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Showing 17–32 of 46 results
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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
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Island to Island – Traditional Music from Ireland and Newfoundland
Press Reviews
FolkWorld CD Reviews
Traditional Music from Ireland and Newfoundland off the east coast of Canada. “Talamh an Éisc” (land of the fishes) as the island is known in the Irish language.
Legend has it that Saint Brendan undertook the voyage across the Atlantic in the 6th century. Seriously recorded Irish settlement began in Newfoundland in the 17th century, mainly from the South-East, the counties Waterford, Wexford, Kilkenny and Tipperary. Indeed, by the late 18th century, the Irish were the 2nd largest group in Canada.
Today about 4 of 30 million Canadians claim Irish ancestry. Placenames, phrases, accents, a traditon of house dancing and lilting clearly indicate the Irish connection. The fiddle is the predominant instrument regarding traditional music, the button accordion is popular as well, usually accompanied by the piano.
So it’s a meeting of cousins: Bodhran player Paddy Mackey (Black Dog Bodhrans), guitar players Mick Daly (Arcady, Four Men and a Dog, Lee Valley String Band) and Jason Whelan, banjo player Billy Sutton, accordeon players Aidan Coffey (De Dannan) and Graham Wells, fiddlers Colin Carrigan and Séamus Creagh. Concerning the latter, “Island to Island” actually is almost a Séamus Creagh album in disguise. Originally from Westmeath but residing in Cork, Séamus is one of the best exponents of the Sliabh Luachra style. Not many traces here, straightforward jigs and reels prevail.
Séamus spent five years in Newfoundland (1988-93), during which he taught and played traditional music with a number of St John’s musicians. “Island to Island” is the meeting of two traditions sharing an ample amount of common ground, energy and fun. Walkin’ T:-)M
The Living Tradition Dec/ Jan 2004
This is a very interesting CD, bringing together the music of traditions separated by 2000 miles of ocean. The traditions in question being the Irish and that of Newfoundland, are nowhere near that far apart musically. Irish emigration to Newfoundland has a long and fairly unique history. According to the information contained in the notes the first Irish settlers in Newfoundland were from the southeast, Waterford, Wexford, Kilkenny and Tipperary, many left before the Great Famine.
Newfoundland’s isolation has meant that until recently the Irish musical influence has been left uncontaminated.
So most of the music on this CD is very Irish in both sound and structure.
Some of the musicians, the Irish ones, Seamus Creagh, Aidan Coffey, Mick Daly among others are known to me and
I am sure to readers of L.T. The Newfoundlanders are new to me.
However, everyone is a fine musician and on top form. The tunes are a mixture of old and new, bet you couldn’t tell which is which without referring to the notes, from both Ireland and Newfoundland.
Island to Island is a most enjoyable CD of well played traditional music, some from one of the most well known of traditions, some from a tradition that may sound familiar but is much less well known.
Island-to-lsland is an unusual project and worthy of support buy it and enjoy the music;
the academic interest is a bonus. Danny Saunders
The Irish Music Magazine Aug 2003
The word, reflections, or alternatively, retrospectives, could be useful subtitles for this new CD, which brings together the music and the musicians of the two Atlantic Islands, Ireland and Newfoundland.
Anyone who has been a reader of this magazine over the years will know of my personal interest in Talamh an Eisc as Newfoundland in known in the Irish language, so I’ll admit right away a definite pleasure in just seeing the CD appear on my desk. That pleasure was greatly added to by listening to it later.
The production was made possible not only through the efforts of the musicians and the producers themselves, but also through the backing and support of An Chomhairle Ealaion, (The Arts Council of Ireland) and the Ireland Newfoundland Partnership. Over the past few years, the latter organization has done great work in creating opportunities for business, educational, research, and cultural groups and individuals in Ireland and Newfoundland to promote and develop mutual interests and joint projects. Long may it flourish.
But to the recording itself; in an introduction to the detailed and very useful CD notes, musician and broadcaster, Peter Browne, observes that listening to the music “suggests a comfortable meeting of cousins who have not seen one another in a while”. He adds, “tunes from both traditions blend easily together and there is a unity of sound that could not be contrived”. Exactly; and what I like also is the pace and the delivery of the music is easy and fluid, no trick o’ the loop stuff, but just letting the music speak for itself, as it were, which allows the listener to identify who is playing what and how.
Fiddle player, Seamus Creagh spent five years in Newfoundland (1988-93) and while he’ll no doubt acknowledge
That he gained a lot from his time there; it has to be said also that he has made an enormous contribution to the Newfoundland as a player and teacher. The other Irish musicians with him on this CD are Aidan Coffey, (accordion), and Mick Daly, (guitar). The Newfoundlanders are Graham Wells, (accordion), Billy Sutton, (banjo), Jason Whelan, (bouzouki/ guitar), Colin Carrigan, (fiddle) and Paddy Mackey, (bodhran). Aidan O’Hara.
The Irish Post 12/7/03
The culture and music of Newfoundland is remarkedly similar to Ireland — even though 3,000 miles of ocean separates the two areas.
Indeed, the accent of the average Newfoundlander is so similar to the Irish that there is one celebrated case of an Irish musician being especially irked on arriving in this corner of Canada to discover that people enjoyed mocking him by imitating his accent.
It was only the hapless musician turned on the local telly that he realised this was the way they spoke in the area.
The accent of the music is similar — mainly because there has been a Celtic presence in Newfoundland since the 17th century.
