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Shaskeen – Walking up Town
This is the latest and 15th album from Shaskeen
This CD is concert based with many arrangments of tunes & songs. With 16 tracks on the album this provides a huge variation of tunes & songs.
We hope you enjoy the music and that you can experience some of the fun and mischief that prevailed while we were creating it.
We leave you with an expression of affirmation by our good friend and mentor PJ Curtis; the Grand Master of production; who has made a wonderful contribution to this recording.
“The band has earned a well deserved international reputation for performing traditional music and song with style, passion and authority. There are few bands playing traditional music today that can claim such a history or heritage. Like a good wine, there is a maturity laced with a palpable sense of celebration, a musical richness played by a band at the zenith of their career. Enjoy!!”
PJ Curtis.
Press Reviews
Irish Music Magazine
Formed in London in 1970, at a time when Irish Traditional Music was at its peak, Tom Cussen responded to a request from the owner of the Oxford Tavern in Kentish Town to put a band together to play on Friday nights. Now hundreds of Friday nights later they are still a force in live music.
It’s not easy to sum up the thirty-nine years of music making and entertainment that Shaskeen have been at the forefront of Irish Traditional Music. Listening to their new CD, ‘Walking Up Town’, it is clear they are going to be leading the way for quite a while yet.
Having been caught up, like many musical groups, in the whirlwind of the set-dancing era, Shaskeen’s last four albums were of music for the sets. Now they are making a change to concert style performances.
At the core of the band are Tom Cussen on banjo, Eamonn Cotter on flute, Patsy McDonagh on accordion, Johnny Donnellan on bodhrán, Pat Costello on banjo, mandolin and guitar, Pat Broderick on pipes and whistle, Tony Howley on flute and saxophone and Geraldine Cotter on piano. Geraldine accompanied Shaskeen on all their recordings for the sets and is now a regular in the band. Pat Costello has a long involvement with Shaskeen having produced many of their recordings before becoming a regular band member.
This CD is produced by P.J. Curtis and engineered by by Martin O’Malley/Paul Mulligan in the west of Ireland (Kinvara and Miltown Malbay). The band welcome guests Seán Tyrrell and Seán Conway on board for some songs but, at the heart album, number fifteen marks a return to their original musical formula. It’s an album ‘for listening to’ and features a generous collection of jigs, reels, waltzes, polkas, barndances, and songs. The title tune ‘Walking up Town’ is an American ‘breakdown’, a fun rag-style tune. It’s probably the best summing up the band could ask for. Ita Kelly
The Irish World
Shaskeen celebrate forty years with original member, Tom Cussen
Tom Cussen one of the original members that formed Shaskeen in 1970, taking their name from the great Michael Coleman reel. They’re still going strong — and the road to that meeting of musical minds was varied and stood them in good stead for the years of musical partnership ahead. Who would have thought that, four decades later, they would still be at the forefront of traditional Irish music, as vibrant as it ever was.
Tony Howley, of Monlea, Aclare, Co. Sligo, picked up the sax at aged 12, inspired by local talents Mike Marron, Martin Higgins and Mick Delahunty. He played with J P Boland band and then the Tommy Rowley band, coming to London in ’57, where he became a well-known figure on the Irish music scene playing with acclaimed musicians such as Martin Burns (fiddle) Raymond Roland (accordion) and others.
Tony made the move to Manchester in 1965, when he had the opportunity to play with the late Desi Donnelly on the Irish trad scene there. He went on to form his own band and is still a familiar face on the music scene in and around the North West.
Bandmate Tom Cussen, from Broadford, Co. Limerick was always interested in Irish traditional and ceili music. His interest intensified frequenting Ceili Dances and listening to bands like the Tulla & Kilfenora.
Tom headed across the water to London in 1968. and during this time truly immersed himself in the music, buying his first banjo. He said, ‘I learned most of my music in London among great players like Johnny Clifford, Sean McDonagh, Jimmy Power, Bobby Clancy, Maureen Minogue – to name but a few.’
