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Island Eddy
The Band
Island Eddy was formed after a gig one night in Kinvara Community Hall by friends Brendan Larrissey, Jim McKee and Martin Gavin. The night went really well, and as Brendan and Jim were living in the area and kept meeting up, they sat down and decided that it would be a good idea to form a band that would be based locally in Kinvara. They were very interested in the idea of recording original songs and tunes.
Brendan and Brian Duke had already enjoyed playing many a tune in Ballaghadereen and Carrick-on-Shannon and, indeed, in Galway city. They found that the combination of fiddle and flute proved to be second to none.
Brendan and Martin have been friends for years and Martin’s sensitive touch was just what was required to complete the line-up of the newly-founded Island Eddy. Between Jim’s original songs and new tunes from Brendan and Brian, Island Eddy would like to build on the recording and performing of original pieces from Irish composers.
Brendan Larrissey comes from Dundalk, County Louth, and he has been living in Galway for nearly twenty years. In the late 1970s and early 1980s traditional Irish music flourished in Dundalk and Brendan enjoyed honing his musical skills in many sessions and fleadhs during that time.
In 1985 Brendan joined his first band, Gael Force, which was based in Galway. During the two following years, 1986 and 1987, he played with Dolores Keane and John Faulkner, touring Europe and Ireland, and he also recorded with Dolores and her two aunts, Rita and Sara.
In 1987 Brendan won the Senior Fiddle Championship and the following year he decided to become a full-time musician. In 1988 Brendan was a founding member of the award-winning band Arcady, which led to him touring worldwide – in the USA, Canada, Europe, Hong Kong and, of course, at home in Ireland.
He was also involved in the albums A Woman’s Heart and Trad at Heart, to name but a few. Since then he has recorded two solo fiddle albums, A Flick of the Wrist and Up the Moy Road. He has been involved in running the first International Fiddle Festival in Ireland, runs his own fiddle school in Galway and has taught many All-Ireland champions to date. Brendan lives in Kinvara with his wife Helen and their four children, Clara, Hannah, Nessa and Conall.
Jim McKee is an artist and singer-songwriter who hails originally from Cookstown, County Tyrone; he has played guitar with many traditional bands. He has toured from time to time in Europe and America during the last ten years.
Jim was involved with the award-winning White Hare Band, based in Tyrone, with P. J. MacDonald, who is a virtuoso whistle player and singer and also with Brendan Henry, a fiddle player. The White Hare Band have done various BBC TV and radio recordings and have won the Danny Kyle Celtic Connections award. Two of Jim’s original songs were used as soundtracks for two film productions. In recent times he has toured with Bridgestreet, a Galway-based band.
Jim is based in Bell Harbour in the Burren area of north Clare in the west of Ireland. He has written three new songs for this album that are based on his past experiences in the North of Ireland. Jim is also about to release his first solo album, Just a Piece of, which features Cathal Hayden from Four Men and a Dog, and Brendan O’Regan, who helped to produce the album. It also features string arrangements by Gary O’Briain. Details can be found on his website: www.iimmckee.ie
Brian Duke comes from County Roscommon, which is widely recognised as being the home of flute playing, and indeed Brian is one of the finest exponents of this flute-playing heritage. He has played at venues across the world and has recorded on many albums over the years.
Brian has played with various groups over the years, most notably the band Cian. Cian released two superb albums in the 1990s, Three Shouts from a Hill and The Rolling Wave. He can also be heard on the flute recording Flute Players of Roscommon.
Brian’s style has been influenced by the playing of Matt Molloy and the discerning ear can hear this in his playing. He possesses his own unique style of playing, however, and displays a wonderful interpretation of music old and new.
Martin Gavin has a great love of east Galway music, and had the great pleasure of playing in sessions with Paddy Kelly, Paddy Carty and Jenny Cambell, and he still meets Paddy Fahy and Eddie Kelly now and again. He played with the band Talteralla and has also played on albums with Mary Staunton, lomar Barrett and Angelina Carberry.
There was a love for music in his mother’s family: his grand-uncles Matt and Jim Callanan played with Vincent Brodrick, and his cousins Frank and Brendan Farrell played with the Kilreekil Ceili Band in the 1930s. He got his passion for the bodhran after listening to some of De Danann’s early recordings, which included a bodhran solo by Johnny Ringo McDonagh. Martin now teaches the bodhran in Ballinasloe and Galway. At weekends Martin helps to encourage the next generation of young musicians to keep the music going through his involvement in the music pub Maud Millars in Ballinasloe.
Press Reviews
The Living Tradition
The core of Island Eddy was formed after a gig at Kinvara Community Hall, Co Galway, by fiddler Brendan Larrissey (Gaelforce, Dolores Keane), guitarist/songwriter Jim McKee (White Hare Band, Bridgestreet) and bodhran player Martin Gavin (Talteralla, Mary Staunton), who thereafter swiftly recruited Roscommon flute player Brian Duke (with whom Brendan had already played many a tune!) to make an irresistible foursome.
The band’s debut CD brings together eight sets of tunes (both original and traditional) and four songs penned by Jim. The general demeanour of Island Eddy’s music-making is that of the easy, unhurried, calmly swinging session, where solid and thoroughly unassuming musicianship takes the place of frenzied seat-of-the-chair attention-grabbing note-spinning, and where the observer is invited to actively listen as well as tap feet. The opening set of jigs exemplifies the band’s approach, and their trusty fiddle-and-flute combination is heard to best effect on the ensuing set of reels, where we can also enjoy the contours of Martin’s gently passionate beating in sensible context. These musicians are all completely at ease and feel no need to prove themselves – that much is obvious on all of the instrumental tracks here, many of which reveal subtle delights on each successive play.