Here in the north east corner of Canada, traditional music has been transplanted some 3000 miles from its Irish roots.
However, instead of being in anyway watered down by new world influences, if anything the music seems closer to the original form than most you might happen across in Ireland today.
In Island to Island, the links between the two music cultures is explored by a crack outfit of Irish and Newfie musicians.
Fiddle and accordion are the two dominant melody instruments, backed by bodhran, bouzouki, guitar and even the odd tenor banjo.
The fiddling of Seamus Creagh, a Westmeath fiddler, not only employs some of the characteristics of the Midlands (of Ireland) — he also uses some of the Scottish influences of nearby Cape Breton: short bow, lots of that characteristic Scot’s “snap”,
and with the triplet often being preferred to the more languid Irish roll on the notes.
The CD is packed full of traditional goodies — a great job is made of two particularly attractive double jigs, Lizzie’s Jig and Sam’s Jig, written by the respected Newfoundland fiddler, Rufus Guinchard (1899 – 1990) — but really the standard throughout is exemplary.
The only criticism might be that a little light and shade could have crept into proceedings — the odd air or song might well have been a welcome contrast to the wall-to-wall reels and jigs.
But that’s a small criticism. You’d have to recommend this album to anyone who loves Celtic music.
Or indeed to anyone who just enjoys a one-night stand with the tradition. Malcolm Rogers. 3/5
The Irish World 27.6.03
Two thousand miles of ocean water may separate Newfoundland and Ireland, but the two communities have m ore in common than you would imagine, especially musically.
This beautiful collection of music represents the meeting of two traditions sharing an amount of common ground. Newfoundland and Ireland have many similarities in both the dance and music tradition and this album demonstrates a “meeting of cousins”. Broadcaster and folklorist, Aidan O’Hara has conducted considerable research into the music and songs of Newfoundland, finding similarities such as the importance of house dances known as “sprees” or “times” during the lengthy winter nights and even a tradition at one time of dancing masters.
Island to Island album features some of the finest musicians from both islands. Seamus Creagh, Mick Daly abd Aidan Coffey, all highly respected traditional Irish musicians combine with Graham Wells, Billy Sutton, Jason Whelan, Colin Carrigan and Paddy Mackey from the Newfoundland tradition to give us this unique album containing both historical depth and musical dexterity. Xenia Poole.
The first Irish settlers in Newfoundland were from the South-East – the counties of Waterford, Wexford, Kilkenny and Tipperary and they were unique among Irish emigrants to North America in that they went there before the
Famine. Placenames, phrases and, most remarkably, accents in Newfoundland indicate strongly the Irish connections and I know of one Irish musician in recent times who, on arrival in St. John’s, felt quite insulted by, as he thought, his own accent being imitated to his face. The truth of the matter only dawned when, after several conversations, he realised that the problem had been caused simply by the similarity of the local accent to his own
Aidan O’Hara, a broadcaster and folklorist, conducted considerable research into the music and songs of Newfoundland and made many valuable recordings there in the 1970s. He found similarities, such as the importance of house dances known as “sprees” or “times” during the long months of winter isolation, lilting and even a tradition at one time of dancing masters.
No wonder therefore, that listening to the music played by these Irish and Newfoundland musicians suggests a comfortable meeting of cousins who had not seen one another for a while. Tunes from both traditions blend easily
together and there is a unity of sound that could not be contrived. All of the musicians playing on this recording are highly skilled and in a perfect position to bring out the essential nature and feeling in the tunes. It is a unique experiment, which succeeds in providing both interesting and enjoyable listening”. Peter Browne RTE MUSIC PRODUCER and uilleann piper.
The Musicians.
Seamus Creagh (fiddle) is one of the most respected fiddle players in Ireland; He is originally from Westmeath, but now resides in Cork. his relaxed style has brought him to international prominence, particularly his duets with Jackie Daly and Aidan Coffey. He spent 5 years in Newfoundland (1988-93), during which he taught and played traditional music with a number of St John’s musicians. He made regular appearances at the St John’s Folk Club, and folk festivals. His solo album, Came The Dawn was recorded at Daydeen’s Studios, (St John’s) and also featured Don Walsh, Paddy Mackey and Rob Murphy. The album was released by Ossian (OSSCD90) in 1993. While in St John’s, Seamus was also a member of the band, Tickle Harbour, and appeared on their album, The Brule Boys in Paris. He also worked as a session musician ona number of other Newfoundland albums. Since he has returned to live in Ireland, he has been visited by a constant stream of Newfoundland musicians.
Mick Daly (guitar) is from Cork City and is a long-time player on the shifting Irish traditional music scene. He has been a member of Arcady, Any Old Time, Four Men & A Dog, Mary Black Band and Lee Valley String Band. He has been
playing for many years with Seamus and Aidan in traditional sessions in Cork City. As well as being a much sought after
guitar accompanist, he is also a well-known vocalist and 5 string bluegrass banjo player.
Aidan Coffey (accordion) is from County Waterford on the south coast of Ireland. His early repertoire was derived from sessions of traditional music during the early 1980’s around west Waterford. He uses the “press and draw” C#/D and D/D#.
For the last 10 years, he has been playing hand-made French accordions b Salterelle and uses the Salterelle Nuage ( three voice with stoppers and conventional 8- bass) model. He has played and recorded with De DANANN. with Frankie Gavin and Arty McGlynn as a trio, and also with Seamus Creagh. He plays mostly around Cork with Seamus and Mick.
