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Hanz Araki & Kathryn Claire – A Winter Solistice Celebration
A Winter Solstice Celebration.
The longest night of the year is made bright with the light of music, storytelling and wonder. Ancient carols and winter songs of the Celts are given new life with stunning harmony, and the collection of brisk dance-tunes are sure to keep you warm even on the coldest nights.
‘Each of us bring to the table a varied collection of songs and stories that reflect the same themes of longing, love, loss, beauty, and celebration. These concerts give us the freedom to explore some of these experiences thoroughly through the music that has arisen from the last several hundred years of human existence,’ said singer and flautist Hanz Araki.
www.thecelticconspiracy.com
Press Reviews
The Living Tradition June/July 2013
This is one of four CDs by these two Americans reflecting the music of the seasons. They have good lyrical knowledge and love of Celtic music. The longest night of the year is made bright with the light of music, storytelling and wonder. Ancient carols and winter songs of the Celts are given new life with stunning harmony and the collection of brisk dance tunes is sure to keep you warm on the coldest nights.
From I Heard A Bird Song, The Sussex Carol,Seven Joys Of Mary and Christmas Eve, to In ‘Dulci Jubilo, Coventry Carol, Pat-a-Pan, Apples In Winter and The Wexford Carol, the CD then finishes with the glorious Ring Out, Wild Bells by Alfred, Lord Tennyson.
Hanz and Kathryn come from a background of music ~ Kathryn’s family were all musicians and singers and Hanz’s father was a professional musician and master of the shakuhachi(bamboo flute). The album is mostly recorded live, with very little overdubbing. They bring old tunes to life with impeccable flair ~ a magical treat to your spirit. Kathy and Bob Drage
netrhythms.com
Hanz and Kathryn may not be household names over here in the UK, but on the Pacific Northwest coast of the US they’ve acquired a healthy reputation for their interpretation of Irish traditional music. He is a flute player par excellence, specialising in the wooden flute (his Japanese ancestry placed him ideally for an early career playing the shakuhachi), whereas she’s a classically trained fiddle player who also plays guitar; both of them sing too (and really well). They make a fine musical partnership indeed, and have become popular on the US touring circuit, presenting a choice of theme-based concerts that examine elements of the Celtic tradition.
In that connection, they’ve recorded and released no fewer than four studio CDs within the space of one year, the first of these being A Winter Solstice Celebration, which serves up a spirited, warm-hearted and intelligently realised half-hour-long menu of ancient carols, winter songs and brisk, sprightly dance tunes. Many of the selections turn out to be favourites of Kathryn’s from her childhood, and the genial affection with which they’re played here bears ample testament to this. The disc’s various medleys are creative conjoinings of fondly remembered tunes: particularly successful I thought was the Jeanette Isabella/Sussex Carol set, and there’s also a nicely paced version of In Dulci Jubilo for us to savour midway through the CD. Of the several vocal items, the highlights are probably The Wexford Carol and the duo’s haunting a cappella rendition of The Coventry Carol; and the disc opens and closes with a (very) brief snatch of poetry recited by their friend Finn MacGinty. Other contributors to the mostly-live recording sessions are special guests Cary Novotny (guitar), Joe Trump (percussion) and Suzanne Taylor (piano). And the inserted liner note sheet contains some intriguing (if occasionally rather odd) details regarding the duo’s sources (for instance, we learn that the song Remember O Thou Man was learned from a video of Richard Thompson singing it in a taxi cab).
The whole musical experience is attractively harmonious and pleasing (if over rather too soon), and should bring an appropriate measure of comfort and joy to the purchaser. David Kidman
Folkwords web site
The timing is perfect. Forget the rampant commercialism. Concentrate on the tradition. And if Celtic winter traditions are your delight then ‘A Winter Solstice Celebration’ by Hanz Araki and Kathryn Claire (collectively part of The Celtic Conspiracy) should make it on to thousands of Christmas lists.
Released for the first time in the UK, this album is integrated within a quartet of CDs under the Celtic Conspiracy banner – but back to ‘A Winter Solstice Celebration’ – these are tunes and songs designed to grace the longest night of the year. From the depths of tradition half-whispered within ancient carols, through the long-established discourse of time-honoured narratives, to scintillating tunes that hold the promise of light returning after the winter nights — this is a winter solstice celebration to savour.