Some tracks also employ guest musicians on cello, double bass and extra percussion, and the darker eddying undercurrents of counterpoint thus provided give the music-making an intriguing new complexion that you don’t tend to encounter in renditions of session-tunes, even on record. I’m not so readily convinced – at first, at any rate – by the four songs, however, for Jim’s very contemporary-sounding vocal style really seems to belong elsewhere; but taken on their own terms outside the framework of the rest of this album these songs really do work their own special magic (and I’ll also be interested to hear Jim’s forthcoming solo CD Just A Piece Of). Some Dignity Beyond The Flowers, the first of the songs, is probably the most appealing on first acquaintance, drawing on childhood memories and the strength Jim himself drew from his father; Jim’s edgy singing on the tale of his neighbour Bradley is acutely passionate, while there’s a persuasive yearning quality to the homesickness of The World Around. Only with the tedious and rather casual musical setting of the final song (The Bomb Went Boom) does Jim seem at odds with his own material. The disc is well presented, with some fine booklet notes and attractive photos. On the evidence of this debut, Island Eddy clearly have potential, yet it remains to be seen in what direction it will best develop. David Kidman
The Examiner
Island Eddy, a new four-piece band based in the west, launched their self-titled debut on the Clo lar-Chonnachta label earlier this month. Comprising Dundalk fiddle player Brendan Larrissey (formerly of Arcady), guitarist and singer Jim McKee from Co Tyrone, Roscommon flute player Brian Duke and east Galway man Martin Gavin on bodhran, this fresh ensemble are to be commended for their session-like approach to tune playing and the highly stylised singing and arrangnents of McKee’s four songs;
Kickng off with a pair of jigs, The Castle/The Nightingale the bands languid style is reminiscent of Kevin Burke and Michalel O’Domhnaill on their late 70s Mulligan albums. For some McKee’s voice and songwriting might not immediatelv sit comfortably alongside the more traditional material
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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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Joe Derrane, Seamus Connolly John McGann: The Boston Edge
Press Reviews
The Wall Street Journal
The wearing of the green is upon us, a time to dye for, St. Patrick’s Day. Beer, beef, beans, bread and broth suddenly take on the hue of the
Emerald Isle, and too often the Irish music heard on March 17 is not much more appetizing or genuine.
The following albums are an exception. Consider them a three-leaf shamrock of music rooted mainly in the turf of centuries-old tradition.
This is blarney-free music, the kind that stays green without trying, all year round.
“The Boston Edge” is a triumph of equal impact. Released late last year by Mapleshade Records, a small, independent label in Maryland, the album is perfectly titled for the razor-sharp music of Boston-area trio Joe Derrane on button accordion, Séamus Connolly on fiddle, and John McGann on guitar and mandolin.
Derrane, who celebrated his 75th birthday yesterday, is the most talented Irish-style button accordionist America has ever produced. Born of Irish immigrant parents in Boston, he initially recorded from the late 1940s to the mid-1950s, then took a nearly 40-year hiatus from playing the button accordion in public. His performance on May 29, 1994, at an Irish folk festival in Vienna, Va.’s Wolf Trap launched what many regard as the greatest comeback in the history of Irish music, culminating for him in a National Heritage Fellowship from the National Endowment for the Arts in 2004.
Renowned for his triplets (three notes played in the time normally taken by two notes) and hornpipes (dance tunes usually in 4/4 time), Derrane sparkles in this inspired collaboration with Connolly, a 10-time All-Ireland fiddle champion, and McGann, a much-in-demand accompanist.
Never letting virtuosity or velocity overwhelm a melody, they play within the structure of a tune while infusing it with fresh, interpretive gusto.
It is in the details where this recording soars. The trio’s deftly ornamented playing of such reels as “The Curragh Races/The Skylark/The
Reconciliation” and “Patsy Touhey’s/The Gooseberry Bush/Reilly’s” represents Irish traditional instrumental music at its most propulsive and soulful. For taste and touch, it’s hard to top “The Boston Edge,” Earle Hitchner
Irish Music Magazine March 2005
It’s about time that two of the most respected and masterful traditional musicians in the Boston area got together to record a CD. Seamus Connolly, fiddle, and Joe Derrane, button accordion, share a number of remarkable attributes: both were lauded in their early careers as prodigies of their respective instruments, both are accomplished tunesmiths, whose compositions have passed into the traditional repertoire, and both are centres of the Boston area traditional music community and heroes to a younger generation of musicians and enthusiasts.
Their musical styles, however, are quite distinct: Seamus Connolly is known for his gorgeous tone and fluid, inventive phrasings; and Joe Derrane’s playing is all clear, crisp precision and brilliant ornamentation. What is perhaps most striking about The Boston Edge is the fact that these two very different approaches are meshed seamlessly, with John McGann’s able and versatile guitar and mandolin accompaniment, into a whole that reflects the respect these musicians have for each other, the love of their music, and the fun they must have had recording these tunes. The tracks include newly-composed tunes, that are rarely heard in sessions, tunes from the Cape Breton tradition, and tunes that are typical of what one might hear at a Boston-area session.
Each musician is featured in solo pieces, but the real revelation is the freshness and delight the group brings to each of the ensemble sets.
The Boston Edge is cutting-edge stuff. Let’s hope this is just the first of several outings by this outstanding trio. Sally K Sommers Smith
Taplas: The Welsh Folk Magazine
THIS American/Irish trio comprises Joe Derrane on button accordion, fiddler Seamus Connolly and John McGann on guitar and mandolin. The vastly skilful playing reveals the decades of experience these fellows have in the Irish music tradition.
Although there are only three of them, they produce a very full sound, perhaps partly because this was recorded and mastered live in what sounds like a fairly echoey room. The repertoire is mainly traditional Irish session tunes, arranged in a mainly session-like way.
This, the old fashioned style of recording, and the accomplished playing makes it sound like a non-crackly version of an old masterpiece. In fact, Derrane featured on 78-rpm recordings during the 1940s and 1950s, so you can easily guess the influence of his style!
There are a lot of hornpipes – roughly a third of the album consists of them. One features McGann’s solo mandolin track, Whidden’s The Nightlight and Hannah McGann’s – the letter two being his own compositions. Another is the complex, chromatic and downright flash, Petticoat Promenade, written and played by Derrane. This is a great CD for the collection – I just wish there was more of that wonderful mandolin on it. Imogen O’Rourke.
HOT PRESS
Following on the heels of button accordion player Joe Derrane’s 2004 National Heritage Fellowship, this rollicking album sees him teaming up with fiddler Séamus Connolly and their fellow Bostonian, guitarist John McGann.
These three musicians share a bracing, muscular approach and have been playing together long enough to achieve a rare sympathy, easing back or surging forward as a solidly cohesive unit.
The opening set of reels sets the pace, with McGann occasionally breaking effortlessly into melody flat-picking for a bar or two before returning to chordal accompaniment. McGann’s mandolin solo set, Whiddon’s/The Nightlight/Hannah McGann’s (the latter two of which are McGann originals), is another highlight, as are Connolly’s original slow air Remembering Curly and Derrane’s turn in the spotlight on Miss McLeod’s and his own Petticoat Promenade, featuring a jazzy Hot Club de Paris-style backing from McGann. Sarah McQuaid Nine/Ten
www.netrhythms.com
The press handout describes this release thus: “a ‘dream team’ Irish trio plays traditional jigs, reels and airs with passion and originality”, so what gives it the “edge” of the title over other instrumental albums which might be similarly depicted?