Graham Wells (accordion) At 22 years of age, Graham has already logged 16 years behind the bellows in his hometown of
St John’s, Newfoundland. While recent musical stints have seen him on stage with such groups as, The St Pat’s Dancers, Connemara, and A Crowd of Bold Sharemen, he is perhaps most closely associated with the local session scene. Graham
has played as important role in establishing traditional music sessions in St John’s, and currently hosts two weekly sessions downtown.
Billy Sutton (banjo) is a multi-instrumentalist, an excellent player on more instruments than we have ink to name. Raised in Harbour Grace, he has performed as a freelance musician throughout Newfoundland and has toured Canada extensively
with his group, The Fables. In his spare time, Billy has been known to teach, compose and produce albums.
Jason Whelan (bouzouki, guitar) has been playing music professionally in Newfoundland snce 1989, with such diverse acts as, The Roger Howse Band, Connemara, The Plankerdown Band, and The Punters. He also owns and operates, The Sound Solution Recording Studio. When not playing, he enjoys madrigals and interpretive dance (not necessarily in that order).
Colin Carragan (fiddle) has been involved in Newfoundland music for most of his life. Over the past decade, he has travelled
in Quebec, Ontario and Northern England, pursuing music professionally as a solo and group performer, while practising his trade as a violin and mandolin maker. Colin’s commitment to Newfoundland traditional music hinges upon his repertoire of the fiddle tunes of Rufus Ginchard and Emile Benoit, and the dance tunes from around the island
Paddy Mackey (bodhran) is the brains behind Black Dog Bodhrans, Paddy, is perhaps the longest-standing instrument maker in St John’s, Newfundland. He’s also lent his tipper to many bands in town throughout the years, notably Tickle Harbour and Jeezus Murphy. As his building talents spill over into furniture making and house carpentry, so does his muse occasionally
draw a 4 stop accordion to his knee.
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Le Cheile – Out of the West
Le Chéile was formed from musicians who played regularly in The White Hart, Fulham Broadway in the early 1970’s. The 1960s and ’70s were golden years for traditional Irish music in London when musicians played before packed audiences and sparked the revival which went on to spread back home and around the globe. Le Chéile were the cult trad Irish group of 1970s London, producing some of the most memorable recordings of the time. The 1970s album Lord Mayo, was reissued on CD in 2006. To coincide with that release the surviving original band members — master fiddler Danny Meehan, Liam Farrell (banjo), John Roe (piano) and Kevin Boyle (guitar) — reformed alongside new recruits, flautist Paul Gallagher and Andy Martyn (box).
So now they’re back, adding powerful momentum to the revivalist movement within Irish music today with their exciting new big band mix of back to basics traditional Irish music from Donegal and Galway.
In March 2008 the boys began recording their long awaited third album which has now arrived.
This is the first new ‘Le Cheile’ album since 1977. A CD re-release in 2007 by Limerick University of a compilation of albums made in 1974 and 1977 reignited the band and with new members, Andy Martyn and Paul Gallagher, we returned to the studio in 2008 to put together recently developed selections of music. Though once entirely instrumental, we now incorporate songs into our repertoire.
We would like to thank our producer and engineer Gerry Diver for his great skill and remarkable patience during the recording of this album. Also, thanks to all of those who have supported and given endless encouragement to Le Cheile and the ‘Scene’ over the years. Particular thanks to the Cartys (Maureen, James & John), Annette Roland, Alan O’Leary, Austin Dawe, Bill Walsh, Lisa Knapp, Steve Dent, Karen Ryan and Noel & Mary at the ‘Kilkenny’ South Wimbledon. A particular thank you to Brendan Mulkere who is largely responsible for getting the band back together after all these years and to Niall and Sean Keegan of Limerick University for their work in releasing our 2006 CD ‘Lord Mayo’.
Also to our families and friends whose inspiration and encouragement helped us capture our music in this album.
Also available from Copperplate
Danny Meehan: The Navvy on the Shore
Kevin Boyle: Palestine Grove
Gerry Diver: Diversions
Press Reviews
Chicago Irish News
This group is a London-based quintet sent to us by Alan O’Leary at Copperplate Distribution and Promotions. Copperplate is the best and only handles the best. Le Cheile is wonderful. These guys make you feel that they are right there with you in an incredible session. They have a ball, and just play it ahead. Lay it out, and “Bob’s ‘yer uncle”. This is the stuff we all love. The vocals are not to be believed. Every now and then we hear an album and smile through the whole thing. This is one of those. Terrific, wonderful music. Bill Margeson
£14.99 -
Providence – A Fig for a Kiss
- The Road to Lisdoonvarna / Carthy’s Reel / The Mermaid of Mullaghmore. (4.16)
- Smuggling the Tin. (3.20)
- The Lurgadaun / Dancing Eyes / Down the Back Lane. (3.44)
- The Curlew Hills / Father Dollard’s. (4.04)
- Will Ye Go to Flanders. (4.02)
- The Arragh Mountains / The Rakes of Westmeath / A Fig for a Kiss. (3.55)
- The Providence / Roscommon Reels/ Fred Finn’s. (4.24)
- Muiris O Coinnleain. (3.10)
- McDonagh’s Air. (4.08)
- The Jolly Young Ploughboy. (3.37)
- In Memory of Coleman / Farewell to London / The Sunny Banks. (3.20)
- Se Fath Mo Bhurtha. (3.42)
- Music in the Glen / Sean sa Cheo. (4.14)
Providence
Providence have just completed a very successful year of gigging which saw them release their second album A Fig for a Kiss, RoRi CD 002, on their own label Rolling River Productions. Their eponymous debut album received great acclaim both in Ireland and abroad. The band’s first tour outside Ireland brought them to the Arctic Circle for St. Patrick’s Day. The band also appeared at some major European festivals during the summer including Dranouter Festival in Belgium and Waidhofen Festival in Austria, the Finnish Irish Folk Festival Tour as well as making numerous appearances around Ireland, Éigse Mrs Crotty, Mary of Dungloe Festival and the world famous Queens Festival in Belfast to mention but a few. Providence were also special guests on the prestigious Iain Anderson Show on BBC Radio Scotland prior to an appearance at the Callander Festival. Since the launch of their second album the band have featured live on the legendary John Creedon Show, RTÉ Radio 1 and on RTÉ TV’s Open House. They also featured on the award-winning series on TG4 Geantraí. Apart from touring Ireland in February the band will also be touring Italy, Germany, UK, Norway and the USA over the coming months.