He played a host of sessions and gigs with ever-evolving line-ups while in London, and at one point played with The Sugawn Folk Group, before starting the Shaskeen group in 1970 playing every Friday night in the Oxford Tavern, Kentish Town, North London. He returned to Galway in 1971 and now resides in Clarinbridge where he continues to play and make his famous ‘Clareen Banjos’.Tom still leads Shaskeen as they enter their 40th year on the road, while the line up has changed over the years the enthusiasm & fire in the music still lives on.
Tony Howley now plays on regularly with Shaskeen, and performed in the bands latest CD called ‘Walking up Town’ with other members Patsy McDonagh, accordion,Eamonn Cotter, Concert flute, Pat Broderick, Uilleann pipes, Geraldine Cotter, Piano, Johnny Donnellan, Bodhran & Patt Costello, Vocals, guitar & banjo.
The latest and 15th album from this brilliant band reflects the long and exciting journey they have made since forming all those years ago. A concert-based collection (moving on from a series of set-dancing albums) with a wonderful variety of arrangements of songs, hornpipes, jigs and reels within its 16 tracks, plenty of music to get your dancing shoes on to.
The title track is a joyous, American rag-style tune, and it’s what this band is all about. Much of the album is instrumental, with classic old drinking songs such as ‘All For Me Grog’ and ‘The Jail of Cluain Meala’, but what each has in common is a real sense of fun; it makes you want to seek out a good session.
Indeed, it might even remind a few old hands who saw the group in action in the 70s, when they played Tuam’s Shamrock Bar every Monday for years. An album which conveys some of the ‘fun and mischief’ the pair confessed to having while making it, Waking Up The Town is a great showcase of trad played with panache and great authority.
These guys seem to only get better with age — and their love for their roots and the music of their homeland shines ever brighter. Shelley Marsden
“Tuam Herald” newspaper
IN the mind’s eye many may remember the memorable music sessions with Traditional group Shaskeen in Tuam’s Shamrock Bar (now Geoghegan’s Bar) in the early 1970s.
Those delightful, though perhaps now dusty memories, may be rekindled by listening to the new album Walking Up Town which is the 15th by the group since Shaskeen were formed in London almost 39 years ago. “We played every Monday night in the Shamrock Bar for over two and a half years from 1973. “I came back from London in late 1971 and we restarted the band in Galway in ’72.
Some time later we started to move out of the city area and Tuam’s Shamrock Bar was to become a regular great gig for us,” says founding member Tom Cussen. While Tom says that Shaskeen have made a number of excursions into other musical enclaves over the years they have never strayed too far from their Traditional roots and most of the tracks on this new album reflect those roots very well. Tom adopted the name Shaskeen for the group when the original members first got together in London in 1970.
“As far as I can remember it was in early May of that year which means the band will be 39 years old next May. “I got the name from The Shaskeen Reel as played by Michael Coleman, the band has been going more or less continuously since then,” says Tom. “But of course there have been many changes of personnel over the years and sadly many fine musicians and singers who were involved in the group over the years are no longer with us,” he added.
Tom, who recently retired from his day job with the Biochemistry Department of NUIG has been the fulcrum around which the band has revolved, and evolved, over the years. He is also a talented craftsman who is well known all over the world as the maker of the Clareen Banjos at his workshop in Clarenbridge.
The Shaskeen line-up of today features eight musicians and the group has branched out more into concerts and cabaret rather than concentrating so much on set & ceilí dances as during some of the past decades.
“With eight musicians in the band we are more in it for the love of the music and entertaining people at concerts etc, and with a few notable exceptions we are now inching towards the geriatric twilight,” says Tom with a smile.
On the album he acknowledges the contribution of special guests including Galway city singer Sean Tyrrell who came up with the song Angel’s Whisper for the new album. This is a poem from the 19th century Irish poet Samual Lover which Sean has set to music.
Another outstanding track on the album is the Folk song The Roseville Fair which came from the pen of Bill Staines who was a veteran of the mid 1960s brief international Folk boom.