Well, the Boston edge refers to the distinct advantage of the superlative virtuosity of the three musicians who come from the Boston (Mass.) area. Button accordionist Joe, fiddler Séamus and guitarist/mandolinist John first played as a trio onstage at a New York club in 1999, an occasion noted by all who attended as bringing to the scene something worth pursuing further, an outstanding tightness of ensemble allied to brilliant solo work.
Cementing the musicians’ approach was their mutual deep respect and enjoyment of each other’s music, and once they’d worked together it then seemed the most natural thing to continue the working relationship. After five years of memorable concert performances, at last we have a recording to treasure.
It highlights their seamless togetherness, boosted by arrangements that are carefully prepared and yet remain flexible enough to allow inspired touches of improvisation or ornamentation or else felicitous swopping-round of the carrying of the melodic line from, say, accordion or fiddle onto guitar, giving surprising and delightful twists to one’s expectations. The skill of these musicians in creatively rethinking well-trodden session staples is stunning, whether they’re tackling sets compiled entirely from Irish sources or mixing in Scottish or Cape Breton tunes to demonstrate the cross-fertilisation and enriching of the different tune traditions.
Highlights of this album for me are the sparkling opening set, the fiery lead work throughout but especially on the amazingly together fiddle/accordion duet that comprises two-thirds of the set of reels on track 9, also on the Humours Of Lisheen/McMahon’s Jig/The Merry Old Woman set (track 7), the joyous sense of rhythm on the hornpipes (track 10), and, on a smaller canvas track 6, an entire set played solo by John on mandolin, a benchmark of agility and imaginative interpretation the like of which you don’t often encounter on albums of Irish traditional music.
But on every single track the playing exhibits a rich but vigorous energy that’s absolutely captivating, with a healthily varied interplay between parts that’s born of true understanding between the players. Each set is played at a sensible speed (not rushed through as if to fit onto one side of a 78!), allowing the felicities of melody to emerge through the spring in the step that the players’ keen rhythmic sense
deploys. And what’s also important, listening to the music on this album rather often brings a smile to the face – a nice touch that (just lend an ear to the delicious swing of track 8 for instance!). It starts off really good, but then just goes on getting better, and you really don’t want it to end!
The only drawback as far as I can hear, albeit a minor one, is with the recorded sound, which isn’t ideally clear, the guitar sound in particular being somewhat boomy or boxy in the ensemble context – or maybe I’ve heard too many state-of-the-engineer’s-art recordings lately? But the 64 minutes of this seriously enjoyable album just fly by – take it from me! David Kidman
The Glasgow Herald 11.12.04
Amid the avalanche of supertalented youngsters who are making traditional music an exciting, hip and gratifyingly youthful artform of the twenty-first century, it’s as well to remember that the older heads still have wisdom and musical examples to share.
Joe Derrane is now on his second career as a button accordionist; his first began in the 78rpm era and he spent thirty-five years as a jobbing keyboard player.
This brand new set with fellow Boston residents, fiddler Seamus Connolly and guitarist-mandolinist John McGann, shows the zest, appetite and musical mastery Derrane restored on his return in 1994.
It’s essentially three musicians playing as one: tightly executed Irish tunes played with heart, self-expression and the richness that comes from long dedication to the music. Rob Adams FOUR STARS
The Irish Echo. Ceol Column 24.11.04 Give the ‘Edge’ to this Boston trio
We New Yorkers can get immodest, spoiled, even complacent about the Irish traditional musical riches in our backyard. But when it comes to
top trad playing, Boston doesn’t have to take a backseat to any other city in America or Ireland.
For proof, listen to “The Boston Edge,” the CD debut of 2004 National Heritage Fellowship-winning button accordionist Joe Derrane, fiddler
Séamus Connolly, and guitar-mandolin player John McGann. Residing or working in and around the Boston area, this trio have created something
altogether rare: an album showing no restraint in individual musical expression yet cohering as a well-rehearsed, mutually sensitive and
responsive unit.
In that respect “The Boston Edge” is a significant improvement on “Ireland’s Harvest,” a Mapleshade CD made in 2002 by Derrane, fiddler Frankie Gavin, and pianist Brian McGrath. I picked it as the fourth-best trad album of that year, but with this caveat: “A sonic imbalance among box, fiddle, and piano (the latter two instruments are too high in the mix), some odd choices in tunes (e.g., ‘The Minstrel Boy’), and the personal tangents taken by producer Paul MacDonald in his liner notes prevent this release from placing higher.”
The seat-of-the-pants, strut-my-stuff approach to playing by Gavin in “Ireland’s Harvest” did generate some heat, but it also resulted in more
dueling than dueting with Derrane. Technique trumped teamwork and partly undercut both Derrane’s trademark preparation and the trio’s overall effectiveness.
“The Boston Edge,” in contrast, shows what can happen when three musicians who have been gigging from time to time during the past five years
put their heads as well as their talents together in the recording studio. It’s obvious that the music has been mapped out with meticulous care but also with enough flexibility to allow inventive flourishes.
Those qualities combine viscerally right from the album’s opening track, “The Curragh Races/The Skylark/The Reconciliation.” This medley of reels breaks out of the gate like Secretariat: strong, spirited, sure-footed. The synaptic sparks and symmetry between Derrane and Connolly are extraordinary, each feeding off the other’s virtuosity and energy, each performing with, not at, the other.
Some accompanists in Irish traditional music can lapse into metronomic rigidity or tepid vamping, and for critics with a blinkered appreciation
of rhythm, an unnoticed accompanist is a good accompanist. John McGann has refused to wear this silly musical straitjacket. He brings plenty of chops and imagination to the CD, laying down a rhythm that can be percussive and driving or finely brushstroked behind Derrane and Connolly.
From time to time McGann tucks in his own nimbly picked passages of melody, and in “Whiddon’s/The Nightlight/Hannah McGann’s” hornpipes,
the last two of which he wrote, McGann showcases his exceptional soloing skill on mandolin.
Backed by McGann on guitar, Derrane offers a jaunty hornpipe-clog pairing, “Miss McLeod’s/Petticoat Promenade,” as his crisply played solo.
The clog is the button accordionist’s own tune and vividly conjures up a scene of Irish girls in rustling skirts out for a night of dancing at one of the five ballrooms dotting Dudley Street in Roxbury, Mass., during the 1940s and ’50s.
Accompanied by McGann on guitar, fiddler Séamus Connolly takes a different tack on his solo, “Remembering Curly/The Twins/Mordaunt’s Fancy.”