Providence are:
Joan McDermott from County Wexford is the group’s singer. Joan formerly sang with the famed a cappella group The Fallen Angels which included Frances Black and Máire Bhreathnach among its ranks over the years. Joan toured extensively with the Fallen Angels and appeared at many major festivals including Cambridge Folk Festival, Leysin Rock Festival in Switzerland, and Fairport Convention’s Reunion Festival. She has also performed with Kieran Halpin, Kieran Goss, Steve Cooney, Manus Lunny, Mark Kelly, and Macalla among others.
Mícheál Ó Raghallaigh hails from a musical family in County Meath. He has played concertina and accordion from an early age. Mícheál has taught workshops and has toured all over Europe and the USA. He is also a member of the three-time All-Ireland winning Táin Céilí Band.
John Wynne plays flute and whistle. From Roscommon, he was immersed in the North Connacht flute tradition, playing with such eminent players as Patsy Hanly, Tommy Guihan, and Peter Horan to mention a few. John has won numerous All-Ireland titled for whistle and flute. He plays and teaches at various workshops and festivals around the country.
Clodagh Boylan also comes from a musical family from Glenullin, Co. Derry. She plays with members of her family in the Gleann an Iolair Céilí Band. She has toured England, USA and Australia extensively with Comhaltas Ceoltóirí Éireann and has also toured Italy with All Set.
Paul Doyle is the band’s bouzouki/guitar player. Formerly he was a member of Arcady which included Frances Black, Sharon Shannon and Cathal Hayden. Paul also played with Martin Hayes, the Máire Bhreathnach Band, and the Seán Keane Band with whom he toured such countries as Poland, Germany, Finland, Sweden. Over the years Paul has also recorded with many of Ireland’s most respected musicians among them Matt Molloy, Paul O’Shaughnessy, Paul McGrattan, Gay McKeon, and Arty McGlynn.
Press Reviews
Pay The Reckoning August 2002
Pay The Reckoning has already waxed lyrical over the solo CD “The Nervous Man”, by Providence’s concertinist and accordionist Micheal O’Raghallaigh. We are no less impressed by this, the second CD by one of Ireland’s most exciting traditional groups, which in addition to O’Raghallaigh comprises Clodagh Boylan (fiddle), John Wynne (flute, low whistles), Joan McDermott (vocals) and Paul Doyle (guitar, bouzouki, backing vocals, bodhran).
The instrumentation invites comparisons to Altan, and indeed if Providence have musical peers, then the Donegal-based outfit are a convenient reference point. (Or at least the early incarnation of the band, when Frankie Kennedy was still with us and the band were wedded to exploring the rich musical traditions of North-West Ulster.) However, although they may be as exciting, as vibrant and as accessible (without ever diluting the music) as the early Altan, Providence plough their own furrow, and a deep and productive furrow at that.
The album’s opening is perfectly judged to raise the hairs on the back of the tradophile’s neck. The opening reel in the set of three (The Road To Lisdoonvarna/Carty’s Reel/The Maid Of Mullaghmore) kicks off with Boylan underpinning O’Raghallaigh’s edgy concertina with an eerie, bittersweet drone. The tension between the two instruments builds to a climax at the end of the first go-round and then, as we knew – or hoped – resolves at the repeat as Boylan picks up the melody with O’Raghallaigh. Wynne takes up the rein for the second tune and then all democracy breaks loose as the band give the final reel (long associated with John Doherty) a lash.
The precise yet characterful playing and intelligent, uncluttered arrangements witnessed in this first set set a standard for the album which Providence never after fail to meet. On reel sets such as “The Providence Reel/Roscommon Reel/Fred Finn’s”, “In Memory of Coleman/Farewell To London/The Sunny Banks” and “Music In The Glen/Sean Sa Cheo”, the same spine-tingling mixture of control and abandon is in evidence. McDermott’s voice is a revelation. Clear as a bell, unforced and untainted by any form of “artfulness”, she is utterly compelling in her renditions of “Muiris O Coinnleain” and “Se Fath Mo Bhuartha”. However her best work is reserved for the English language songs “Smuggling The Tin” and “The Jolly Young Ploughboy”. The former is a great comic song from the Second World War when there was a trade in smuggled tin between Northern Ireland and the Free State and concerns the misadventures of a group of hapless reprobates whose efforts at lawlessness come to nothing. The second, originally from England, McDermott picked up from the singing of the saintly Frank Harte and delivers with great commitment. (Incidentally, are we alone in detecting in the song’s air the embryo of the tune of that American folk classic “Jesse James”?)