On this album the song is given an arrangement which has shades of Bluegrass music about it, especially during the intro. Pat Costello is in fine vocal form on this track.
Sean Conway a former member of Shaskeen is the guest vocalist on a nice revival of the old rousing ballad All For Me Grog Pat Costello is back on vocals for the final track which is a popular old ballad especially
in Tipperary titled The Jail at Cluain Meala.
Apart from the few vocals it is mostly music on this new album by Shaskeen
and the group are in fine fettle as they play their way through a series of jigs, reels, waltzes and barndances.
This is a fine production recordes at Paul Mulligan’s Audio Monkey Studio in Kinvara.
The album was mixed by PJ Curtis in Martin O’Malley’s Malbay Studio, Miltown Malbay. PJ has made a great contribution to the way the music and songs flow so smoothly on this album.
For many Walking Up Town will be a trip down memory lane, for some in North Galway perhaps it will be a nostalgic look back towards the sessions in Tuam’s Shamrock Bar in the early 1970s.
Tom Cussen says the musicians hope those listening to the CD will experience some of the fun and mischief that prevailed while Shaskeen were recording this set of songs and tunes.
But Tom added that the group are also issuing a hilarious health warning with the CD.
“If at any time it becomes distressful please stop the CD player and seek professional help or else ring Joe Duffy,” he concluded. – Tom Gilmore.
Shaskeen — Walking Up Town
In the wake of heavily punk influenced Irish folk music, ala The Dropkick Murphys, Flogging Molly or The Pogues, it is a rare treat to listen to some of the real deal. Where the aforementioned bands have their place, and an amazing sound, nothing quite drives home the brilliance of the roots of that music like hearing the real thing done by people that love it and have done it for a long time.
Together in some incarnation since 1970 Shaskeen has a sound that can only really be defined as practiced and well seasoned. On ‘Walking Up Town,’ their 15th album you can hear the level of experience and heart that is put into their music. With a mixture of Jigs, Reels, and Songs you have no shortage of music to dance to on this album.
A full two thirds of this album is just instrumentals, with a few nods to some of the classic Irish Drinking songs like, ‘All For Me Grog,’ and ‘The Jail of Cluain Meala,’ but no part of it is a let down. And seeking out the rest of their albums will become a must. There is just something about their sound that is undeniably fun spirited, and the kind of sound that you want coming out of the corner in your local pub.
If you are a fan of the kind of traditional Irish Folk Music that has been a driving force in a lot of popular bands these days, then you can do no wrong with ‘Walking Up Town.’ And if you want to expand your musical horizons and listen to something that is pretty much guaranteed to put a smile on your face and a spring in your step then Shaskeen is the choice for you. Gabriel Llanas
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The Barefield Ceili Band – Between the Sets
Press Reviews
FolkWorld CD Reviews
Let’s céilí again! It’s been a long way from the first one held in London in 1897 by the Gaelic League and today’s music for set dancing. In the 1930’s came the céilí band revolution when public dances in village and parish halls replaced the traditional crossroads dancing. The acoustic situation created the modern dance band, including a large troupe of musicians, piano and drums, sometimes even saxophones.
Despite the ups and downs of traditional Irish music there has been and still is always fresh supply to cater for the dancers. Denis Liddy (see above) formed the Barefield Céilí Band at Barefield National school, a little village outside Ennis in Co Clare, the heartland of Irish traditional music and set dancing. The group was formed when most of the pupils have been at the age of only eight, in 1998 they won the All-Ireland Fleadh in the category Ceili Ceili Band under 12. “Between the Sets” features 12 tracks, the “Caledonian Set” and the “Plain Set” in 5 figures,
respectively, recorded by Michel Sikiotakis. Featured are 5 fiddles, 5 flutes, 2 uillean pipes, 2 accordions, 4 concertinas, 1 banjo, piano and drums. And dancers. It is straight set dancing music, the tunes handed down to us over generations of house dances and sessions. So let’s dance! Walkin’ T:-)M
The Irish World Newspaper16.1.04
THE BAREFIELD Ceili Band is a group of young musicians from an area just north of Ennis in County Clare called Cort loman or Barefield, named so because of it’s bleak fields. The musicians involved in the band have all won several All-Ireland titles and have travelled all over the world from Galway to San Francisco and even played at the renowned Milwaukee Irish Festival.
