Tin Whistle
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Peter McAlinden – Happy to Meet, Sorry to Part
In last year’s festival Peter gave an exciting performance on tin whistle as a guest of Karen Tweed and he returns this year to launch his debut album on tin whistle, accompanied by Pete Quinn on piano. He is dedicating this recording to the memory of his parents Jim and Kitty McAlinden and Kathleen Murray.
Peter McAlinden won the Senior All-Ireland title on the tin whistle in Buncrana, County Donegal, in 1979. Thirty-one years on, having just passed the milestone of fifty, he has made this recording using a favourite old “generation” whistle in the key of D.
Deeply touched last year by the loss of two enormously influential figures in his life – his mother Kitty McAlinden and his musical mentor and friend Kathleen Murray – he has found himself on a journey back to his musical soul and roots, the result of which is this solo recording.
Peter McAlinden is one of a rare breed of people whose way of being reminds me every day why I play music. Peter is, amongst my generation, a well loved and highly respected musician – his technique, phrasing and choice of tunes is second to none… but it’s how he thinks about music, people and life that transcends everything and, in turn, makes his music so great. His tin whistle playing and superb humour were, and still remain, one of my greatest and earliest influences. I was overjoyed when Peter told me of his plans to make this album and touched by his wish to dedicate it to the people that meant so much to him. Lovers of traditional Irish music can now enjoy this long awaited debut recording that showcases Peter’s virtuosity on the tin whistle. Karen Tweed August 2010
‘Happy to Meet, Sorry to Part’
To say that this debut album from Peter McAlinden is long awaited could be considered understatement of the year. Since winning the senior All-Ireland tin whistle competition in 1979, Peter has been a highly regarded figure on the London Irish music scene both as a whistle and piano player. Dedication to his teaching career robbed him from us for too many years, but I’m delighted to say that he has recently returned to the scene with a bang. Many musicians and listeners are discovering him for the first time, and it’s hugely enjoyable to watch their positive reactions to his music. His enthusiasm for the music, as well as his ‘joie de vivre’, is completely infectious – he’s a great man to have around.
This album captures all that is great about Peter’s tin whistle playing – beautifully executed rolls, cuts and trebles with amazing fingerwork throughout (and a few sneaky staccato trebles thrown in), breath control which defies the laws of physiology, and gorgeous variations without ever losing sense of the tune.
It is apparent that a lot of thought has gone into this album. The tune playing is immaculate and the chordal accompaniment is perfectly tailored to each piece. The dance tune tracks are full of uplifting and crisp changes from the two Petes, and yet the album also manages to capture the spontaneity of two great musicians just bouncing off each other’s playing, making for some very exciting music.
Tunes featured on the album include Peter’s own fresh interpretations of the classics (see track ? in particular to make you fall in love with the Salamanca all over again) and some obscure gems. Peter is unashamedly fond of Reels, but the album has a healthy dose of other types of tunes and the final track (Star of the County Down) is testament to his mastery and absolute feel for a traditional tune no matter what the time signature.
For any young (or old) players looking for inspiration in their whistle playing – look no further. In fact, for any traditional Irish music enthusiast this album is a must for the collection. Karen Ryan, Return to Camden Festival Director.
New Friday night session starts at Keenan’s on Fri 4 February with Paddy Egan (concertina), Peter McAlinden (keyboard/whistle/flute) and friends
Keenan’s Bar, 87, Colney Hatch Lane, Muswell Hill, London NW10 1LR tel 0208 883 7174
Press Reviews
Musical Traditions web site
London born Peter McAlinden is one of five children of Irish immigrants. His early interest in Irish traditional music was encouraged by a neighbour Kathleen Murray who taught Peter his first tunes and introduced him to many of the musicians associated with the heyday of Irish music in London, such as Danny Meehan, Bobby Casey, John and Julia Clifford and Raymond Roland. Peter drifted away from the music in the early 1990s and has only recently returned to playing. On this CD he plays a selection of old and new tunes on the tin whistle accompanied by Pete Quinn on piano.