Two tune sets in particular are worthy of special mention. The jig set “The Lurgadaun/Dancing Eyes/Down The Back Lane” is instantly gripping and as fine an example of ensemble musicianship as you’re likely to hear. And as for the hornpipe set “The Curlew Hills/Father Dollard’s”, we’re at a loss to describe the inventiveness and sophistication of the band’s mastery of the crooked rhythm. The second tune in this set in particular must surely rank as one of the most definitive of Irish hornpipes.
“A Fig For A Kiss” is the sort of CD which, given a wide audience, will establish Providence at the very forefront of the trad mob! So, do your bit for a great band; via http://go.to/copperplate and order a copy for yourself (and your friends – converted and non-believers alike!). For more information about the band itself, visit http://www.providence-trad.com
The Living Tradition. 01/02
I first came across Providence after hearing John Wynne’s solo flute album. Wanting to hear more, I bought the groups first album and liked it. This is their second, which is usually the trickiest for anybody. Not to worry, this is up to the standard of the previous outing. The only line up change is Clodagh Boylan on fiddle instead of Meabh O’Hare The instrumental balance is slightly different with a wee bit more prominence to Micheal O’Raghallaigh’s concertina this time out, but that’s no harm. They’re not out to make a particular sound, but to show different blends of instruments
Seven dance tracks, one slow air and five songs with nothing you wouldn’t be happy to listen to for a long time. The Road to Lisdoonvarna is mostly played as a jig, odd times as a reel, but Providence play a fling version that works well. The other tunes are a mix of old friends and less widely known tunes.
They’ve even adapted a tune learded from the McDonagh brothers of Ballinafad as a waltz and made a slow air of it. It probably was originally an air, as many of the older players used to play airs in 3:4 time, so they’ve restored it to its rightful place.
I get the feeling that Joan McDermott is more at home with the two songs in Irish than the three in English. Maybe they’re more suited to her singing style, but they do flow more easily. None of the songs are hackneyed though and include some gems. She’s done her homework in the National Archives, and found a fine song in ‘Muiris O’ Coinnleain’, from the Waterford tradition.
Providence have overcome the dreaded ‘second CD’ hazard; we’ll see more of them in future. Mick Furey.
Taplas Dec/Jan 02 (The Welsh Folk Magazine)
As I had predicted, Dublin based Providence’s second album marks a significant advance on their debut. When I reviewed that, I claimed their fiddler was Claire Boylan, Oops! On that CD it was Meabh O’Hare, whom Boylan replaces this time round. Otherwise, the line up is unchanged, with Roscommon flute player John Wynne and concertina player Micheal O’Raghallaigh very much to the fore. I still have reservations about singer Joan McDermott and really dislike the sleeve design. But, don’t let that put you off. This is fine traditional Irish music played with great swing and vitality. Nick Passmore.
Teletext
Some strong Irish albums emerge on the horizon, notably Providence’s A Fig For A Kiss. Top notch instrumentals plus a classy singer in Joan McDermott supplying a light and shade that bears comparison with the immortal Bothy Band. Colin Irwin
Hot Press
The Irish music scene is blessed with an embarrassment of riches where traditional bands are concerned, with outfits such as Sliabh Nulor, Dervish and many more appealing to a variety of constituancies. To that list must now be added the name of Providence. A Fig For A Kiss is their second album, and quite an advance on their debut. A sound, which will be refined even further, is beginning to evolve – a lively interplay between fiddle, flute and double leads, heard to fine effect on tunes sets like, The Road to Lisdoonvarna and The Arragh Mountains, jig set.
There is great internal space created within these tunes, with lead instruments dipping, weaving and walloping where appropraite, and backed up by Paul Doyle’s ever solid guitar work never threatening to overwhelm either the music or the listener.
In every crown there is a jewel and for this listener it’s the voice of Joan McDermott, bell like in its clarity, skittish as a young pup on Smuggling The Tin and solemn as is appropriate on Se Fath mo Bhurtha. With this album, Providence have done themselves a wealth of good, and I’d venture to say that it is one of the finest records of the year so far. Oliver P. Sweeney 10 out of 12
The Examiner
Dark fiddle provides the opening drone for the jaunty concertina driven fling, The Road to Lisdoonvarna. The tune develops nicely, maintaining its shape with the addition of flute and a drop of an octave on the fiddle. This is Providence, more mature and more assured than before.