This is their 3rd album in fairly quick succession after lolar and Flowers of the Burren. This was treated more like a live album however, which you can hear on the recording. One of the ways in which they achieved this was by having a group of dancers performing while the band were recording the album, thus invigorating the band.
On this album the tracks are arranged into the two most popular sets in County Clare with tracks 1-6 being the Caledonian Set and tracks 7-12 being the Plain set.
This is a vibrant traditional music album that would be perfect for any ceili. There is energy and skilful playing that sounds well beyond the band’s collective ages. Inspiringly, this successful band will carry on spreading County Clare’s excellence in traditional music and keep many a crowd dancing. Tara McWeeney
The Irish Post 10.1.04
THIS is the Barefield Ceili Band’s third CD, and it would be fair to say, if this is the sort of thing which turns your crank, butters your muffin or rosins you bow, then waste no further time reading this: get the boots on and head for town.
That the 20-piece Barefield Ceili Band are accomplished musicians you can take as read
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The Bridge Ceili Band – Sparks on Flags
- Lord McDonald/The Holly Bush/Finbar Dwyer’s
- The Piper’s Chair/The Gig Rig/Kevin Loughlin’s
- Devaney’s Goat/Kilty Town/John McNeill’s
- Josephine Keegan’s/The Queen of the West
- The Tarbolton/The Longford Collector/The Sailor’s Bonnet
- The No-Name Polka Set
- Munster Bacon/Sean Ryan’s/The Classic
- Coleman’s/Paddy Lynn’s Delight/Cronin’s
- Harper’s/The Gallowglass/The B Flat Jig
- Austin Tierney’s/Music In The Glen/O’Rourke’s/The Wild Irishman
- Georgina’s March
- The Pigeon On The Gate/Jim McKillop’s Reel for Maeve/The Fiddler’s Welcome
- The Duet/The Fly by Night Hornpipes
- The Gravel Walks/Jackson’s/Martin Fallon’s First Night in America
Press Reviews
Froots
“The Portarlington, Co Laois, Ceili Band will be 30 years old next year and sounds in prime form with this enjoyable album of Irish dance music. Every collection should have one ceili band album and this is as good as any, with some grand stomping music. Thumbs Up”.
Musical Traditions Web Site
The Bridge Ceili band, based around north west Leinster, were recorded in 1999 after winning two All Ireland championships in ’96 and ’97. Every ceili band has it’s own sound and the Bridge started off in the early 70s with five fiddles and two flutes as the mainstay of the band and they have maintained that focus through various personnel changes. With box, piano and drums, they are probably closer to the sound that most people would associate with a ceili band. They provide a rich driving sound with all the instruments well balanced and the players keeping tightly to the settings. Having so many fiddlers in the band I suppose the choice of tunes is likely to favour the fiddle so there are a couple of Charlie Lennon compositions, one from Sean Ryan and one of Jim McKillop’s. Box players seem to be a good source of tunes too, with Finbarr Dwyer credited with two reels, Kevin Loughlin, the wonderful three row box player from Beleek is acknowledged in another reel, and the inevitable march is composed by the Co Wicklow box player Seamus Dowling. But it’s the fiddle that dominates in the end. For instance, two of Michael Coleman’s great sets from the 1930’s are included, the Tarbolton set, and O’Rourkes/ The Wild Irishman included in a mighty four reel marathon. There’s a nice break about halfway through when the fiddles start The Lady’s Choice with a simple bodhran accompaniment before the full ceili band returns for the second and third tunes of the set. If I have any complaint with the CD, it’s that the band end every track but one very abruptly, almost taking you by surprise with the suddenness of it. That aside, this is a well produced album with a nice history of the band in the sleeve notes and a few words about each of the current members.