The initial slow air, his own composition, is a moving threnody in which Connolly explores, not exploits, honestly felt emotion. It eventually segues
into a hornpipe that he plays with more joyful verve, and the medley finishes with a capering jig that reveals another side of the master fiddler’s touch.
Above all, true teamwork gives this album its finely honed edge. “The De’il and the Dirk/The Trip to Windsor/Brumley Brae” reels, “The Humors of Lisheen/McMahon’s/The Merry Old Woman” jigs, and “The Dash to Portobello/McFarley’s/Geegan’s” reels represent three-part instrumental
playing of the highest order.
There’s also some breathtakingly tight dueting by Derrane and Connolly throughout “Patsy Touhey’s/The Gooseberry Bush/Reilly’s,” with McGann
entering on mandolin just for the third reel. A slice of Django-ish guitar swing by McGann provides a tantalizing intro to “The Man From Newry/The Last of the Twins” hornpipes, where Derrane and Connolly interlock impressively in their ornamentation. The fun of playing together similarly comes across in another pair of hornpipes, “Chief O’Neill’s Favorite/The First of June.”
Not a single moment of weak or mediocre music can be heard on this 14-track recording. “The Boston Edge” is full of tasty tunes, focused
arrangements, unclichéd thinking, transparent communication, and resplendent playing. These three musicians are a bona fide trio, not an
armchair-impulse gathering. They thrive in each other’s company, and I can’t imagine any listener not thriving in theirs. In the parlance of
their beloved Red Sox, this album is a World Series clincher. Earle Hitchner
PAY THE RECKONING.COM
Following Mapleshade’s release of accordionist Derrane’s comeback album – Ireland’s Harvest, which featured Frankie Gavin and Brian McGrath – Mapleshade have succeeded in coaxing the National Heritage award winner back into the studio. In the process they’ve assembled yet another
“dream team”, with Connolly on fiddle and McGann on guitar.
No mistakes, this is a superb album, every bit as compelling as his comeback. Despite (or perhaps because of!) his advanced years, Derrane hasn’t lost the magic touch that teases impossibly inventive ornaments from his box; at the same time he manages to be incisively precise and crisp in his playing. Connolly, of course, is equally renowned for his inventivess and McGann is a much sought-after accompanist, whose chords and runs anchor the tune, but never dominate his fellow musicians.
So it’s no surprise that this is an album, which elevates the senses. It brims with good humour and abandon. Three master musicians have chimed in to create a modern masterpiece. Aidan Crossey.Joe Derrane.
Joe Derrane, born in Boston, Ma. In 1930 to Irish immigrant parents developed a deep and abiding love for the accordion and traditional Irish music from a very early age. Around 1940, he started studying the 10 key melodeon with the great Jerry O
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Kev Boyle – Palestine Grove
Kevin Boyle follows up his cult classic of 1997 Bon Cabbage with his latest statement of intent, Palestine Grove named after the recording studio of master producer and multi instrumentalist, Gerry Diver.
For many years the Boyle family have been the mainstay of the brilliant London Irish music scene. Driven on by their father Paddy they studied the traditional music of his native Donegal. Kevin became a multi instrumentalist, his sister Maggie the flute and bodrhan and using her brilliant voice to adorn many’s a great song. Younger brother Paul was a brilliant young fiddler until his very sad passing. Kevin carved a great reputation as a musical accompanist firstly on piano and then guitar. He started at the top by accompanying the fiddle maestro Sean Maguire on piano when 16 years old. Kevin has mastered this art and is most sought after accompanist in London, bringing comparisons with the mighty Paul Brady.
He became a regular at The Favourite and The legendary White Hart, Fulham Broadway playing with Raymond Roland and Liam Farrell and seat once filled by the ample rear of Christy Moore. He was the driving force behind the super group Le Cheile which featured several musical heavies who regularly played in The White Hart . They released two classic & much sought after LPs, Lord Mayo and Aris. They built up a mercurial reputation for fiery Irish music. Later Kevin was a founder member of Carrig, an outfit which produced one LP. Kev has recorded with Maguire, Seamus Tansey and Ralph McTell who much admires Kev’s work. The Boyel family Kev also did some playing for The Ballet Rambert’s production of Sergeant Early’s Dream.
For while The Boyle Family were residents at Hammersmith’s Riverside Studios where they made many friends among the artistic community including on one memorable occasion Irish playwright and whistle player, Samuel Beckett.
As one who has played a lot with Kevin, he has a priceless ability to make everybody sound good.
This pervades his music and now his songwriting, his love of his fellow man and his care for the future as the father of daughters. In recent years he has thrown himself into the current affairs and delved deeply into the shadowy parts of politics and their masters. This surfaces on many of the songs on Palestine Grove which attacks the trivia obsessed press of 2009. His Randy Newmansque Death of Martin Isreal. Kevin also has a whimsical side, which we enjoy greatly at Coppeprlate ably demonstrated on Blue Sky Blue and Sunny Little Avenue his take on domestic utopia in Norwood. And Bon Cabbage in Catford.
These days Kev plays regularly with fiddle master and composer, Brendan McGlinchey, also a regular member of Give Me Your Hand a loose collection of session players much favoured by Guy Ritchie and his ex! But he is just as likely to turn up at your local session with guitars and banjo and quietly sit in.
Press Reviews
Kev Boyle
***
Palestine Grove BLUE SKY MUSIC
His gruff voice can make Tom Waits sound like a choirboy and his maverick songs dart erratically between the anger of the title track, moving narratives, charged anthems, adapted traditional tunes and a knockabout return to one of his best-loved songs Bon Cabbage, but this London Irish stalwart could be the British Isles’ answer to Tom Russell. Outstanding multi-instrumentalist Gerry Diver helps smooth the edges on an album brimming with character. Colin Irwin
R2 Rock ‘n’ Reel * * * Sept/Oct.09
When someone of Ralph McTell’s stature tells you that Kev Boyle’s songs deserve your attention, you listen. A kingpin of the London Irish music scene, Boyle’s been a little slow in following his cult 1997 classic, Bon Cabbage, but it’s been worth the wait.
Palestine Grove is a model of perceptive songwriting that radiates compassion for humanity and shimmers with a pure spirituality, nowhere more so than on The Walls Of Eden’ where’… earth is just and man is free/And every living soul can see/There are no walls in Eden’.