A Fig for a Kiss is a mix of tunes and songs, a well designed vehicle for the individual and collective talents of Clodagh Boylan, fiddle; Micheal O’Raghallaigh, concertina/ accordion; John Wynne, flute/whistles; Joan McDermott, vocals and Paul Doyle, guitar/ bouzouki/ bodhran. There is a natural interplay on Junior Crehan’s sprightly Lurgadaun Jig, with an increasingly dense sound leading into Dancing Eyes. Precise fiddle opens The Curlew Hills, a second cousin of The Glenbeigh Hornpipe. The bands signature tune, The Providence Reel, is given a special surge of power, as is its follow up, Roscommon Reel. Fred Finn’s has a hint of raggedness that gives the music its fourth dimension. Doyle’s guitar comes to the fore on an air learned from the McDonagh Brothers of Sligo. He may rarely emerge from the background, yet his playing is the glue that holds the Providence sound together. The songs have a good balance. Smuggling The Tin, refers to cross – border trade during the Second World War. Will Ye Go To Flanders is an 18th century Scotish anti war song. The album closes with a live set, Music In The Glen/ Sean sa Cheo, recorded at Dougie McLean’s bar in Taybank, Scotland. Pat Ahern
£14.99 -
Rattle the Boards – The Parish Platform
BIOG:
Playing together since 1992,Rattle the Boards have been praised as one of the best traditional acts in Irelands music scene. Pat,John and Benny were all members of the Knocknagow Ceili Band who were based in Clonmel,Co.Tipperary and spend many years playing for dancers throughout Ireland.Benny is also leader of the International supergroup”Danu”and has toured all over the world. In 1999 Rattle the boards released their debut album to much acclaim. With many performances in Ireland and Europe over the past years Rattle the boards have grown into an act very much sought after.In 2002 Rattle the Boards provided the musical inspiration for a major Irish theatre show called Teac A Bloc by famous visual artist Des Dillon.Rattle the boards arranged and performed with Teac A Bloc to sold-out venues throughout Ireland and also performed two sketches from the show on Irelands premier tv show”The Late Late Show”This is only one of many TV appearances by Rattle The Boards todate.In March 2008 Rattle the boards released their long awaited second album “The Parish Platform”nearly a decade after the debut release.Their scense of fun and lift in the music of Rattle the boards makes them unique among their contempories.As their name suggests this is a group that will have its audience on their feet and rattling the floorboards.
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. Contact Copperplate for all your PR needs.
The lads are generally available for interviews; please contact us to arrange a mutually convenient time. Please copy us on any reviews/features/airplay. Feedback always welcome.
Press Reviews
www.liveireland.com
THE LIVIES 2009
Newcomers of the Year: Rattle the Boards: Rattle the Boards
Benny McCarthy on accordion, Pat Egan on fiddle and banjo, John T. Egan on vocals, John Nugent on guitar and vocals and Donnchadh Gough on bodrhan have stormed onto the scene this year with one of the biggest selling and most loved debut albums in memory. The key? It is fun. It is a BALL!! Terrific tunes and songs, all imbued with a real sense of the joy that Irish music is. Mason’s Apron is our favorite tune, and Patrick Was a Gentleman our fav song. These guys get it. No self-involved navel-gazing here about ‘the meaning of the tradition’, and all that crap. No pretentious egos. Just a sense of the fun of it all. We love these guys and cannot wait to see them in person! Bill Margeson
Folk World Editors Best Loved Albums of the Year
Irish traditional music at its best — lively and real, spontaneous and passionate. Central to the band’s sound is the wonderful accordion playing of Danu’s Benny McCarthy, and he is joined by Pat Ryn (fiddle, guitar, mandolin), John Nugent (guitar) and the singing of John T Egan. A great mix of traditional tunes — from jigs and reels via polkas and airs to hornpipes and quicksteps — plus a number of trad songs. A few friends have joined the lads for a few numbers — and there is a bit of an unusual but very welcome interlude of a trumpet in one of the numbers, giving the number some jazzy flair.
All of this played with so much passion that the listener’s feet won’t stand still. This lot managed to distil the spirit of traditional music onto a CD, giving the listener the feeling that the foursome would just sit around the corner in his/her kitchen. And don’t be surprised that you find yourself rattling the boards of your wooden floor dancing away. An album that lifts your soul and just makes happy. Great stuff! Michael Moll
Rock’n’Reel
The brain child of Danu frontman, Benny McCarthy, Rattle the Boards second album continues their intention to revive the joie de vivre inherent in Irish music performed for pleasure and dancing before The Clancy’s and the ballad boom exposed the music and song of Ireland to a wider world.
It succeeds in its core ideal, in the verve, authority and drive of the performers attacking of the polkas, jigs and reels with flair and invention.
Of course, time hasn’t stood still and along the way, the players, John Nugent, John T Ryan, Pat Ryan, McCarthy and assorted guests contribute something of their own musical personalities. Consequently, there’s nothing precious here, with the rugged St Patrick Was A Gentleman making way for the innovative Whistling Rufus quickstep, where Decky O’Dwyer’s trumpet adds an air of Mariachi to the performance, and classic reels such as The Mason’s Apron are given a new alacrity and tempo courtesy of some dazzling melodeon from McCarthy.
Unpretentious and packing so much into its 12 tracks, Rattle The Boards enable much of the Irish tradition to breath anew. Danny Moore
The Living Tradition Aug/Sept 08
As if playing in Danu isn’t enough to fill in his days (and nights!), Benny McCarthy has got together with a bunch of his local musician friends, plus a few other guests, to produce an album of music for a good old hooley. This is not a recording for purists or musicologists to analyse and contemplate; rather it’s one for everyone just forgetting about the rest of life’s boring stuff, getting carried away with the atmosphere and having a dance, or, if that’s too much like hard work, just listen and enjoy, since this is a delight throughout.