Hot Press
About 30 years ago or so I first saw the Bridge Ceili Band in Dublin’s National Stadium and I thought they were brilliant, form and energy coalescing in a marvellous full frontal sonic attack. Their new album,(so aptly named) shows clearly that neither time nor the ageing process has dimmed their lights one whit as they steam through a 14 track collection which includes 8, (yes,eight) sets of reels. The playing is superb, the tracks are mesmeric; so that when it skids to a halt with the Gravel Walks set, there’s nothing for it, but to hit the replay button again. Oliver P. Sweeney. 9/12 Dice Spots
The Living Tradition 35 Nov/Dec 99
In May 1970, a bunch of musicians got together in Portarlington to form The Bridge Ceili Band, and they’re still playing under the same leader, Eugene Nolan.Obviously there have been several personnel changes in that time, but this is a group that has avoided the staleness that can sometimes creep in over such a lengthy spell. Perhaps this freshness has something to do with the 10-piece line-up, which blends 5, ( yes, FIVE ) fiddles, two flutes, accordion, piano and drums. Unlike some ceili bands, where the plodding of the piano is matched only by the hammering on the drum kit, the Bridge is driven, subtly yet passionately, by the fiddle section, allowing the other instruments to intertwine and build up a smooth fluid sound, in which no-one predominates. But they interact as a true band should, giving a performance which is as tight as I have come across in bands of this style. Their music is chiefly that of the midlands of Ireland, with the occasional Scottish tune being allowed in. Mostly reels here, interspersed with jigs, polkas and hornpipes, plus one march for good measure, with a grand blend of standard and lesser-known tunes. As I have come to expect from this recording company, the packaging is also impressive, with informative background notes about the band and the music, all of which make this a very tasty production indeed. Gordon Potter
Taplas
The 6 times All-Ireland title holders have certainly put together a spirited and lively collection of tunes, very much in the traditional style, on the second album they’ve made in their nigh on 30 years existence. Their trademark sound, fronted by five fiddles, is impressively tight, with lovely fluid control. And just to show they can, one track begins with synthesiser and bodhran for a more up to date feel. The sparks on flags of the title refers to the dancer’s feet and this CD comes highly recommended for anyone into set dancing. Bairbre Mc Ateer
Traditional Music Maker
The Bridge Ceili Band, going since 1970 and prizes by the armful for dance playing – fire-off polkas, reels, jigs and marches in true ceili fashion, full on five fiddles, flutes, accordions and drums smack on the beat. It maybe almost 30 years since they began, but this bunch are still pretty much the dance business. 14 tracks and if your feet don’t move at some point, dont bother to check them, you must be dead. Simon Jones.
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The Ennis Ceili Band – Traditional Dance Music from County Clare
Press Reviews
Irish Music Review
Altogether a very enjoyable listen — recommended. Sean Quinn
Taplas, The Welsh Folk Magazine. Oct/ Now 2003.
Gary – Sharon Shannon’s brother – was also the founder of the Ennis Ceili Band, whose current leader is Padraic O’Reilly. They are the current All-Ireland champions and Traditional Music from County Clare (Rath RRCD02) is straight-ahead ceill music.
Though you probably won’t recognize the names of any of the individual musicians, you can’t fail to be impressed by their spirited and lively playing, with plenty of lift for dancing. No,wonder they’ve just won the.All-Ireland for the third year running!
The Irish World 8/8/03
THE Ennis Ceili Band are currently one of the most respected bands playing in Ireland.
Set dancers all over the country love them and for good reason, for this band has the drive and energy of no other. Now, their classic CD is finally available in the UK. It’s no surprise that the band has twice won the All Ireland Ceili Band competition.
They’re also currently the subject of a fly-on-the-wall documentary for Irish television, as they get ready for the hat trick of wins at this year’s All Ireland Championships in Clonmel, Co. Tipperary this month.
The album kicks off with the band’s captivating set of reels that saw, the, band .walk away winners at the Senior All Ireland Ceili band competition in Listowel last year.
