Sunday at noon, Chicago time, there are few more-requested groups than Goitse. As with Socks in the Frying Pan, Goitse has benefitted tremendously from the attention and support received worldwide from LiveIreland.com. If you’re Goitse, you want to be supported in Chicago by Maryann Keifer and Erik Carlson and Mary Caraway. If you want to break worldwide, the only game in town is LiveIreland.com Goitse deserves every bit of popularity and support they are receiving, no matter the source. There are no more talented young groups in the music right now than Goitse and Sock in the Frying Pan. Tall Tales and Misadventures will show you why. This is a stunning bit of business. Bill Margeson
Folkwords.com
‘Tall Tales and Misadventures’ from Goitse – an effervescent flow of expression (September 01, 2014)
There’s something incredibly infectious about Irish music. Whoever you are, part of you cannot help but pick up on the energy and passion that pervades. The wealth of this music appears increasingly in the hands of young Irish bands who are committed to explore their tradition and equally happy to innovate and create. This time the band in question is Goitse and their latest album ‘Tall Tales and Misadventures’. A product of Limerick University’s Irish World Academy of Music and Dance, the band is well-recognised and appreciated, and rightly so.
Mixing their own compositions with traditional tunes they create sets with a figure-hugging intensity and invisible seams. The flow of expression and that permeates this music is so effervescent you fully expect it to carry you away – sprightly tune or emotive ballad the depth of Goitse’s music invites you to join the party. The album opens with ‘Tall Tales’ and closes with ‘Misadventures’ to relate the trials and tribulations experienced by a travelling band. Along the way, the band also created the special magic of ‘Trip To Dixie’ and ‘Changing Lanes’ — both scintillating sets. Songs like ‘Ye Lovers All’ and Tá Sé ‘Na Lá are made for Áine McGeeney’s softly expressive voice.
Goitse are Áine McGeeney (fiddle, vocals) Colm Phelan (bodhran, percussion) Conal O’Kane (guitars) James Harvey (banjo, mandolin) and Tadhg Ó Meachair (piano accordion, piano). For those of us with a touch of Erin’s blood flowing in our veins that wish we were close enough to our own personal roots to master the Gaeilge, ‘Goitse’ is an informal greeting meaning ‘come here’ — and when ‘Tall Tales and Misadventures’ comes your way, that’s exactly what you should do. Reviewer: Tim Carroll
“This act is now so polished and professional it is no wonder that they are one of the most popular acts on the international festival circuit” – Chicago Irish American News
‘Music that’s brimming with energy and creative zeal’ Irish Music Magazine
“With Tall Tales and Misadventures, Goitse have taken their expressive landscape of sound to a whole new level” – Eileen Mc Cabe
“This mix of gentle grace and gloves-off grit is becoming a hallmark of Goitse’s recordings” – Living Tradition
“The new album is a stunner.” – Live Ireland
£14.99