The rich tones of Finn MacGinty open and close the album with two short spoken exhortations — one from Oliver Hexford to open, ‘I Heard A Bird Sing’ and to close ‘Ring Out Wild Bells’ by Alfred, Lord Tennyson. The old carolling tradition is well-represented by such stalwarts as the devotional ‘The Seven Joys of Mary’ the 12 th century Irish nativity carol ‘The Wexford Carol’ and the 16 th century mystery play carol ‘The Coventry Carol’ . To dance your way through the solstice night there are classic tunes from ‘In Dulci Jubilo/Drops of Brandy/Three Sea Captains’ to ‘Apples in Winter/The Frost is All Over’. Seeking their music and songs from England, Ireland and Scotland, Hanz and Kathryn, accompanied by an acclaimed group of musicians, have delivered a perfect seasonal package.
Performing on the album are Hanz Araki (flute, whistles, vocals) Kathryn Claire (violin, guitar, vocals) joined by Cary Novotny (guitar) Joe Trump (percussion) Suzanne Taylor (piano) and Finn MacGinty (spoken word). Reviewer: Dan Holland
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Hanz Araki & Kathryn Claire – Songs of Love and Murder
Biogs:
Irish flute player Hanz Araki is the quintessential world music musician. After six generations, the name Araki is synonymous with the Japanese shakuhachi (an end-blown bamboo flute) which Hanz mastered making his professional debut in 1988.
After four years of concert appearances and teaching at the prestigious Keio University in Tokyo, Japan, Hanz returned to his hometown of Seattle, WA and found himself drawn to the world of Celtic music. The penny-whistle and the Irish flute became his single-minded focus, and jigs and reels became a second language. His unique style and passion were soon recognized and met with high praise.
Hanz also discovered his voice was well-suited to the songs of Scotland, Ireland, and England and is highly regarded for his interpretation of folk songs in what is one of the most exciting living traditions.
After several tours across the US, Canada, and the UK (first with the Juno Award winning Paperboys, then Casey Neill) as well as a return to Japan, now as a well-respected Irish flute-player, Hanz moved to Portland, OR in 2006. This move proved to be most fortuitous as it led to the musical partnership with Oregon-native
Kathryn Claire.
A self-taught guitarist and accomplished vocalist and fiddle-player, Kathryn has asserted herself in a new generation of traditionally-inspired musicians. Early classical training gave her a strong foundation, but naturally gave way to her own creative inclinations. Her violin-playing exhibits a technical grace which is matched only by her truly captivating voice. While she possesses the rare ability to move seamlessly across genres, her love and deep respect for traditional music has long been a driving influence, and those roots can be heard in her own original music, as well as her own distinctive take on folksongs.
Kathryn and Hanz quickly discovered a shared love of harmony — and a well-matched work ethic — and a creative process began that has produced a tremendous body of work. Their shared passion for traditional music is magnetic and they have become a favorite at music festivals and venues in the US and abroad. Frequent collaborators include Cary Novotny, Joe Trump, and Cal Scott (US); Takeaki Nagahama, Hirofumi Nakamura (Japan) and Aiko Obuchi (Japan).
Press Reviews
R2 March/April* * *
Songs Of Love & Murder is the fourth CD recorded in just one year by the proli?c American duo, Hanz Araki and Kathryn Claire. It’s a collection of well-known murder ballads and related tunes.
The son of lrish and Japanese parents, Araki’s father is grandmaster of the shakuhachi Japanes flute. Claire studied classical violin and voice, but is also a self-taught guitarist and songwriter. Residents of Portland, together they have amassed an impressive body of award-winning albums.
ln addition to singing, Araki plays flute and Claire plays fiddle and guitar. They are supported by Cary Novotny (guitar), Joe Trump (percussion) and Suzanne Taylor (piano). Araki plays a lyrical low whistle counter-melody to Claire’s lovely rendition of ‘Helen Of Kirkconnell’, while a simple but effective piano accompaniment underpins Araki’s singing of the haunting ballad, ‘The Banks Of Red Roses’.
The songs are broken up with flute and fiddle tune sets accompanied by relentless percussion, which I found rather too intrusive, particularly on ‘Unlucky In Love’.
Songs Of Love & Murder was recorded live, and the arrangements are simple but in keeping with the songs. It’s not going to set the world alight, but it’s well performed and is an enjoyable listen nevertheless. Keith Whiddon
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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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Jerry Lynch – The Dimming of the Day
Press Reviews
The Irish World Newspaper 4.3.05
THIS IS A reissue of the The Dimming of the Day as it was originally released in 1998. Due to public demand, however, it has been re-released and it is clear to see why. Intitally issused by the Dolphin Label to build upon Jerry’s ultra- successful debut single A Silent Night (Christmas 1915) this album is an opportunity to experience Jerry Lynch’s beautiful, emotive tenor voice.
Hard to put this in a catergory but really I would say, that this is for listeners who adore old-fashioned Irish music.