From the opening bars of the Concert reel it’s obvious that Peter McAlinden is a confident and tasteful whistle player. The pace is steady, the rolls are crisp and there are nice subtle melodic variations. Peter also shows he has studied the classic recordings and adds his acknowledgement of the legacy of the greats in his tasty interpretation of The Boys of the Lough and The Woman of the House, both following Coleman’s variations while putting his own slant on the tunes. He does the same later with The Salamanca, although the treatment of Dr Gilbert in the same set somehow fails to raise the excitement of the Coleman original. Maybe too many rolls smooth out the spikiness of the reel or it just doesn’t translate well from fiddle to whistle.
There are three slow airs on the record. The stand out track is a lovely version of Anach Cuan learned from Seamus Tansey. There’s a lot of reverb of this track but it doesn’t distract too much. Peter follows the air with a Sligo jig, The Killavil but then makes an awkward change into a reel. This reviewer isn’t keen on mixing time signatures, a lesson learnt long ago from Julia Clifford, and while it’s a nice effect to follow an air with a dance tune, adding a reel seems a bit contrived. The last track, played in tribute to Peter’s mother gives the Star of the County Down a similar treatment as hornpipe, jig, and reel follow the original air. Peter’s playing of the Coolin, while faithful to the ancient setting just sounds a bit too syrupy for today’s audience.
Generally, Peter plays an interesting mix of jigs and reels through the record with one set of hornpipes and one of slip jigs. The Sligo roots of his teacher come through in the selections but there’s enough borrowings from Clare and Galway to show a wide repertoire and eclectic taste. The jig called Tom McElvogue’s and credited as Tom’s composition is very popular with the younger set of musicians as it offers scope for a lot of syncopation. Peter’s version is clearly the regular setting and dates back to his days with St Colmcille’s Ceili Band. The young bucks should take note!
The whistle does not always sound in tune with itself and it’s the same Generation whistle played throughout. An hour of whistle playing could get a bit tedious but here Pete Quinn’s piano accompaniment successfully creates varied moods and feelings on each track, with the odd tune played one time through before he comes in.
The accompanying booklet has a bit a family history and background and short notes about each selection of tunes. It’s not unusual for musicians to be stuck for a name for many of the tunes they play but it’s a pity Peter didn’t have anybody to check tune titles with, as many of the selections are named after Peter’s source but some have more familiar names. Josie McDermott’s is usually known as Devanny’s Goat and Conway’s is Old Joe’s jig. This record would be a great source for somebody learning Irish music to get some good solid settings and having the right names is helpful.
Overall this is a well produced record that deserves a wide audience. Currently available through Copperplate, it’s a worthy tribute to Peter’s parents and his mentor. Ken Ricketts and Marya Parker
R2 Rock’n’Reel
It’s a simple question: do you like Irish whistle playing? If the answer’s no, just move on nothing to see here. If, on the other hand, you’re a devotee of that high, soaring beauty, here’s an album that will very delicately blow your socks off.
With sympathetic, rhythmic piano by Pete Quinn (London Lasses) the only accompaniment, there is a decidedly ‘old-fashioned’ feel to the performance, which makes this selection as charming as it is dazzling, as McAlinden shows just what the humble tin whistle is capable of.
Breath control and fingering are masterful throughout, whether on the dizzying ‘Limestone Rock’/’JosieMcDermott’s’or the eloquently plaintive ‘An Coolin’. But the real mastery here is that it’s all unobtrusive, with nothing about McAlinden’s playing that’s just showy for its own sake.