The album also includes some of the best-loved selections from the band’s last 11 successful years.
This is truly a remarkable album from a remarkable band.
They’ve managed to attain musical heights beyond compare with their verve and enthusiasm.
A must for any self-respecting music lover’s collection. Xenia Poole
The Irish Post Newspaper 23.8.03
THE Ennis Ceili Band’s latest CD, entitled Traditional Dance Music From County Clare, is now finally available in the UK. The album contains a great selection from the past 11 years and does justice to heritage, Garry Shannon originally formed the Ennis Ceili Band as a julior band in 1992.
They enjoyed much success over the years, winning the senior All-Ireland in Listowel in both 2001 and 2002.
They became only the third Clare band ever t o win the All-Ireland senior title, sharing that distinction with the illustrious names of the great ceili bands from Tulla and Kllfenora. They were accorded a civic reception by the town of Ennis to mark their achievement. Joe Mullarkey
www.Pay The Reckoning.com web site , July 2003
The Ennis Ceili Band, under the direction of pianist Padraic O’Reilly, have built up a formidable reputation in Irish music circles. Current All-Ireland champions, the band has all the hallmarks of the ceili band sound – percussion, a driving piano accompaniment and tight musicianship with pared-to-the-bone settings.
However a band doesn’t claim the hotly-contested All-Ireland title on the virtue of these alone. To achieve this ultimate accolade an outfit requires the “je ne sais quoi” that separates the confident and competent from the masterly.
Hard though this special quality may be to define, it’s by no means difficult to detect. And nowhere is it more obvious than on the opening set “Martin Mulhaire’s/Cregg’s Pipes”, captured live at 2002’s Listowel Fleadh Ceoil na hEireann. The barely-restrained energy of the band mirrors the excitement and tension of the audience and the ecstatic, enthusistic ovation from the assembled crowds is richly-deserved.
The second set, “Maid At The Spinning Wheel/Port an Bhrathar (Behind The Haystack)” is a mighty piece of music. Those of you who play music may, like we have, struggled with the first tune in this set – a jig which is as intricate and wide-ranging as it is exciting to the ear and appealing to the feet. We were genuinely surprised to find a ceili band tackling this tune which, on account of its many intricacies and quirks, we have always associated with the solo player. (Seamus Ennnis, for example, played a typically majestic four-part version of the tune.) However we learn from the sleeve notes that The Kilfenora Ceili Band have recently recorded a version and so – we eat our hat and ponder the fact that we don’t know ha;lf as much as we think we do! Still, we marvelled at how fluidly and expressively “The Ennis” rendered the tune and how well it sits alongside Port An Bhrathar – another big jig.
Elsewhere, keep an ear out for two marches from the Grier Collection, “The Fourth Dragoons” and “Number 101”. The latter in particular is such a splendid tune that its Gan Ainm status is a complete surprise.
You will also be captivated by the jig set “Claire Griffin’s/King Of The Pipers”. The appearance of the second tune in this set took us by surprise. Like “The Maid At The Spinning Wheel”, this elaborate jig is one which we always associate with individual musicianship and it’s a mark of The Ennis’ confidence that they tackle (and with such applomb!) a piece of this nature.
Ed Reavey’s “Hunter’s House” appears in two settings, firstly paired with “Rakish Paddy” and later with “Rip The Calico”. The decision to include the tune twice is a very nice touch, demonstrating the band’s versatility and flexibility.
We’re well aware that some traditional Irish fans are wary of ceili bands. We’d urge anyone to set their prejudices to one side and give this album a listen. You may well find that you regard ceili bands in a very different light afterwards! Aidan Crossey, Pay The Reckoning web site July 2003 The band’s journey towards their third title will be featured on Léargas on RTÉ1 in September, in a documentary produced and directed by Pat Butler. It will also feature footage of the band appearing at Fleadh Nua 2003, interviews with the chief protagonists, among them band leader Padraic O’Reilly and musical advisor Garry Shannon (himself a member of the current Kilfenora Céilí Band), and interviews with Kilfenora legends Jerry Lynch and Gus Tierney. The competition can also be viewed online on the Comhaltas Internet Broadcast Service, www.comhaltaslive.com, and on the Tipperary Institute website – http://www.trbdi.ie/fleadh.htm. Their performance to win the title will be shown later in the year on Forefront Productions annual Fleadh programme on RTÉ1, as will their open-air midnight performance on the Guinness Gig Rig from Clonmel town centre, where they played for up to 10,000 Fleadh revellers.