In contrast to the sound of the album is the eclectic choice of songs which Lynch has chosen, putting his unique sound onto them. Covering a mixture of classics, traditional and contemporary songs, displaying his remarkable voice.
The beauty is the clarity of this album. Lynch’s voice is clear- yet emotive. Through ultimate control he sings along to empassioned trad music.
Although this is not one for everyone, it is taste rather than quality. Tara McWeeney.
www.netrhythms.com
Jerry hails from Kilfenora, Co. Clare, from a musical family (his brother John leads the Kilfenora Ceili Band), and over the past few years has cemented his reputation as a fine singer with a lyrical tenor voice.
The Dimming Of The Day, Jerry’s debut album, was first released in 1998 on the Dolphin label, as a response to a great deal of pressure following the enormous success of his single A Silent Night (Christmas 1915), which achieved a high position in the Irish charts and almost saturation airplay on Irish radio stations.
The album presents a collection of ballads and story songs, drawn from the tradition and the drawing room alike, a variety to highlight the versatility of Jerry’s voice and his interpretative powers.
The selection of material carefully reflects Jerry’s background and development too (he’d starred in light operatic productions as well as featuring in singing competitions).
So this is obviously not an album for the strict folk enthusiast, or the more traditionally-minded listener who appreciates sean-nós, say; it’s far more likely to appeal to the lover of crossover easy-listening. Think a kind of low-key Josef Locke without the over-cloying rubato, perhaps.
The instrumental accompaniments are for the most part anchored firmly at the tasteful end of the folky colouristic spectrum (accordion, fiddle, concertina, guitar, bass and occasional piano,
all played by choice Clare musicians), with not a glutinous synth in earshot (hurrah!), and the playing is plain and unadorned – no intrusive vibrato or needless emotional pointing, but just enough expressiveness to provide an attractive foil for Jerry’s voice.
As for the choice of material, well much of it is distinctly middle-of-the-road albeit tasteful and refined in execution if you like that kind of thing; myself, I can only listen to the likes of Mona Lisa, I Hear You Calling Me and Mary Of Argyle for so long, although I can appreciate Jerry’s superb artistry and innate way with this repertoire for what it is. Jerry’s performances of Hard Times and the celebrated Richard Thompson opus that gives the CD its title are, I find, marginally too florid, due to his wholesale adoption of the parlour ballad style on material that it doesn’t quite suit; Jerry’s gentle crooning does, however, perfectly suit Dreaming My Dreams (waltzing is for dreamers, after all!), and I also liked his rendition of My Lagan Love, while earlier in the album there’s a nicely responsive take on Mark Knopfler’s Done With Bonaparte.
So the verdict is that if you enjoy the smoothness of Irish singers such as Sean Keane and Christy Moore, and can cope with Jerry’s choice of material, then you’re likely to find this well-recorded CD well worth trying. David Kidman
fROOTS
Until the end of last year, Jerry Lynch was a completely unknown quantity but with A Silent Night Christmas 1915 written by journalist Cormac McConnell he gained considerable airplay, which subsequently lead to this debut album.
A Silent Night (Christmas 1915) is one of those unpretentious tear jerkers which, like its nearest neighbour, John McCutcheon’s Christmas In The Trenches, hits the tear ducts with uncompromising force yet is bereft of sentimentality.
Lynch’s voice is suitable for both narrative and lyrical ballads with the selection of material gathered for The Dimming of the Day encompasses both parlour sonqs and more recent material, including Mark Knopfler’s Done With Bonaparte and Mr Thompson’s title track.
Musically the sensitive backing of Paul O’Driscoll, Josephine Marsh, Claire Keville, Declan Corey and Padraig O’Broinn is both subtle and suitably minimal,
while P.J. Curds’ production work borders on the sublime. With delicate and appropriate brushstrokes where others would stomp slipshod, he cruises in laid-back mode. The initial comparison would suggest a sophisticated Sean Tyrrell, with a broad scope of diverse material arranged in a minimal fashion working from the heart rather than going for overkill.
Lynch’s voice is a subtle instrument, which lets the songs sing themselves and create their own atmosphere.
The Dimming Of The Day grows on continued exposure, and while initially I found the overall selection somewhat scattershot and perhaps a mite too diverse for
comfort, I have warmed to its ways over time.
As a showcase for Jerry Lynch’s melodic and lyrical voice it is commendable but The Dimming Of The Day’s ultimate charm is its sweep of the narrative ballad and art song form into a strange and compellingly attractive package. It becomes a treasured possession, but after time and extended listening rather than the initial encounter. John O’Regan.