And then there’s lines On The Death Of Martin Israel’, a paen to the pathologist, former lecturer at the Royal College of Surgeons and a priest in the Church of England who passed away
in 2007. Or ‘Big Blue Train’, a contemporary take on ‘This Train Is Bound For Glory’ where’… the age that is awaiting/Might not be the one you see/For when Jesus comes the demon runs/And from the body flees’.
Boyle is a throwback to when the song offered hope in a cruel world. The same crusade indeed that McTell’s been on for close on five decades. David Burke
Fatea Magazine
Kev Boyle strikes me as a complex man with a raging spirit. I get the feeling that had he been born to another generation he would have become a renown poet or author, but he was born to a generation where music joined those words and his muse delivers songs. It’s a muse with a wicked sense of the world, because whilst all the words come from within, some of the tunes are borrowed, but you can’t fault the genius of doing a song called “Liar” to the tune of “The Battle Hymn Of The Republic”. “Palestine Grove” can be gritty, spiritual, emotional, it can’t be ignored.
The Irish World
London-Irishman Kev Boyle was the man behind Bon Cabbage, a cult classic of 1997 vintage, and now he’s back to make another statement with new release ‘Palestine Grove’.
Music, as the man says, is a great form of therapy. Surrounded by the sounds of traditional music from children, he has been a mainstay in the London Irish traditional scene for many years and was a founding member of the legendary Le Cheile.
Boyle began recording ‘Palestine Grove’ at weekends in 2008, in ‘The Tunehouse’, studio of talented multi-instrumentalist Gerry Diver. As a result, Drever can be heard on nearly every track on the album. Martin O’Leary’s bass makes an appearance in a few tracks, and Boyle’s daughter Lucy was roped into contributing harmonies to four songs.
The gravely, well-travelled and atmospheric voice that fans of Boyle will be all to familiar with is one that brings real tangibility and passion to each song, and also lends them a rough, Dylan-esque quality that works on both traditional and non-traditional tracks
Boyle also plays guitar and piano, and his fine group of fellow-musicians add faultless layers to a smoothly produced and eclectic set of songs, ranging from the light and upbeat (‘Sunny Little Avenue’ and ‘So Summertime’) to the slow and rousing. Boyle’s voice, of course, is not the only striking about this album, it’s the lyrics too.
‘Palestine Grove’ is the loving work of a man with a talent, not only for music but songwriting. He writes about the search for our soul, how we should treat our fellow humans. Each song is a little source of joy on this album, but Lines on The Death of Martin Israel’ took me to a special place; beautiful tune, beautiful lyrics.
‘Come All You’, a paean to youth and avoiding its trap-falls, is another quietly gorgeous track urging us to never stop dreaming; ‘Liar’ takes the listener into bluesy territory as we are drawn into the lonely world of an alcoholic, while the title track is a traditional number whose lethargic pace belies the unflinching message of the lyrics: ”We keep our peace and get on with our little lives/Abd close our minds and hide our eyes..’
From toe-tapping fun to heart-wrenching message, this album has all the hues of an album that grows on you the more you hear it, and which the listener will go back to time and time again; full of strong yet well-balanced musicianship and, often, moments of pure poetry. Shelley Marsden
WWW.NETRHYTHMS.COM
The Boyle family from Donegal have for many years been mainstays of the London-Irish folk music scene, latterly embracing residencies at Hammersmith’s Riverside Studios and even playing for
Ballet Rambert’s production Sergeant Early’s Dream. Throughout the 60s and 70s, father figure Paddy had inspired and encouraged his three children Kevin, Maggie and Paul, nurturing their undoubted musical talents. Paul (who sadly was to die young) was by all accounts a brilliant fiddler, and Maggie, whom we know from her many wonderful ventures including harmony trio Grace Notes, is one of the country’s finest singers and a flautist and bodhrán player of no mean stature.
Kevin, on the other hand, is a multi-instrumentalist who carved an early reputation as skilled (piano) accompanist for fiddle maestro Sean Maguire, moving on to become the driving force behind the fiery supergroup Le Cheile which was built around the talented musical regulars at Fulham’s White Hart. But I first encountered Kev’s music over ten years ago in quite another context, on his very unusual CD Bon Cabbage, which was (less than helpfully) credited to Movies CB (the initials somewhat perversely standing for Ceili Band, which the contents of the CD itself most definitely did not reflect
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Kevin Crawford – Carrying the Tune
Lunasa flute player releases new solo album
Carrying The Tune is the latest solo album by Kevin Crawford. A member of the internationally acclaimed traditional Irish music group Lunasa, the ace flautist and whistle player has taken time out from his busy touring schedule with the band to record this new disc in West Clare. The album also features John Doyle on guitar and bouzouki, bodhran player Brian Morrissey plus Mick Conneely on bouzouki. Recorded by Martin O’Malley at Malbay Studios, Carrying The Tune contains fourteen tracks and is a joyful romp through an eclectic yet seamless collection of tunes that are sourced from both the deep well of tradition and from more recent compositions by the likes of Paddy O’Brien, Donal Lunny, Maurice Lennon and Crawford himself.
Born in Birmingham, England to parents from Miltown Malbay, Co Clare, Kevin Crawford’s early life was sound-tracked by the resonance of the lively traditional music scene in the midlands city. Moving to Co. Clare in 1989, he soon became a pivotal member of the effervescent session trail in the Banner county before enhancing his burgeoning reputation in the group Grianan and the trio Raise the Rafters. He then propelled himself to international recognition with Moving Cloud, with whom he recorded Moving Cloud in 1995 and Foxglove in 1998. Kevin joined Lunasa in January 1997 for a tour of Australia and has been ever-present in the group since. To date, the instrumental quintet have eight albums to their credit while Kevin has released two solo records, V Flute Album (1994) and In Good Company (2001). He joined fellow band member, piper Cillian Vallelly for a critically acclaimed duet album, On Common Ground, in 2009. The innovative flute player has appeared as a guest on several albums, including singer Sean Tyrrell’s Cry of a Dreamer (1994) accordionist Joe Derrane’s The Tie That Binds (1998). and American singer-songwriter Natalie Merchant’s 2010 release, Leave Your Sleep.
A year earlier along with his four fellow members of Lunasa, he performed on The Leitrim Equation. One of Kevin’s latest side-projects is the formation of a new super-trio, The Teetotallers alongside John Doyle and fiddler Martin Hayes. They have an Irish nationwide tour mid January 2012.
The music on Carrying The Tune is loving embraced and made anew through the mastery of Crawford’s technical prowess in conjunction with an informed passion for tradition. The overall result is an exuberant celebration of Irish music in its most innovative form. With sympathetic and inventive accompaniment by Doyle throughout and occasional contributions by Conneely and Morrissey, Crawford’s flute and whistle playing creates inspiring music that’s full of surprises sophisticated and completely accessible all at once.