The band line-up is Benny McCarthy on button box and melodeon; Pat Ryan, fiddle, mandolin and banjo; John Nugent, guitar; and John T Egan, vocals. Guests are Donnchadh Gough, bodhran; Des Dillon, harmonica; Jon Kenny, vocals; Decky O’Dwyer, trumpet (yes, trumpet!); Albie Grace, bass Paul Ryan, button box; and Bruno Stachelin, percussion. There is a strong Tipperary connection, with many having played in the Knocknagow Ceili Band. This is not a ceili band album, however, ditching the strict-tempo approach in favour of a free-flowing, good-time sound.
The majority of the tunes and songs are very well known and very popular indeed, and it sometimes takes a fresh, lively attack on them like this to help us all realise why they became popular in the first place. From the vocal hilarities of St Patrick was a Gentleman, via the inspired trumpet breaks on Whistling Rufus through to any other track you mention, this CD just oozes with the sounds of talented guys having a good time and infecting everyone who hears them with their sense of enjoyment.
As a nice touch, the CD is designed to look like an old-fashioned vinyl record (remember them?). Listen to this, but make sure you’ve left some space for dancing – that’s what you’ll feel like doing! Gordon Potter
TAPLAS, the Welsh folk magazine
The Parish Platform, on the other hand, is about as different as you can get while remaining within the style and repertoire of the traditional Irish genre.
Even- track is completely unlike the last. It is bright, sparkly and energetic. Each musician’s individual characteristics shine through.
The band includes Danu’s Benny McCarthy on accordion, John Nugent on guitar, John T. Egan on vocals and Pat Ryan on fiddle, mandolin and banjo.
There is also a long list of guest musicians including a cracking bodhran player and even some brass!
With all these different instrumentalists chopping and changing, soloing and blending and all playing with exuberance, dexterity and vigour, it doesn’t get stale for a second. The couple of songs are extremely engaging and entertaining and you even get to find out what happened to all the snakes in Ireland! This is a great one for the collection! Imogen O’Rourke
The Irish Democrat
EIGHT YEARS on from the release of their self-titled debut album, Rattle The Boards have come up with another toe-tapping collection of traditional Irish dance tunes and songs.
Based around a nucleus of founder members Benny McCarthy (button accordionist), John Nugent (guitar/vocals), Pat Ryan (fiddle/banjo) and former guest singer John T. Egan (vocals), Rattle The Boards have produced an album that is unashamedly nostalgic in feel. This time around featured guests include Jon Kenny (vocals), Decky O’Dwyer (trumpet), Donnchadh Gough (bodhran), Des Dillon (harmonica), Paul Ryan (accordion) and Bruno Staelhelin (percussion).
What could so easily have ended up as mere pastiche is anything but. This is entirely down to the excellent quality and vitality of the playing – though you’d hardly expect anything less from an ensemble that features two members of Irish traditional ‘supergroup’ Danu (McCarthy and Gough) and a bevy of renowned and respected musicians with more ceilis under their belt than you could shake a stick at.
While their unrepentantly backward-looking tribute pays homage to the musical culture of a bygone era it does so in style. Although their approach won’t please everyone, you’ll need a narrow mind and a cold heart not to find your spirit lifted and your feet tapping, providing a reminder of a time when virtually the sole purpose of music was to get folk on their feet.
In fact, if these tunes and songs don’t get you in the mood the volume’s probably not up loud enough – either that or you’re under the boards rather than in any position to rattle them. David Granville
“Tunes familiar to every parish but with a bit of fire under them” THE IRISH TIMES
Shake, ‘Rattle,’ and Roll On Music Meant for the Dancer in You
[Published on June 4, 2008, in the IRISH ECHO newspaper, New York City. Copyright (c) Earle Hitchner. All rights reserved. Reprinted by permission of author.]
The self-titled debut recording in 1999 by Rattle the Boards raised a smile for me when I read the group’s track note for “The Controversial Reel.” Listed as “trad.,” it was described as “a lovely reel which is around a long time.” Thirty-one years ago, the reel appeared on “Kiss Me Kate,” an album by fiddler Liz Carroll and button accordionist Tommy Maguire. So the track note is accurate–except for “trad.” It isn’t. The reel was composed by Brooklyn-born, Baltimore resident button accordionist Billy McComiskey. But the compliment to McComiskey comes from the assumption that a tune that good must be “trad.”
“Trad.” instrumental music is mainly dance music, and the latter dominates “The Parish Platform,” the new recording by Rattle the Boards. My hope is that the group, like “The Controversial Reel,” will be around a long time, for their music is an unvarnished joy meant to get your feet moving and, yes, rattling the boards.
The founding members of Rattle the Boards are Danu button accordionist Benny McCarthy from Waterford, banjo, fiddle, and mandolin player Pat Ryan from Tipperary, and guitarist John Nugent, Ryan’s brother-in-law, from Tipperary. All three formerly played with the Knocknagow Ceili Band, based in Clonmel, and have gotten together to play music almost weekly since 1992.
The guest singer on the first Rattle the Boards album was Tipperary’s Martha Beardmore, and the full-fledged member now singing with the group is Tipperary’s John T. Egan. He possesses a gruff voice well suited to the two songs on the new CD, “St. Patrick Was a Gentleman” (Jon Kenny shares lead vocal) and “The Nightingale.”
The rest of the dozen tracks on “The Parish Platform” are tunes, and the album’s most dazzling performance comes from button accordionist Benny McCarthy on “The Mason’s Apron.” It’s a warhorse traditional reel that was boosted in popularity by fiddler Sean Maguire with the Four Star Quartet and then boosted again through the solo turn by flutist Matt Molloy in the Chieftains’ concerts. The embellishments by McCarthy in this reel refreshen it. Accompanied by Nugent on guitar and McCarthy’s Danu colleague Donnchadh Gough on bodhran, the button accordionist plays with triplet-flecked swing and inventive panache while never losing his grip on the tune’s melodic spine. This tour de force matches McCarthy’s best work with Danu.