In what was a hugely successful Fleadh for Clare Céilí Bands, the Ennis-based Turloughmore Céilí Band finished runners-up to Ennis in the Senior category. The Inis Óg U-15 Céilí Band acheived their own 3-in-a-row in their age-group, while their U-18 counterparts finished runners-up in their catgeory for the second year running. Both bands were coached by Ennis band leader Padraic O’Reilly. the Barefield and Burren Céilí Bands also kept the Clare flag flying in the U-12 age-group, finishing first and second respectively. These bands were coached by Denis Liddy and Garry Shannon.
About the band
The Ennis Céilí Band was originally formed as a junior band in 1992 by Garry Shannon, who stepped into the void left by the retirement of Kilfenora stalwart Gus Tierney. The band enjoyed much success over the years and there were very few changes in personnel.
In Listowel 2001, the Ennis Céilí Band became only the third Clare Band ever to win the All-Ireland senior title, sharing that distinction with the illustrious names of the Tulla and Kilfenora. They were accorded a civic recognition by the town of Ennis to mark their achievement.
The Ennis Céilí Band are:
Padraic O’Reilly (piano), Brendan Vaughan (drums), Niamh O’Dea (flute), Eilis Faherty (flute),
Pat Nolan (concertina), Monica Queally (fiddle), Liz Gaughan (fiddle), Mark Sheehan (fiddle), Rena Queally (banjo), Nuala Hehir (button accordion)
Press Release
Léargas RTE 1 TV Monday Sept. 15 7.30
Ennis Ceili Band in ‘Briseann an Dúchas
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The Kilfenora Ceili Band – 95
“The best of traditional Irish music from Ireland’s number 1 Ceili band”.
Focal on gCeannaire.
As a youth growing up, my fondest memories were of attending the Ceilithe in Kilfenora. A Monster Ceili was held in the local Hall annually on Christmas night during the ’70’s. Its unique atmosphere was savoured by all who attended. It was a pleasure to see a community gathered where young and old enjoyed the music and dance together. Kitty’s motherly smile beaming down from the stage showed her delight at the ‘craic’ the music was generating on the floor. These memories provide the greatest motivation for me in making sure that our particular brand of music continues to prosper. At this point, I must pay tribute to Kitty who nurtured it for close on forty years. One of my proudest moments was receiving ‘The Kitty Linnane Perpetual Trophy’ from her family in ’93 and from Padraig O Ceallaigh, Uachtaran C.C.E. at a special function in An Culturlann in December ‘94.1 felt honoured to be the first band leader to receive this trophy. It signified for me the passing on of our tradition from one generation to the next.
After the ’61 All-Ireland, the senior band scaled down competitive activity. There was a busy schedule of ceih’s, concerts and broadcasts over the following 30 years and eventually a return to competition, rejuvenated for the ’90s. We work on the advice of P.J. Lynch (my father), Jerry Lynch (Snr.) and especially of Phil McMahon whose mother before her did likewise for the band of the ’50s. These no-nonsense individuals ensure we never compromise on the authentic Kilfenra style and that we pass it on unaltered. That’s what it’s all about!
To all the older musicians of the area, a sincere thank you for the heritage you have left us. To those of you who are gone to meet in a better place, we hope we’ve put your feet tapping again and to th; thank you for your commitment and help in fulfilling my dream.’ body who supports us, I extend my deepest gratitude. Finally. a very special thanks to Noreen and my family for their understanding and encouragement. Without them there would be no band. John Lynch. 6.2.95
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