Also available from Copperplate BOR 001 Kevin Crawford & Cillian Vallely: On Common Ground
Press Reviews
TRADCONNECT
The virtuoso flute and whistle player Kevin Crawford has gifted us once again with a superb exposition of the finest in flute and tin whistle playing with his latest solo album ‘Carrying the Tune’. His last solo album was entitled ‘D’ flute album (1994) so perhaps it is no coincidence that this latest album now features Eb, C and Bb flutes.
The album comprises 14 tracks, each containing lesser known tunes (the Hula Hoop reel anyone?) that now demand to be added to the common repertoire. Reels, jigs, airs, horos (yes I said horos) and self-compositions make up the tracks. For the most part the music is energetic, rhythmic and full of pace. However with the tempo turned down we also get to be carried away with sensitive and haunting sounds such as in his whistle rendition of ‘ The Dear Irish Boy ‘.
Crawford’s Grinter flutes purr like a cat, giving us a master class in tightly controlled phrasing, ornamentation and surgically delivered crans. Although a predominantly flute album, it is the measure of the man that his whistle tracks are on equal basis in terms of musicality and technical genius.
Recording standards are also being pushed to new levels. On Slippery Slope a combination of double and treble tracking is used. On the first tune in the set he has double tracked a counter melody line on the flute which drops out for the second tune leaving room for the bodhrán to shine. The third tune kicks in with three flute parts, one main melody flute and two harmony flute tracks basically playing thirds and fifths whilst sticking to the exact same phrasing as the melody line. Ingenious stuff and worth the cover price of the album alone.
Kevin is accompanied for the most part by John Doyle ( guitar/bouzouki ) whose steady and faithful rhythmic playing is a joy in itself. The accompaniment on Double Barrelled deserves repeated listens for its syncopated rhythms, again setting new standards.
Accompaniment is also provided by Brian Morrissey (bodhrán) and Mick Conneely (Bouzouki). Crawford’s latest creation joins the canon of great Irish traditional flute albums and comes highly recommended.
The Living Tradition
If you expect this solo album to resemble edited highlights of Kevin’s Lunasa career, you’re about half right. Fluter extraordinaire though he is, and a defining element of the best band in Irish music for a long time, Kevin Crawford has taken a step back from that intense modern trad vibe. A gentler mood prevails through most of Carrying The Tune, a return to simple arrangements of time-polished melodies. Kevin carries the tune alone: strings and drums are provided by Doyle, Morrissey and Conneely, but the front line is just flutes and whistles. Nothing wrong with that, certainly, and there’s few people better able to fill an album – plus there are none of Kevin’s terrible jokes and stories here. Instead, every minute is packed with the finest of Irish music.
Mostly Irish, anyway. In amongst the compositions of Paddy Taylor, Paddy O’Brien, Pat McNulty, Donal Lunny and Maurice Lennon are two tip-top Scottish waltzes from
Cunningham and Campbell, together with a Bulgarian horo picked up in Brittany. Kevin’s own fine compositions feature strongly too, of course – but only five of them, as he makes room for many traditional favourites.
He has a lovely light touch on John McKenna’s, and a hefty punch for Tom Dowd’s. The slow air The Dear Irish Boy is deeply moving on Bb whistle, and the twin whistles on Flatwater Fran are a clear echo of that great Lunasa sound. Kevin pairs whistle and flute, flute and flute, and mixes the keys from B to F. Its all first rate stuff, with several outstanding moments: Michael Hynes’ jig The Smithstown Jaunt, Willie Clancy’s slide, the traditional Ivy Leaf.
Crawford leaves the best to last, I think, as the three final tracks include a pair of fabulous slow reels, two perfectly crafted Crawford pieces, and the happy joining of a classic Irish air with a grand old reel. No fanfares, no fireworks, just flawless flute. Enjoy. Alex Monaghan
Hearth Music Web Site
This album has exactly what you’d expect from Kevin Crawford: rare and carefully sourced tunes, impeccable playing on the Irish wooden flute and tin whistles, tasteful accompaniment, and a modern edge to an old sound. Crawford’s best known as the Irish fluter in all-star ensemble Lunasa, and though a few tracks here have the kind of angular modern arrangements that made Lunasa one of the best and most in-demand Irish trad bands on the planet, most tracks are subtle, tasteful performances of purely traditional music. Carrying the Tune is an all-flute/whistle album, which can get a bit tiring, but Crawford’s one of the few who can pull off an album like this and make every track sound refreshing and different. It helps too that he’s got John Doyle on guitar. Doyle’s got quite the Midas touch in Irish trad today; everything he touches comes out golden. Together Crawford and Doyle are a formidable duo, and if you’re a big fat Irish trad nerd like me, I know you’re waiting very impatiently for the album from the new super-group The Teetotallers, which features Crawford and Doyle together with Irish fiddle genius Martin Hayes. But until that drops (and until you start your own blog to get a promo copy), we’ll have to content ourselves with this album. Actually, rumor has it that this album was intended to be a Teetotallers album, but schedule conflicts kept Hayes from joining Doyle and Crawford. Anyways, we’ll take what we can get, and this is certainly more than we expected! The liner notes here track the source of each tune, and the tunes range the gamut of Irish tune families (including two nice waltzes!), so there’s a ton of great material here for the budding Irish musician. And throughout there’s such a genuine love for the music that it’s hard not to fall in love too. In short, this is the kind of masterful album one would expect from Kevin Crawford. –Devon Leger
www.folkworks.org
In 1989, a young man from Birmingham, England moved to Ireland in order to concentrate more fully on his passion for Irish traditional music and most specifically, on the wooden flute. Instilled with a love and appreciation of Irish music and culture from his Irish-born parents, he quickly settled into the local session scene and a few short years later released his first solo CD. That young man was Kevin Crawford and the CD entitled simply, ‘D’ Flute Album, quickly became a classic of the Irish trad genre and required listening for Irish flute players worldwide. Crawford went on to join the band Moving Cloud, with whom he toured and released two albums. In 1997, he was asked to join the band Lunasa, replacing departing flute player Michael McGoldrick. Crawford’s addition to the then up and coming supergroup marked a turning point in the band’s sound and he has remained a driving force in the group’s arrangements over 7 albums as well as their frontman in concert. In 2001, he released In Good Company, an album of duets with favorite fiddle player friends, and in 2009 he collaborated with fellow Lunasa bandmate Cillian Vallely for On Common Ground, a duo album featuring Crawford on flute and Vallely on uilleann pipes. During this time, he continued to refine and expand his playing and the many years spent on the road and in the studio are highly apparent on his most recent offering, released in February of 2012. Carrying the Tune marks Crawford’s first return to the true solo album format since 1994s ‘D’ Flute Album and the wait, while long, has been more than worthwhile. Teaming up with Irish guitar phenomenon John Doyle, Kevin Crawford proves once again why he is one of the top Irish flute players in the world, and why he continues to be such an influence on the current generation of young Irish musicians.
