Uilleann Pipes
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Cillian Vallely & Kevin Crawford – On Common Ground
Cillian Vallely.
Starting at age 7, Cillian Vallely learned the whistle and pipes from his parents Brian and Eithne at the Armagh Pipers Club, a group that for over 3 decades has fostered the revival of traditional music in the north of Ireland. Since leaving college, he has played professionally and has toured all over North America and Europe in addition to Japan, Hong Kong and Australia.
Since 1999, he has been a member of the band ‘Lunasa’, with whom he has recorded 5 albums and played at many major festivals including Womad, Edmonton Folk Festival and The Hollywood Bowl. He has also performed and toured with ‘Riverdance’, Tim O Brien’s ‘The Crossing’, New York-based ‘Whirligig’, and the ‘Celtic Jazz Collective’. He has recorded on over 40 albums including ‘Callanbridge’ with his brother Niall, and various guest spots with Natalie Merchant, Alan Simon’s ‘Excalibur’ project with Fairport Convention and Moody Blues, ‘GAIA’ with the Prague Philharmonic and Karan Casey. He has recently recorded on two movie soundtracks, ‘Irish Jam’ and ‘Chatham’ and played pipes on the BBC’s ‘Flight of the Earls’ soundtrack.
Kevin Crawford
Born in Birmingham, England, Kevin Crawford’s early life was one long journey into Irish music and Co. Clare, to where he eventually moved while in his 20’s.
He was a member of Moving Cloud, the Clare-based band who recorded such critically-acclaimed albums as Moving Cloud and Foxglove, and he also recorded with Grianán, Raise The Rafters, Joe Derrane and Sean Tyrrell and appears on the 1994 recording The Sanctuary Sessions.
Kevin now tours the world with Ireland’s cutting edge traditional band, Lúnasa, called by some the ‘Bothy Band of the 21st Century,’ with six ground breaking albums to their credit; Lúnasa, Otherworld, The Merry Sisters of Fate, Redwood, The Kinnitty Sessions and Sé. A virtuoso flute player, Kevin has also recorded two solo albums, D’Flute Album and the more recent In Good Company.
Press Reviews
2010 TIR AWARDS in The Chicago Irish Newspaper
Instrumental CD of the Year: On Common Ground
There are those who would argue that Kevin Crawford of Lunasa is the best trad flute player in the business. That is a sustainable point. He and his musical partner, Cillian Vallely, uillean piper supremo, (also of Lunasa) released a gorgeous, perfect gem of a thing this year, entitled, On Common Ground. Incredible. If you love real
Irish music, and you DO—(elsewise how did you get this far in the article?)—this is a must have album. We don’t have space here for it all. There are 12 cuts on the album, covering a bunch of tunes. It is brilliant. THEY are brilliant. YOU will feel brilliant when you hear it. Go get it. Hear it. It IS Irish music. At its best.
This is a classic. Big time. Bill Margeson
2009 TOP 10 Trad Releases in CEOL Column in The Irish Echo, New York City Newspaper
#3. “On Common Ground” by Cillian Vallely and Kevin Crawford (self-issued; BallyO Records BOR 001).
Two members of Lunasa, still the best all-instrumental band in Irish trad today, venture out for a duet recording, and it’s a dazzler. Born in Birmingham but a resident of Clare since 1989, flute, low whistle, and bodhran player Kevin Crawford and Armagh-born, Woodside, N.Y., resident Cillian Vallely on uilleann pipes and low whistle perform music that’s fluid and full-blooded, with a trace of sharpness to avoid any simpering sweetness. Their initial twin low whistle playing on the jigs “The Ivory Flute
/ Straddle the Donkey / Visit to Ireland” incorporates subtle variations and flourishes to keep the musical pot simmering, and the eventual entry of Vallely’s pipes adds to the track’s piquancy. The duo maintain a tempo that’s dynamic without being too fast or too slow, allowing ample opportunity for embellishment and spontaneity in the service of melody. “On Common Ground” is a pinnacle performance from Cillian Vallely and Kevin Crawford, two uncommonly gifted Irish traditional musicians.