No, this is an album that’s all about the tunes; and what tunes they are, polished up like a newly painted wagon heading off down the lane on a bright summer morning. Happy to meet, indeed, but I think I’ll pass on the parting and just jump on for the ride. Oz Hardwick ****
www.liveIreland.com
Happy To Meet and Sad To Part is the new album from master whistle player, Peter McAlinden from Ireland. The tin whistle can either be a lovely thing altogether, or a curse from God. Depends, like everything, on the player. When Copperplate and Alan O’Leary tell us someone is great our ears perk up. Again, he is right. This guy is a lovely, lovely whistle player with great taste and phrasing. A big selection of some of the great trad tunes here. You might just sort past another whistle album in your Irish music hunt. That would be a mistake with this album. Wow, can this guy play! Peter McAlinden is going to get a LOT of fans with this one. Count us as one of them! Mary Bergin, watch out!! Bill Margeson
Taplas, The Welsh Folk Mag. Feb/March 11
London Irishman Peter McAlinden was an All Ireland champion on whistle in 1979 and is a stalwart of the city’s session scene. Rather sentimentally presented in the liner notes as a tribute to his late parents and a musical mentor, the album is a kind retrospective tour through an extensive traditional repertory, endearingly all played on a favourite old Generation D whistle (in the process illustrating both the strengths and weaknesses of that instrument – sweet, mellow sound, clarity of response to fingering, but occasionally distractingly dodgy intonation!).
Pete Quinn’s keyboard accompaniment is unobtrusively supportive but, with such restricted forces, the album is a trifle monochrome for uninterrupted listening, despite Peter’s musical and technical dexterity. It would be a fine resource for tune learners and would-be whistlers, with many well known tunes executed in a clear and exemplary fashion. Jem Hammond
Irish Music Magazine
This CD has subconsciously become my travel companion. It is instinctively reached for when a musical interlude is needed. It’s easy listening at its very best and all instigated through the scratchy meanderings of a well-worn Generation whistle. Peter McAlinden is a former All-Ireland Champion of the whistle (1979) and, like so many, chose a teaching path rather than pursuing a career in music. Thankfully, over thirty years later, after a stint with Karen Tweed at the Return to Camden festival and the poignant passing of his mother and mentor, a decision to share his undoubted talent was made and the result is Happy to Meet, Sorry to Part.
I’m straight away drawn to a haunting lament on track four entitled Anach Cuan which echoes evocatively then settles smoothly into the Killavil jig. The supplementary key stirrings of the piano are ably administered by Pete Quinn of London Lassies fame and as he jauntily steers the chords into The Morning Dew, McAlinden picks up pace and implements the notes with stylish ease. Touch me if you Dare ambles into Peter’s self penned tune Ambie’s Favourite named for Galway fiddle player Ambie Whyms and these invigorate and charm. The grand finale of Star of the County Down flows through an amalgam of timing as it’s played as an air into a march, a jig, a reel then back to an air and fading until only a whisper of audible contentment is left.
There are eighteen tracks to peruse which are packed with tune renditions that define familiarity. This CD will be a welcome addition to any collection as, it’s evident from listening, that there’s a character in that whistle and the man who plays it. Eileen McCabe
www.netrhythms.com
Before comparatively recently, Peter’s name may not have sparked recognition in anyone, even those involved in the wider Irish music scene, except perhaps for those with long memories. His early introduction to the London Irish music scene (in the milieu of which he grew up) culminated in 1979 by his winning (while still in his late teens) the Senior All-Ireland title on the tin-whistle, then proceeded to devote his life to teaching, becoming “lost to academia” for the best part of the ensuing 30 years.
However, last year the death of two enormously influential figures in his life – his mother Kitty and his musical mentor and neighbour Kathleen Murray – coincided with an invitation from Karen Tweed to perform at the Camden Town Irish music festival, and Peter’s dormant musical muse was rekindled; spurred on by the success of that concert and pleading from fellow-musicians, Peter has now recorded this CD with the help of that London-based doyen of the capital’s Irish music scene Pete Quinn. This redoubtable gentleman, best known hereabouts for his work with the London Lasses, brings the benefit of his keyboard expertise to accompanying Peter’s tin-whistle on a generous collection of 18 sparkling tracks that breathe abundant life into assorted tune-sets that pair reels, jigs or hornpipes with each other, interspersed with the occasional air or set-dance.
As Peter says in his booklet notes, these traditional tunes have, it appears, been around for ever, but they sure retain their charm in his confident yet affectionate and committed renditions that retain that essential twinkle in the eye. His playing is admirably fluent and never seems breathless, thoroughly musical at whatever pace he adopts – which to his eternal credit is not at any time showily over-fast! Measured in the most delightful and lively way, while taking inspiration from many of the classic interpreters of the tradition (I rather liked his way with the Michael Coleman tunes on track 3 for instance). Peter’s playing is always tasteful, and often quite masterly. And Pete’s keyboard work is complementary in its subtlety, in its own right conveying both sympathy with the inflections and phrasings of the tin-whistle and its player, and a feeling for the contours of the music itself that allows for sensitive nuances alongside of the main instrumental focus or principal melodic input.