The Clare Advertiser
On approaching an album such as this, one ventures with as much trepidation as curiosity. A new singer with ambition is always welcome. Peering at the sleeve notes, it’s impassible not to be struck by the diversity of song sources. The song – writing talents of Bob Dylan, Tom Paxton, Mark Knopfler and Richard Thompson could suggest a folk rock leaning.
On the other hand, the inclusion of standards such as ‘Mona Lisa’, ‘Hard Times’ and ‘I Hear You Calling Me” conjour up something else entirely.
Having listened on a few occasions to this CD, the songs or their sources are not what immediately jump from the speakers. Lynch’s superb tenor voice does.
Uncluttered production, sympathetic semi-folk arrangements nonetheless, it’s the purity and clarity of his voice that appeals. His bravery at attempting such an eclectic mix of songs must be commended, but I suspect the selection was based more on vocal suitability rather than any attempt at showing off musical dexterity.
Credit on this score I consider must go to the producer P J Curtis. Using the aforementioned folk-style arrangements behind a classical mannered tenor voice must nave been a gamble, but it is one that has worked for the most part.
I can understand the approach of trying a solo minimal upright-piano accompaniment on “Mary of Argyle”, to achieve that ‘parlour sound, but I suggest a bigger grand-piano backing might have accentuated the vocal to greater effect. Nevertheless this CD is to be treasured. The warmth exuding from this recording is palpable.
Excellent musicianship never gets in the way of splendid vocalising.
The title track, Richard Thompson’s ‘The Dimming of the Day’ has a freshness and simplicity which if equal to or better than other fine versions by Bonnie Raitt or Larry Rice.
Cormac McConnell’s ‘A Silent Night (Christmas 1915), is chilling in its passion and stark reality. I must admit though that my own personal favourite is the Old John McCormack chestnut, “I Hear You Calling Me”. The range and quality of Jerry’s voice is to be heard at its best on this track.
Ennis based vocal quartet The Ceol Millers’, can be heard to great effect on backing vocals on numerous selections on this CD, adding depth and colour to the overall tone whenever needed.
Recordings were done at both “Xeric Studios” Limerick and “Harmony Row in Ennis. Compliments to both studios for an excellent sound.
P J Curtis must once again be hailed for such a steady hand at the production board. The various session-musicians used throughout, especially Padraig O’Broin on guitar and bouzouki are in fine fettle, but the highest accolades must go to Jerry Lynch himself. Jerry Lynch is a natural at and must be very proud of this, a massive debut album.
Hopefully the record buying public will take to such a charming record and ignite this Kilfenora man to explosive stardom. Gerry QuinnJerry Lynch Career Highlights / Live Performances
’04 June Town Hall Galway. Concert with Kilfenora Ceili Band and Michael Donnellan
’04 St. Patricks Day. Earlsfort Terrace. Open air Ceili Mor with Kilfenora Ceili Band
’03 Aug. Lisdoonvama Festival at the R.D.S. with the Kilfenora Ceili Band. Featuring Christy Moore
’03 July. Live RTE Radio One Ceili House broadcast for Opening Ceremony of Special Olympics from ancestral home of Count John McCormack in
Monastrevin.
’03 March. Ceili House With Ennis Ceili Band.
’02 June. Semi-finalist in RTE ” Open House” search for an Irish Tenor.
’00 Mar. Successful in interviews for position of “Butler” at Bunratty Castle.
’99 Dec. Guest Spot – Ennis, also featuring Mick Hanly, Martin Hayes.
Nov. Clare F.M. 10 Anniv. Celebrations: Also featuring: Sharon Shannon, Maura 0′ Connell, Micheal O’Suilleabhain
Nov ” ” – Ennis Cathedral. Also featuring: Franzita Whelan, The Monks of Glenstall
Jun. ” ” – U.C.L. Limerick. Also featuring: Finbar Furey.
Apr. ” ” – Ennis. Also featuring :Phil Coulter, Sean Keane, Fiddlers Of Dooney
Jan. ” ” – Leisureland Complex, Galway. Gala Variety Performance Featuring: Dolores Keane, Frankie Gavin & Mairtin O’Connor, Triona & Maighread & Micheal O’ Dhomhnaill
TV Spot. Dec. TG.4 “Sibin” X-Mas Eve. ” A Silent Night Christmas 1915″ Dec. Also featuring: Tommy Peoples, Sean Tyrrell, Kate Purcell.
Nov. Concert – “The Dimming of the Day” at “The Hall” Lisdoonvarna
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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 Glackin, Ronan Browne, Sean Tyrrell – And so the story goes
and so the story goes…
Inspirational Traditional Trio Tour Ireland
A new album and a national tour, scheduled for this May & June, 2011, will harvest the talents of three of the most highly respected musicians within the Irish traditional/folk scene.