Earle Hitchner
Irish Music Magazine
Two of the most well-known musicians on the Irish music circuit, flute player Kevin Crawford and uilleann piper Cillian Vallely, announce the release of their exciting new album, ‘On Common Ground’. A couple of years of researching tunes in between a heavy schedule of band commitments has directly led to this recording from Lúnasa’s powerhouse melody makers.
Born in Birmingham, England, Kevin Crawford’s early life was one long journey into Irish music and Co. Clare, where he eventually moved while in his 20’s. He quickly became one of the most sought-after and respected traditional musicians in Ireland and played in various groups including Moving Cloud, Grianan and Raise the Rafters.
Starting at age 7, Cillian Vallely learned the whistle and pipes from his parents, Brian and Eithne, at the Armagh Pipers Club. A childhood of travelling and playing with his family led to a career as a full-time musician which he has pursued for the last 15 years, recording on more than 40 albums and touring worldwide with such names as Riverdance, Tim O’Brien and Mary Chapin-Carpenter.
Joining Lúnasa in 1997 and 1999 respectively, Crawford and Vallely have become key components of a group which has become one of the most acclaimed and influential bands in the recent history of Irish music. Having released seven band albums and worked on numerous solo projects, the duo decided to combine their individual talents and create something different. An album with the distinctive sound of ‘flat-pitched’ flute and pipes duets has emerged.
The combination of uilleann pipes and flute is rare in duet recordings of traditional music and the duo have utilised the unique tonal qualities of these flat-pitched ‘C’ instruments to record their music. The tunes have been sourced from various manuscripts, archives and field recordings but there are also a number of new, self-composed pieces. In addition, Kevin and Cillian play a variety of low whistles and are accompanied on guitar by two of Ireland’s most recognised and respected guitarists; Donal Clancy and Paul Meehan.
‘Tasty tunes and terrific playing make “On Common Ground” one of the recording triumphs of this still young year’ Irish Echo
‘Vallely, whose family has played a seminal role in piping and Irish music in the north of Ireland for years, shows why he is one of the most respected pipers playing today’ Irish Voice
‘This is an album that features two guys at the top of their game offering up a stunner, slowly aged to perfection after years together. We love it. Done. Dusted.’ Chicago Irish-American News
Irish Echo
‘…With Armagh-born Cillian Vallely playing uilleann pipes, Crawford tackles that reel again on flute in “On Common Ground,” an outstanding new duet debut by these Lunasa bandmates. Pipes and flute are heard without backing at the onset of “Teampall an Ghleantain / Fr. Newman’s / The Periwig,” then are joined by the guitar of fellow Lunasa colleague Paul Meehan in a medley bristling with energy and expertise, capped by that last reel’s inexhaustible appeal.
On the album the music of Vallely and Crawford is fluid and full-blooded, with a trace of sharpness to avoid any simpering sweetness. Even their initial twin low whistle playing on the jigs “The Ivory Flute / Straddle the Donkey / Visit to Ireland” incorporates subtle variations and flourishes to keep the musical pot simmering, and the eventual entry of Vallely’s pipes adds to the track’s piquancy.Both musicians maintain a tempo that’s dynamic without being too fast or too slow, allowing ample opportunity for embellishment and spontaneity in the service of melody. Vallely on pipes and Meehan on guitar start off the jigs “John Feehilly’s / Ned Coleman’s / Dominic’s Farewell to Cashel,” and then Crawford injects flute sustains that extend the regulator action of Vallely until pipes, flute, guitar, and bodhran mesh fully. The deceptively well-conceived architecture of this medley is easy on the ear.