I’d be the first to admit that the restricted palette of the two musicians might seem a touch unvaried – this would be unavoidable whatever the calibre of the musicians involved – but the balance is always ideally judged, the recording given an intimate presence (the whistle doesn’t pierce your orifices!), and then playing contains sufficient intrinsic contrast to satisfy within the sequence of tunes presented. For the slow airs, Mr Quinn departs from the “pure” piano and instead provides understated keyboard chordings and embellishments: no more is needed. I do feel the keyboard tone encourages a touch of over-sweetness in intonation on Peter’s part at times, though. There’s a touch of low-key doubletracking of keyboard parts here and there, but nothing at all obtrusive.
Economy is a watchword in the performances generally, for no individual track lasts longer than three-and-a-quarter minutes, and the vast majority clock in at well under three minutes – with one exception, a 4:56 rendition of The Star Of The County Down which Peter presents in the form of a fantasia that metamorphoses from slow air through jig and hornpipe to fleet-footed reel and then back to lament in its thematic treatments; this latter track forms a poignant tribute to Peter’s parents, and a fitting close to the album.
I’m not always convinced by the juxtapositions of different rhythms within a given set – some instances where reel follows jig (such as The Morning Dew on track 4) seem a touch forced – but on the whole the groupings are sensibly coordinated by the two musicians. But there’ll be no argument that the music on this disc is still beautifully played and impeccably registered, and the two musicians are evidently completely in tune with one another and their craft; thus it proves impossible to find fault with that aspect of the disc (I’ll pass that task over to the hard-core specialists in this genre, but I suspect it will be a tough challenge). Peter’s own booklet notes are friendly and companionable, and provide some delightful personal-historical anecdotes amidst the informativeness, although some of his choices of tune namings may puzzle the aficionado. David Kidman January 2011
Earle Hitchner’s Top 30 of 2010 in The Irish Echo 20.1.11
“Happy to Meet, Sorry to Part” by Peter McAlinden (self-issued): All-Ireland senior tin whistle champion of 1979, McAlinden steps out of his long-term role in London academia to fashion this stirring debut.
The LivingTradition
A very handy whistle-player in the Irish style, Peter McAlinden was a stalwart of the London session scene many years ago, and has come back to the music in his forties. He puts his heart and soul into this album, recorded and accompanied by Pete Quinn. I’ve played in a few sessions with Peter, and heard his solos in a couple of concerts: he has a very nice touch, without the pyrotechnics of younger players. His music deserves to be recorded and widely heard, and here he trots out a fine selection of old reels and jigs with the occasional slower number.
There are two remarkable things about this CD. One is that Peter sticks to the old brass Generation whistle throughout – so much so that Pete Quiinn’s grand piano had to be retuned for the recording to the slightly sharp pitch of this humble instrument. Peter copes skilfully with the shortcomings of the Generation, compensating for its inconsistent tuning and getting the best from its limited dynamics, to give a very good account of this whistle’s potential – as a result, his debut album has a very seventies feel, early Chieftains or Mary Bergin perhaps, emphasised by the choice of material.
The material is hardcore traditional Irish. There isn’t a tune here I didn’t recognise instantly, many from classic seventies and eighties recordings, with the exception of Peter’s own reel Ambie’s Favourite. Reels and jigs are in the ascendant: The Concert Reel, Molloy’s Jig, Woman of the House, The Killavil Jig and The Morning Dew all feature on the first four sets of this eighteen-track disc. Many of the pieces here are challenging for any whistle-player – Lucky in Love, Sweet Biddy Daly, Dr Gilbert’s and others, but Peter McAlinden makes them his own without apparent difficulty. I can’t say this CD is technically perfect, but the occasional wobble or overblow is more than made up by the warmth and joy in Peter’s playing, and his breath control in particular is exemplary.