Originally intended to be a Teetotaler’s album (a trio comprised of Crawford, Doyle and fiddler Martin Hayes) the project was quickly revised into a solo album when schedules conflicted. Mostly recorded over the short span of a few days, Crawford and Doyle recorded their tracks together live and then picked out what they felt to be the best performances of each track for the album. Later some additional bouzouki, guizouki and mandola were added by Doyle, along with some flute and whistle overdubbing from Crawford and some additional rhythm work from Mick Conneely on bouzouki and Brian Morrissey on bodhran. For the most part the overdubs are spare and this combined with the short recording period and rich, warm production value gives the album a lovely intimacy that is often lacking in the great wealth of trad albums now being offered.
The opening set of reels, titled McHugh’s/Michael Murphy’s/The Humors of Tullycrine, immediately dispels any uncertainties about what kind of an album this is. Crawford and Doyle are in top form as they effortlessly plow through a set of reels featuring Crawford on the Eb flute, soaring above Doyle’s driving, syncopated guitar. Indeed, perhaps in a nod to his original ‘D’ Flute Album, there is not a bit of ‘D’ pitched flute to be found on this recording, replaced by C and Eb flutes and D, C and Bb whistles. These differences in pitch from the usual concert D flute allow Crawford and Doyle to play with some interesting textures and tunings for the accompaniment instruments which further adds a very different vibe to the proceedings.
2 Days, the second track, consists of two slip jigs written by Kevin and originally pitched as a set to Lunasa. Vetoed by the band, the version here begins with some gorgeous textures set by Doyle on bouzouki and guitar with Crawford playing whistle and later layering in flute on the second tune. Lucky, Lucky Day, the second slip jig in the set, is a stunning tune that I predict will be making the Irish session rounds in the very near future and the tight, tasteful playing and chordal progressions make this track worth the price of the album alone.
Autumn’s Apples/Cormac O’Lunny’s/Paddy Sean Nancy’s is a light, straight ahead set of reels showcasing the two musicians’ obvious delight in playing together as the flute and guitar call and answer one another through one tune variations after the other. How many of these little bits of the musical “conversation” were planned out and how many were happy accidents in the studio we will probably never know but it is a wonderful track that nicely showcases two master musicians at the height of their craft.
Flatwater Fran/Mrs. Jean Cambell BSC is a set of waltzes, performed by Crawford on several overdubbed low F whistles and a low Bb harmony flute. For fans of Lunasa, this is probably the track that is closest in sound to the band’s now famous “low whistle trio” arrangements. The first tune is a composition of Scottish accordion maestro Phil Cunningham. The second comes from the playing of Scottish piper Rory Campbell and was originally recorded by the band Deaf Shepherd. I had not heard the tune in years and was pleasantly surprised as it is one of my favorite waltzes, and both tunes are given a wonderful life and quality here by Crawford and Co.
On an album that features primarily flute and guitar, even well played music can quickly become stale if the same formula is repeated over and over and Crawford wisely finds ways to avoid this problem without ever losing the essential momentum of the recording as a whole. I have long said that Kevin is one of the Irish music’s premiere air players and on The Dear Irish Boy he takes up one of the big standard pipe airs on the Bb whistle, infusing the tune with his usual sense of melodic taste and emotional clarity. The result is a truly haunting performance, supported by sparse but perfect guitar accompaniment from John Doyle. The two then continue on with a set of darkly rhythmic jigs, The Hole in the Boat/Sally Sloan’s.
The Slippery Slope may take my vote for favorite track on the album. Finely textured guitar opens this set of slip jigs with Crawford leaping forward on both melody and harmony flutes. I have always appreciated musicians who, while talented, restrain themselves from the absolute craziness you know they could ascend to if they wished, and instead choose to implement that prowess for just the right moments. Crawford exercises that tasteful restraint here though you hear his energy and enthusiasm bursting at the edges of his music until the track hits the final tune (a traditional Bulgarian ‘Horo’). He then unleashes several harmony flutes and, along with Doyle’s lush chordal arrangements, builds the track in intensity until the satisfying climax.
Repeal of the Union is a set of reels starting with the eponymous old piping tune before switching into one of the nicest and most interesting versions of the Ivy Leaf I have ever heard. This particular reel is oft played by many pipers and flute players and Kevin presents an interpretation that combines elements of many different versions of the tune while adding in various aspects of his own inimitable style.
Della the Diamond is a set of three tunes written by Crawford, each for a member of his family (mother-in-law, sister-in-law and wife, Tracy, respectively) and it provides a wonderful example of his tune writing abilities. This is one of several tracks that feature bouzouki player Mick Conneely. Conneely plays a Greek bouzouki with 6 strings and his style is very reminiscent of Alec Finn’s classic approach to the instrument. You would think that his rolling, old school playing on the bouzouki would clash with Doyle’s very modern, syncopated style on the guitar but in fact the two very different accompanists mesh perfectly on this track, providing a sure and measured textural net underneath Crawford’s lilting whistle playing.
The Hula Hoop opens with a jig written for a neighbor and snooker rival of Kevin’s and it is another example of his gifts for hiding subtle musical ‘winks’ in his playing. The tune takes some unexpected variational paths, replacing legato phrasing with a staccato phrase here and there and is a testament to the sheer joy and love of playing that is inherent in this album. The set then shifts gear into a reel and churns along to the solid, neatly locked rhythms of Doyle on guitar and Brian Morrissey on bodhran.
The album ends appropriately with the air Ag Taisteal na Blárnan (Travelling Through Blarney) on the low C flute, once again displaying the ease and understanding with which Crawford presents slower melodies. The air is then followed up by one last reel in the form of the session favorite, Come West Along the Road.