The jigs “Helvic Head / Bill Harte’s” feature another talented guitarist, Donal Clancy, who lays down a sturdy, flexible rhythm on which Crawford’s flute and Vallely’s pipes can confidently rely. Close listening reveals some passages of symmetrical, four-beat regulator work from Vallely to boost variety as he and Crawford skillfully drive the melody along.”Days Around Lahinch / The Man From Moyasta” are slow reels written by Crawford and played by him and Vallely on low whistles, with Crawford adroitly tucking in accents and ornaments to pique interest.With Meehan backing him, Crawford takes a captivating flute solo on “The Leading Role / Little Man with the Brown Shoes / Bill Hoare’s,” all reels linked to button accordionist Billy McComiskey through his solo debut, “Makin’ the Rounds,” or the two albums made by Trian, a trio comprising McComiskey, Liz Carroll, and Daithi Sproule. Crawford has told me of his admiration for tunes written by McComiskey, especially on “Outside the Box,” the Irish Echo’s top traditional recording for 2008, and also for tunes by Carroll. The flutist nimbly fleshes out the track with his bodhran playing on the last two reels.
Vallely’s solo is a medley of the slow air “Uirchill a’ Chreagain,” which he plays without accompaniment, followed by the reels “Gorman’s” and “Ta an Saol ar Fad i nGra Liom,” where Clancy joins on guitar. His piping is assured, crisp, and altogether impressive. Also on the album are a hornpipe-fling pairing of “The Birds / Jim Ward’s,” featuring flute, pipes, low whistle, and the guitar of Clancy, and other tracks of jigs and reels strengthening the allure of the duo’s music made on flat-pitched instruments.
Tasty tunes and terrific playing make “On Common Ground” one of the recording triumphs of this still young year. It is a pinnacle performance from Cillian Vallely and Kevin Crawford, two uncommonly gifted Irish traditional musicians.’
Irish Voice
‘ Owing to the successful mating of these talented musicians, a new CD aptly named “On Common Ground” has emerged as an independent project on Bally O Records funded by both the Arts Council of Ireland and the Arts Council of Northern Ireland (Crawford lives in Clare while Vallely comes from Armagh).
Twelve tracks grace this new effort, and it is very clear that these boyos enjoy playing with one another and share a high regard for their fellow musicians who inspired them and with whom they have shared many a stage in their own extensive careers before they teamed up together when Vallely joined Lunasa a decade ago.
Carefully selected tunes with good liner notes flow fluidly throughout the album, reflecting many of the musical influences that formed them as individual artists who have much in common these days.
Crawford shines on his own in his solo track starting with a Carroll tune, ‘The Leading Role,’ followed by McComiskey’s ‘Little Man with the Brown Shoes’ and also ‘Bill Hoare’s Reel’ from McComiskey’s 1981 jewel “Making the Rounds.” Vallely, whose family has played a seminal role in piping and Irish music in the north of Ireland for years, shows why he is one of the most respected pipers playing today and in great demand for workshops. His solo spot begins with the air ‘Uirchil a Chreagain,’ which was the first one he learned from his parents Brian and Eithne Vallely at the Armagh Pipers Club before tearing into reels.
Guitar accompaniment is handled by their stellar Lunasa mate Paul Meehan, and Donal Clancy appears on five tracks with equal aplomb. Thirty-three tunes are played in lively and enjoyable fashion on the flute, pipes, low whistles in a style that won’t have you thinking it’s Lunasa lite, but rather two masters sharing an awful lot of common ground.’
Chicago Irish-American News
‘The first time we ever heard Paul Crawford play the flute was many, many years ago with the best all-instrumental group in the history of Irish music, Moving Cloud. The group’s two albums on Green Linnet still stand as the gold standard for musicians who love traditional music the world round. No question. Done. Dusted. Paul also did a lovely solo cd for Green Linnet, entitled, The Dflat Flute. Still superb, lo’ these many years later. The videotape fast forwards, and I am seeing Paul again after all these years at The Old Town School of Folk Music, where I am about to introduce his group, Lunasa. The lads are celebrating their 10 years together on the scene. There can be no band in Irish music who has, for a decade, had a fuller, more hectic, more successful worldwide schedule than this group. A few days before the concert, one of the 500 or so albums we receive annually had arrived. It is entitled, On Common Ground. And, right there on the cover are Lunasa’s piper, the wonderful Cillian Vallely, and
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Eilis Kennedy – Time to Sail
Press Reviews
Mike Harding, BBC Radio 2 presenter 18.9.02
I think this is one of my albums of the year so far, because it’s got some of the finest versions I’ve ever heard of Crazy Man Michael, Lord Franklin and the Nic Jones song, Canadeeio. I want to play now what I think bar Sandy Denny’s version of Who Know Where The Time Goes. I think this is 100% gold.