The second remarkable thing about Happy to Meet, Sorry to Part is the minimal accompaniment. Pete Quinn does a great job on piano and keyboards, but his discreet chords and runs are all the backing the whistle gets – or needs, for McAlinden’s music holds the ear throughout. The slower pieces are perhaps the test case: Anach Cuan and the great slow air The Coolin are beautifully played, and the set dance Piper in the Meadow Straying vies with a pair of old hornpipes for the most evocative track here. Peter ends this impressive CD with a virtuoso version of Star of the County Down – played as an air, a march, a jig and a reel. The notes are also excellent, informative with many personal touches. I’d recommend this release to any whistle-player, and I’m hoping to hear a lot more of Peter McAlinden in the near future.
Alex Monaghan
The Irish Post 25.12.10 Joe Giltrap reviews the best of folk and roots CDs
I must confess that I had not come across tin whistle virtuoso Peter McAlinden before I heard this CD – his first release but hopefully not his last. I have long been in awe of people who can produce such fantastic music on this humble instrument because I have tried and failed miserably. Anybody who has ambitions to play the tin whistle should get inspiration from this recording. It is indeed magical.
Peter is a former senior All-Ireland whistle champion (1979) but a teaching career then took priority and his musical talent went on the shelf. However, the loss of two of the most influential people in his life, his mother and his musical mentor Kathleen Murray, was the catalyst for his return to his musical roots and this CD is the result. Peter is joined on the album by his special guest Pete Quinn on piano and keyboards, signed on loan from The London Lasses, who provides a perfect complementary backing.
Picking out favourites from an album like this is always difficult but if forced to do so then the two tracks I would have to select are An Coolin and The Star Of The County Down. The latter is a great arrangement that starts off like a slow air, showing just what a beautiful melody it is in the hands of an expert, before gradually picking up a gentle lilt and then into jig time and reel time ‘ before fading out as a slow air – simply masterful. A great album from a great musician. Joe Giltrap
FolkWords man
Album Reviews
Happy to Meet, Sorry to Part
(December 01, 2010)
Just occasionally you hear an album that grows on you from the first until you find it’s one you fall back on whatever your mood, ‘Happy to Meet’, Sorry to Part’ is one of those albums. This gem from Happy to MeetPeter McAlinden is dedicated as his tribute to his parents, Jim & Kathy McAlinden and Kathleen Murray. It’s a tribute that engages, enthrals and captivates – what more need to say?
As well as the superb talents of Peter on tin whistle, Pete Quinn joins in on piano and keyboard. And if at that point anyone thinks that this is a simple collection of music, think again. In Peter’s hands the tin whistle takes on giant stature and delivers a depth and power beyond all expectation.
There are 18 tracks on the album and each one stands proud and strong as it takes its turn. The understanding and skill on display here is awe-inspiring as the tunes leap and swirl from reel to jig through air to dance. ‘Anach Cuan, Killavil Jig and the Morning Dew’ opens with the haunting air Anach Cuan, followed by the jaunty Killavil jig and then the Morning Dew – these tunes have never blended so well. There are some fine collections of reels on this album but ‘Limestone Rock and Josie McDermotts’ is pure pleasure to hear, as is ‘Touch Me if You Dare and Ambie’s Favourite’ – pairing the first with one of Peter’s own tunes. Alternatively, if jigs are your medicine then ‘Happy to Meet and Sorry to Part and Paddy Taylor’s’ will both raise your spirits and add a tear to your eye, while ‘Jim Donoghue’s and Eddie Moloney’s’ skip and leap its way into your soul.
This album is a masterpiece of tin whistle. It will without doubt become the standard by which any other tin whistle-driven album will be judged. And that’s only right too. It’s also a personal journey that we are privileged to share. It’s released on 13 December — you should buy it … go to www.copperplatemailorder.com
£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 GeantraÃ. 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.