Sean Tyrrell, renowned for his unique singer/ songwriter talents, legendary fiddle player Kevin Glackin and creative uilleann piper Ronan Browne will fuse their talents on stage, for what promises to be an inspiring tour. Gigs have been scheduled across Ireland, from Dublin to Clifden and from Monaghan to An Daingean.
Sean, Kevin and Ronan have been playing together socially and for tours and shows since the 1980s but are only now (after major hounding by their fans) releasing a CD of songs and tunes. The CD is nicely balanced between gentle and wild music, without suffering from
that dreadful modern ailment of over-production; just warm, friendly music and singing. The tracks are rounded out beautifully by the delicately responsive accompaniment of three fine musicians.
Commenting on the forthcoming tour, Sean Tyrrell said, “Although the three of us are old hands in the business, we are very much looking forward to this tour. We respect one another’s talents and know that, as always, we will each benefit from this collaboration. We are also confident that our audiences will have the opportunity to enjoy an honest performance.”
Full tour details available at www.tyrrellglackinbrowne. com
Press Reviews
R2 Magazine
Irish musicians Sean Tyrrell, Kevin Glackin and Ronan Browne, each well respected in their own right, are also longstanding friends who’ve played together socially since the 1980s. And So The Story Goes is a collection of their favourite songs and traditional tunes
Glackin and Browne are at their best on Micho Russell’s Jigs’, which are actually from Sliabh Luachra rather than from the playing of the late Micho’. Their logic for the naming of this set perhaps sumes up the sentiment of the CD. “No idea what happened, but why change our ways at this late stage!” However the story goes, the fiddle and pipes meld into one in a way that is only achieved through years of playing together.
Tyrrell’s songs are unusual yet charming. Dan O’Hara was made famous by Ronan Browne’s grandmother, Delia Murphy, tells of th eimpact of the 1846-47 famine on the life of a Connemara farmer.
The recording makes you feel you’ve been invited to sit in on a live kitchen session, rather than it being a studio piece. As the lads put it. And So The Story Goes,..is warm, friendly music and song”.
Keith Whiddon
The Irish World 7.7.11
And So The Story Goes is the new album by Sean Tyrrell, Kevin Glackin and Ronan Browne, harvesting the talents of these three greats of the traditional music scene. As you can imagine, the result is pretty good.
Relaxed and honest, each track on this long-awaited album exudes a natural ease which can only be earned between musicians who go back a long way and have seen out more than a few lively sessions together.
Tyrrell, renowned as a singer-songwriter, legendary fiddler Kevin Glackin and unique uilleann piper Ronan Browne fuse their skills both on this album and on stage, as the three have just finished a set of acclaimed dates across Ireland.
As old friends, Sean, Kevin and Ronan have been hooking up to play a few tunes together as well as shows and concerts since the 1980s, but only now (after a serious amount of pressure from fans!) have they released a CD together.
And So The Story Goes balances both the gentle and the wild elements of their musk, warm, friendly and not at all overproduced; letting the talents of each of these three brilliant musicians reign supreme.
Unusual song choices and a deep-rooted vivacity underpinning each offering make for a truly excellent listen.
Sean Tyrrell said of the trio getting back on the road together – also very fitting with regards to the album: “Although the three of us are old hands in the business, we are very much looking forward to this tour.
“We respect one another’s talents and know that, as always, we will each benefit from this collaboration. “We are also confident that our audiences will have the opportunity to enjoy an honest performance.”
For more on the band and live dates, see www.tyrrellglackinbrowne.com.
The Irish Post 19.6.11
Although great friends this is the first time Sean Tyrrell, Kevin Glacken and Ronan Browne have actually recorded an album of their own.
They have, however, been performing together in various combinations on and off for about 30 years. I have always liked Sean Tyrrell’s voice and choice of material and the Galway man’s vocals and mandocello combined with the fiddle and pipes of Dublin men Glackin and Browne works perfectly.
When you add in touches by guests Fergus Feely on mandola, Jimmy Fitzgerald on guitar and Paul O’Driscoll on double bass the overall sound is one of taste and style where nothing is overdone or intrusive. They combine brilliantly to get the best out of each other and you get the impression that they are playing to their individual and collective strengths.
It is a lovely album and I was delighted to see that Sean included Dan O’Hara on the CD. This sad song of forced emigration in the aftermath of the famine has always been a favourite of mine and he does a lovely job on it. Putting WB Yeats’ poem Cap and Bells to music was a brilliant idea with a jig added in for good measure. Joe Giltrap.
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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
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