BBC Radio 2 Folk Web Site
Kerry-born Éilís (say Aylish) Kennedy comes of an Irish family where both music and the Gaelic language were part of everyday life, a happy fact reflected in this debut album. Time To Sail was recorded in her home town of Dingle and features, apart from her own pure, natural voice, a ton of top Irish artists including Máire Breathnach (fiddle, viola), William Coulter (guitar), Virginia McKee (clarinet), Bruce Abraham (slide guitar) and Séamus Begley (vocal).
Subtle and lush arrangements woven around traditional songs in two languages are the order of the day. Most of the ten tracks have been round the block many a time but Kennedy reworks them with a freshness that belies any qualms of pastiche. The Factory Girl, bouncing along on Gregg Sheehan’s funky percussion, dives into two slide guitar and kalimba-drenched barn dances; gorgeous layers of cello and clarinet drive away any echoes of Sandy Denny in Crazy Man Michael and Who Knows Where The Time Goes; Black is the Colour’s characterful phrasing and spooky slide guitar/woodwind soundscape prevents it neatly from stepping on Cara Dillon’s justly acclaimed version. Of the less familiar material, two Gaelic songs in particular tug the heartstrings – Amhrán na Leabhar (The Song Of Books), an 18th century poet’s lament for the loss of a boatload of beloved books to the sea and a song of loves’ tribulations, Tá Mé ‘mo Shuí.
Whatever it is, that indefinable quality that raises one singer above the many in these days of talent glut, Éilís has it. A great debut from a major new talent, Time To Sail is making big waves on both sides of the pond. Let’s hope some UK gigs are in the offing – I hear she’s really stunning live. Mel McClellan – November 2002
Live Ireland Web Site Nov 02
What a discovery Eilis Kennedy is! We have been stunned by her debut album, Time To Sail.
Eilis lives in Dingle, Co. Kerry and runs a music bar with her husband John. Also a high school teacher, Eilis is currently on a career break. We are the lucky ones.
This album showcases a major new voice in Irish traditional music. Some of the country’s best musicians have gathered around to appear on this album. The guest list includes the likes of Maire Breathnach, William Coulter, Seamus Begley, and Bruce Abraham on a great slide guitar.
There are more. Here’s the point. This woman can sing. Really sing! A lot of the female voices currently heard in Irish music are very similar, and they must be listened to closely to hear any difference. The great ones–Triona and Maighread ni Dhomnaill, Cathie Ryan, Maranna Mc Closkey and Fionola o’ Sciochru can be identified by voice in a storm! Different. Clear. Strong.
And, now, we add Eilis Kennedy to that very special list. This is a wonderfully produced album, with a really striking cover. Lovely. Also on offer here is the definitive version of “Franklin”, the song about the 19th century explorer, Lord John Franklin, lost in a polar expedition in 1845. We heard Altan and others do this, but Eilis’ version stopped us dead in our tracks.
A gob- smacking stunner. Great other tunes–uptempo, ballads, airs, a really lovely mix. Get your mitts on this one! and be prepared to listen and fall in love.
This is an incredible new talent on the international scene following recent tours with William Coulter. WOW! Bill Margeson
Pay The Reckoning Web Site Review
A major new talent emerges!
Kennedy’s debut is a thoughtful, intelligent and well-balanced collection of songs (and the odd tune), delivered by a singer whose control, phrasing and ability to communicate are a delight and whose backing musicians provide tasteful and sympathetic arrangements which complement her approach perfectly.