MÃcheál Ó Raghallaigh hails from a musical family in County Meath. He has played concertina and accordion from an early age. MÃcheál 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 Céilà 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 Céilà Band. She has toured England, USA and Australia extensively with Comhaltas Ceoltóirà 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 –Â 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
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The London Lasses & Pete Quinn – By Night and By Day
And now their fourth album, By Night & By Day (2010), in Brian Rooney’s opinion, ‘their best yet’ pays tribute to their 10-year anniversary with the addition of Elma McElligott (Flute player) and Brona McVittie (Vocalist, harper), who joined Karen Ryan and Elaine Conwell (Fiddlers), Maureen Linane (Accordion player) and Pete Quinn (Pianist) two years ago at the 10th Return to Camden Town Festival. The band is now very pleased that for the first time in its history all members are London-based.
The London Lasses and Pete Quinn have toured Germany with the St Patrick’s Day Celebration Festival, performed the first ever ceilidh in the Royal Albert Hall as part of the BBC Proms, and played at Ireland’s longest running folk festival, Ballyshannon. They have brought their unique sound to some of the world’s most prestigious festivals and concert halls including Cambridge Folk Festival, the Concertgebouw (Amsterdam), Glastonbury, Philadelphia Irish Festival and Sidmouth International Festival.
In addition to featuring on the 3-CD box set Beginner’s Guide to Ireland (Nascente, 2005), the band has appeared on UK and Irish TV including Backstage (BBC Choice), Ardán and Geantraí (TG4), plus a memorable turn on EastEnders (BBC1).
Described by Irish Music Magazine as ‘one of the best bands on the scene today’, The London Lasses and Pete Quinn have released three critically acclaimed albums:
* Enchanted Lady (2007) :: ‘a well-balanced helping of first-class Irish music’ Irish Music Magazine Available from Copperplate, click here
* Track Across the Deep (2003) ‘The London Lasses and Pete Quinn’s emergence is vitally important, acknowledging a forgotten voice in Irish music and rebirthing it magnificently’ fRoots. Available from Copperplate, click here
* The London Lasses and Pete Quinn (2000) ‘One of the most remarkable releases of 2000
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Tim Dennehy – The Blue Green Door
Press Reviews
‘The land and lore of his native Kerry and adopted County Clare predominate in songs that are powerfully rendered and intensely felt’. (Irish Times)
‘Tim Dennehy’s rendering of any song would bring a chilling hush to the wildest session. A gem for song collectors everywhere’. (Irish Music)
‘Here is a voice as velvety as the best Irish stout. He produces some moments of breathtaking beauty, especially in his magnificent version of, Be Still as you are Beautiful ‘. (Rock N Reel)
‘There are few better singers than Tim Dennehy in Ireland today- a fine singer of splendid songs’. (Folk Roots)
‘These thoughtful and reflective songs help to contribute to an interesting and varied offering from one of the best traditional singer-songwriters of the present time’. (The Living Tradition)
‘Whether you are interested in learning some new songs or just want to hear one of the finest singers in Ireland today, don’t miss Farewell to Miltown Malbay ‘. (Dirty Linen)
Net Rhythms Web Site March 2003
For the reviewer who’s also a keen explorer, coming across any performer for the first time can be as worthwhile as welcome, and listening to Irish singer Tim’s four (to date) CDs has been one of the most pleasurable experiences of the past few months for me – so much so, in fact, that review of his latest, The Blue Green Door, has been delayed while I’ve continued to make fresh discoveries in Tim’s previous three releases.
The album’s rather wordy subtitle (Traditional And Original Songs Of Love, Loss And Longing, volume 3) is a most accurate depiction of its contents, in fact, though the apparent matter-of-fact driness of this erudite tag shouldn’t put you off, for this (like its predecessors) turns out to be a most appealing and stimulating collection of material, much of it completely new to me – indeed, I think it’s probably the best of the four.
Essentially a Kerryman, Tim was born Ballinskelligs; he lived in Dublin for a while, then in 1989 relocated to Co. Clare, releasing his first (then cassette) album, A Thimbleful Of Song. Tim’s one of those singers of quiet accomplishment, with a smooth tone and enthralling yet subtle delivery and a relaxed, though perennially sensitive approach to phrasing – a description which might well bring to mind Seán Keane
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