“McKillop’s/Love at the Endings/High Reel” is a medley initially showcasing Pat Ryan’s skill on the fiddle. With Nugent and Gough backing him, Ryan plays the first reel with limber energy and pulse, all ratcheted up when McCarthy enters on the second reel and Ryan himself switches to banjo on the third reel. Even nailing your shoes to the floor won’t prevent you from tapping them to this percolating beat.
In the “Galway/Peacock’s Feather” hornpipes, McCarthy’s accordion playing, which sports some well-placed, Derrane-like triplets, and Ryan’s banjo playing, which ably complements the box and also allows it to veer off on nimble flights of fancy, form a crisp, cohesive whole, backed unobtrusively by Nugent on guitar.
“The Irish Washerwoman” is a jig still shunned by many Irish traditional musicians, who feel it has been done to death in the past and also conjures up a cultural image of demeaning stereotype. But no matter how long this jig may be mothballed, it is instantly recognizable when dusted off and performed. The reason is its enduring melodic and rhythmic appeal. Both are obvious in the vibrant new airing the jig receives from McCarthy on accordion, Ryan on banjo, Nugent on guitar, and Gough on bodhran in a medley that includes “Maid in the Meadow” and “Humours of Drinagh.”
Among the other medleys packing a punch on the new album are “Farrell O’Gara/Gan Ainm/The Flying Irishman” reels, “Cuz Teahan’s/Gan Ainm/Johnny O’Leary’s” polkas, and “Jimmy’s Jig/Gan Ainm.”
Where ceili band and showband merge (collide, if you’re a purist) is “Whistling Rufus,” a hoot of a quickstep tune played a little too loosely. It additionally melds Irish trad with New Orleans jazz strains, especially through guest Decky O’Dwyer’s trumpet playing.
A critic in Ireland wrote that “The Parish Platform” may veer near “caricature.” I suppose the plain woolen caps, work shoes, and other attire worn by the quartet in sepia-toned album photos–one shows them dancing and playing music on a small wooden platform laid on a dirt country lane with an old car parked close by–may give off that impression to some. But it’s a mistake to suggest that “The Parish Platform” inadvertently swerves toward “caricature” or, worse, constitutes a deliberate goof or spoof smirking at a musical style and attitude rooted in the rural Ireland of the not-so-distant past. This album is not a lampoon but a lively, winsome tribute, full of fun and motivated by respect, recalling a time when spurring people to dance was all that mattered. What’s not to like about that? Earle Hitchner
www.liveIreland.com
Next up is a new fav, The Parish Platform by Rattle the Boards. Four musicians, with guest stars. John Nugent, Benny McCarthy, John Egan and Pat Ryan offer an album of great fun and a sense of the real trad. This is not the honed studio perfection of so many albums today. This is a big, blousy thing with a great sense of the music, the rhythms and the meaning. It is the most fun we have had listening to anything in quite a while. We frequently smiled, and even got up to shake a foot occasionally ourselves! The role of ceili and set dancing is well recorded in Irish music, and vastly overrated. And, if this album in description pays a little too much of a tip of the hat to the dancing tradition, it delivers the essential goods—the music itself. You will love this album. It will be a contender for Vocal/Instrumental Album of the Year. It is their second album and is offered through Doon Productions. Go to www.rattletheboards.com. Find this album and buy it. Then turn it up. Smile. Rating: Four Harps. Bill Margeson
Irish Music Magazine
Rattle the Boards tread a fine line between ceoltoir and caricature. I’d say they carry it off, their music is meant to be fun and it is. From the opening notes of ‘Cuz Teehan’s Polka’ we’re clearly well down the country, the whole album is a triumph of exuberance.
All the old favourites are trotted out: ‘The Mason’s Apron, The Irish Washerwoman, The Galway Hornpipe’ and The High Reel’. Box and banjo front men, Benny McCarthy and Pat Ryan are well known from Danu and the Knockgow band. They’re joined by John Nugent on guitar, and John T Egan for the occasional song, on this follow-up to their 1999 debut CD.
Amidst plenty of good stuff, the majority is pure traditional: ‘Johnny Leary’s, Off to California, McKillop’s Reel, Humours of Drinagh’, and a couple of ‘Can Ainmneacha’. The showband standard, ‘Whistling Rufus’ adds a note of jazz and pays homage to Clonmel’s other musical heritage (Mick Delahunty’s big band). The big band on this track is a one man horn section from Decky O’Dwyer and some deft finger work on the box from McCarthy.
Benny excels on his ‘Mason’s Apron’ solo, with enough variations to please any Dubliners die-hards, while ‘Autumn Sky’ and The Nightingale’ are firmly back in showband territory. There are just two songs on The Parish Platform’; the other is a rough-and-ready romp through the comic ballad ‘St Patrick Was a Gentleman’, a duet with comedian John Kenny. A set of reels headed up by ‘Farrell O’Gara’ provides the big finish, played straight and not too fast, a satisfying conclusion to a most entertaining CD. There’s an engagingly antiqued website at www.rattletheboards.com. Alex Monaghan
£14.99