Kennedy evidently has an affection for the material which emanated from the folk revival in England in the 60s and 70s, as four of the tracks on offer attest. Her version of Sandy Denny’s often-covered “Who Knows Where The Time Goes?” in our opinion manages to surpass the fragile beauty of the original. Her rendition of “Crazy Man Michael”, another song which will be forever associated with Denny from her performance on Fairport Convention’s “Liege and Lief”, is yet another case in point.
However Denny is not the only troubadour of that era to inspire Kennedy. She manages to knock us for six with a poignant reading of the classic “Canadeeio” (which puts the versions by both Nic Jones and Bob Dylan in the shade). And still she finds time to resurrect, dust down and polish to a high lustre “Lord Franklin” – a song which John Renbourn and Jacqui McShee placed their stamp on many years ago.
Elsewhere you’ll find yourself tapping your foot along to the sparse (but dramatic!) “Factory Girls” – a nod to the song tradition “across the pond”. And you’ll be captivated by the Australian song “Andy’s Gone”.
Her version of “Black Is The Colour” invites comparisons to the recent revival of the song by Cara Dillon. The critics went wild over Dillon’s rendition on its release. However they hadn’t heard Kennedy at that stage and we respectfully suggest that anyone who rates highly Dillon’s reading of the song ought to give Kennedy a listen. Perhaps they’ll agree with us that Kennedy’s version is a much more characterful rendition.
Three songs in Irish complete the set. “Nead na Lachan” is a jaunty jig which serves as a great introduction to the album. “Amhran na Leabhar” and “Ta Me ‘Mo Shui” on the other hand are much more complex and moving numbers which show off Kennedy’s voice to great effect.
A mighty album, then! One which will find its way to your CD player time after time and whose nuances and subtleties will become more revealed on each playing.
Net Rhythms Web Site
I know next to nothing about Éilís, aside from the facts that she hails from Dingle in County Kerry and that Time To Sail is, astonishingly, her début album. It is a very fine collection, mixing traditional and contemporary material in a thoroughly engaging manner and with an equal affinity for either category of song.
Admittedly, the track-list contains some over-familiar titles — Lord Franklin, Black Is The Colour, Canadee-I-O and two associated with Sandy Denny (Who Knows Where The Time Goes?, Crazy Man Michael) — but it’s to Éilís’s credit that her versions of the vast majority of these turn out to be among the finest available (notwithstanding my personal hobby-horse about some spurious words in CMM); and I’d even rate Éilís’s version of Black Is The Colour (which closes the album in fine style) above Cara Dillon’s then-matchless reading of only a year or so ago.
Éilís is an exciting singer, who is clearly inspired by the texts she sings. She has a real flair for communicating expressively but not over-ornately, and possesses an enviable control of phrasing and dynamics. Her degree of accomplishment is uniformly impressive, on slower and faster material alike — her lightness and vocal control on the jig-paced opener Nead Na Lachan and the energetic Factory Girls contrasts well with the emotional impact of the Henry Lawson setting Andy’s GoneA-Droving, forinstance.
All of which makes it all the more surprising that her name was not previously known to me. She manages to be both moving and tasteful in her interpretations, and to this end she is aided considerably by her choice of supporting tone colours and accompanying musicians, which includes Máire Breathnach (fiddle), Virginia McKee (clarinet), William Coulter (guitar), Barry Phillips (cello) and Bruce Abraham (slide guitar).