Kevin Crawford has said that this album was meant to be primarily about musicality rather than showy technique, and this choice becomes more and more evident upon both first and repeated listenings. The technique and pyrotechnics are there, but they never get in the way of the melody and there is a excitement and playfulness to his music that grabs the listener from the first note. All in all, this album succeeds brilliantly because it takes no shortcuts in how it presents the material. Talented and inventive musicians with a deep respect for their craft and tradition coupled with a simple approach to the arranging and a stellar production make this CD a must have for fans of the genre and for Irish flute players especially. Zac Leger
Folkworld 47
Kevin Crawford of Lúnasa fame is taking a break from the band’s hectic touring schedule. Together with the help of John Doyle on guitar and bouzouki and occasionally Mick Conneely on bouzouki and Brian Morrissey on the bodhran, Kevin recorded 14 tracks that weren’t meant to become part of Lúnasa’s repertoire, though I see no reason why not. It’s a party, it’s fresh and innovative as we knew it from Lunasa – though more stripped down here, of course. I love the nice slip jig set of Maurice Lennon’s “La Ollamh” and Donal Lunny’s “Lucky Lucky Day”. There’s a pair of lovely waltzes, Phil Cunningham’s “Flatwater Fran” and Rory Campbell’s “Mrs Jean Campbell (BSC),” and before finishing off Kevin throws in a couple of his own original jigs. The highlight though is in the middle of the album, the song air “Dear Irish Boy” followed by two jigs with a total lenght of seven minutes. For sure, Kevin Crawford can carry a tune. Great traditional Irish music, not only for flute afficionados!
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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 -
Luke Daniels – The Mighty Box
Since releasing my first solo album Tarantella in 1994 I have made many different recordings but began to feel the need to make another record of my accordion playing after starting to explore the interesting possibilities of an A and B flat tuned keyboard. I have not changed any of the keys of the tunes on this record but instead, have enjoyed using a range of new fingering patterns thrown up by thinking a tone higher than normal to produce the old notes.
I recorded the tunes with Junior Davey over two days at Doolittle recording studios Co Sligo in a playing marathon I am unlikely to repeat. As a result the playing is raw, spontaneous and full of life. I’m especially grateful to the contributions of Seamie O’Dowd and Dennis Cahill whose accompaniment and musicianship helped turn this feast of Irish accordion playing into a wonderful listening experience.
Press Reviews
www.liveIreland.com
Luke Daniels is one of our favorite button box players in the world, and has been for some time. He is out with a fabulous double album, entitled The Mighty Box. We first heard him years ago with the iconic, Reeltime. He stayed with us here in Chicago, and we also met him in Ireland for a couple nights at Reeltime founder, Chris Kelly’s home. Magic memories, now lost in the veil of history. At that time, he had been selected by the BBC as Young Musician of the Year. That was many years ago (enough that it would be indelicate of you to ask what specific year) again, all lost in the veil. However, he has gone on to wonderful things since then. He is a master of the traditional form and is also extraordinarily creative at the same time. An extremely gifted musician. If you love Irish button box, this album is a must. Be aware that there are stretches of trad perfection, accompanied by brilliant modern touches. This is magic. This is Luke Daniels. This is the best. Wow! Let us repeat, Wow! Bill Margeson
The Living Tradition Jan/Feb 2012
The title is a suitable description for the elegantly constructed white box housing the two CDs constituting this amazing magnum opus from accordionist Luke Daniels. The statistics themselves are astonishing to anyone familiar with recording work. 71 tracks (compiled from traditional Irish music manuscript collections, other contemporary musicians’ sessions and recorded output, and eight of Luke’s own compositions) amounting to almost 110 minutes of music recorded over two days at a studio in County Sligo in, as Luke self-confessedly, and perhaps unsurprisingly, puts it, “a playing marathon I am unlikely to repeat!”
The wide assemblage of tunes embraces strathspeys, reels, jigs, slip jigs, hornpipes, slides and other Irish tunes spanning over three centuries and resonant with wider Celtic echoes, Cape Breton in particular. The pieces, each of which is described in detailed tune notes based on research at the Traditional Music Archive in Dublin, are organised in an array of 24 tune sets that must assure Luke’s perpetual place in the pantheon of great box players.
Consistent agility, fluidity and dynamic sense characterise his playing of a button accordion with the keyboard tuned to A/Bb allowing him to present the traditional tunes in conventional keys but using intricate fingering patterns that provide a refreshing originality. His playing forms the foreground of a beautifully balanced soundscape with, equally consistently, excellent and empathetic accompaniment from, in the main, Seamie O’Dowd (guitars – steel strung, 12 string and resonator; harmonica and fiddle), Junior Davey (bodhran) Dennis Cahill (guitar and cittern) and Rick Foot (double bass). The recording has a very live feel and is of such a clear quality as to suggest the musicians are in the room playing for you!
This album is a truly great achievement by this ever imaginative, interesting and versatile player imbued with an innate sense of Irish traditional music and the wider Gaelic tradition but open to contemporary ways of reinterpretation and arrangement. Personally, I’ve a modest interest in the button accordion as an instrument but found myself in no way tired or distracted at relentless exposure to so much instrumental tune music. The intricate melodic detail and rhythmic intensity of the music is both magnetic and compelling; indeed I challenge anyone to listen to it and sit still! Kevin T Ward
Irish Music Magazine
There’s so much to absorb in the latest release from the highly accomplished box player Luke Daniels. The Mighty Box encompasses a staggering seventy one tunes in its double CD format that are an amalgamation of his own compositions, session derivatives and tunes sourced from traditional music archives. His Doug Briggs crafted accordion tuned to A/Bb explores intricate fingering structures that toy with the traditional in a fresh and invigorating manner.
This successful experimentation is strengthened by the able accompaniment of guitar stalwarts, Seamie O’Dowd and Dennis Cahill, Junior Davey on bodhran, bass player Rick Foot, percussionist, Gigi Bioclati and Victor Nicholls on tuba.
Each a master in their field, the album illustrates their ability to enunciate with precision whilst ensuring each tune flows to its own pace. A great example of this being the Australian Waters set where strings, percussion and box merge together with rhythmic clarity. Style and range are a standout in the Doodley Dank set where slip jigs surge into a slide taken from the playing of Sliabh Luachra box player Johnny O’Leary. I’m drawn to the variation in tracks ranging from the use of harmonica which, along with all the instruments, provides a funky introduction to the Rainy Day set contrasted with the subtleness of instrumentals partnering Daniels expertise on a lovely set entitled Patsy Geary’s Doberman’s Wallet.
The standout of this double CD is the fact that with so many tunes to immerse yourself in, with one instrument as the common thread, your attention could dissipate yet Daniels engages with a variety of style, ornamentation and contrasting instrumental accompaniment whilst showcasing his obvious expertise on the box throughout.
The Mighty Box is the work of a mighty box player. Enough said! Eileen McCabe
£16.99