This is a superb album, with a well-defined character and a stamp of real lasting quality, and a credit to all concerned. David Kidman
Folk Roots Magazine
Eilis Kennedy from Dingle Co Kerry is a quietly growing presence on Irish singing circles. Her debut album Time To Sail unveils a massively underrated vocal talent with a quiet mastery of her craft. Her voice is a thing of gentle sublime beauty, the like for which mothers would be sold and kings ransoms exchanged.. Her sweet, clear, and flowing tones make short work of demanding songs in both English and Gaelic. The material chosen includes some demanding songs from traditional epics Amhrán Na Leabhair and Ta Mé Mo Shuí, Canadee I O and Lord Franklin both hallowed pages from the Nic Jones and Martin Carthy songbook and Sandy Dennys seminal Who Knows where The Time Goes. While some of these approach standard status , Eilis not only handles these songs with care but also infuses them with a fresh buoyancy and relevance. . Two classic examples are Who Knows Where The Time Goes, a hard choice baring in mind the mighty shots Sandy, Judy Collins and Mary Black have had at this simple yet sublime allegory to Trevor Lucas. With William Coulters steel string guitar and Barry Phillips mournful cello, Eilis supple voice exhibits a steely yet reserved emotional strength. Likewise, Ta Mé Mo Shuí is equally minimalist in approach with her vocal performance shining in the quiet majesty of comfortable songs and arrangement. Its not all heavy weather though as Nead Na Lachain skips merrily along on waves of enthusiasm and a feisty percussive treatment of The Factory Girl mixes afro-American idioms with Irish vocal nous. Exhibiting a sense of restraint and care she brings a freshness to her performances suggesting comparisons with Kate Rusby, Bill Jones or closer to home Mary Black or Cara Dillon. Time To Sail is a work of gentle yet firm vocal majesty and adroit choice of material a sweetly beguiling affair the like of which falling in love with is not only just possible but inevitable.
The Irish Times December 2001
Without a lick of paint or a blast of fanfare, Eilis Kennedy ( one time member of the Melting Pot from Baile na nGall) has released a spectacular solo debut. Kennedy, a singer whose vocals need neither searchlight nor scaffolding to bore holes into the soul, belongs to a select company of singers (alongside Karan Casey and Virginia Rodriguez) possessd of the finesse of a seamstress and the precision of a neurosurgeon. Tá Mé ‘Mo Shuí straddles the folk/trad divide effortlessly, Kennedy’s guileless vocals hammocked by Barry Phillips’ perfectly-judged cello. Her re-working of The Factory Girl , funkily imbued with a new-found hip-swivelling optimism, gels startlingly with a pair of barndances that lift and seperate the sentiment and rhythms as though they were genetically engineered for one another. A magnificent collection. “. Siobhán Long, The Irish Times
Irish Music Magazine
Every once in a while, an album comes along which heralds a potentially, major yet underrated vocal talent. My first exposition to Eilis Kennedy and her debut album Time To Sail was through hearing Nead na Lachan sail through the radio waves, her clear sparkling voice and a clever arrangement made me want to checked out this Dingle based native. Now having listened to Time To Sail several times, my thoughts are unchanged Eilis Kennedy is an untapped major vocal talent waiting for the moment to shine. Why? For starters, she has a soft yet lyrical voice, which clearly sails through the albums ten, tracks and is equally at home with traditional and contemporary material. Some of the latter chosen is quite daunting including Sandy Dennys classic Who Knows where the Time Goes, Fairport Conventions Crazy Man Michael and Nic Jones s Canadee -i-o.
In the case of Who Knows where the Time Goes where lesser hands would have made a histrionic meal, Eilis interprets Sandy Dennys wistful allegory to her then lover Trevor Lucas with a quietly impressive authority and Canadee -i-o emerges as a fresh delightful performance. Where Eilis Kennedy scores is in the subtle arrangements framing her sparkling vocal chords and a tasteful choice in material. Time To Sails success is due to taste on all fronts- a gorgeous record no more no less.
Hot Press
Currently on furlough from a teaching career, this fine singer has taken her time in releasing her debut album. It has been quite a while in the planning, but is well worth the wait. An engaging mix of the traditional and comtemporary, it showcases to strong effect a warm voice and also a talent for picking damn good songs. The opening track Nead Na Lachan sets the tone; bouncy and full of movement, it demonstrates an easy relationship to rhythm. The real test of an album such as this
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