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  Joe Derrane, Seamus Connolly John McGann: The Boston Edge

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  Joe Derrane, Seamus Connolly John McGann: The Boston Edge

  Press Reviews

  The Wall Street Journal

  The wearing of the green is upon us, a time to dye for, St. Patrick’s Day. Beer, beef, beans, bread and broth suddenly take on the hue of the

  Emerald Isle, and too often the Irish music heard on March 17 is not much more appetizing or genuine.

  The following albums are an exception. Consider them a three-leaf shamrock of music rooted mainly in the turf of centuries-old tradition.

  This is blarney-free music, the kind that stays green without trying, all year round.

  “The Boston Edge” is a triumph of equal impact. Released late last year by Mapleshade Records, a small, independent label in Maryland, the album is perfectly titled for the razor-sharp music of Boston-area trio Joe Derrane on button accordion, Séamus Connolly on fiddle, and John McGann on guitar and mandolin.

  Derrane, who celebrated his 75th birthday yesterday, is the most talented Irish-style button accordionist America has ever produced. Born of Irish immigrant parents in Boston, he initially recorded from the late 1940s to the mid-1950s, then took a nearly 40-year hiatus from playing the button accordion in public. His performance on May 29, 1994, at an Irish folk festival in Vienna, Va.’s Wolf Trap launched what many regard as the greatest comeback in the history of Irish music, culminating for him in a National Heritage Fellowship from the National Endowment for the Arts in 2004.

  Renowned for his triplets (three notes played in the time normally taken by two notes) and hornpipes (dance tunes usually in 4/4 time), Derrane sparkles in this inspired collaboration with Connolly, a 10-time All-Ireland fiddle champion, and McGann, a much-in-demand accompanist.

  Never letting virtuosity or velocity overwhelm a melody, they play within the structure of a tune while infusing it with fresh, interpretive gusto.

  It is in the details where this recording soars. The trio’s deftly ornamented playing of such reels as “The Curragh Races/The Skylark/The

  Reconciliation” and “Patsy Touhey’s/The Gooseberry Bush/Reilly’s” represents Irish traditional instrumental music at its most propulsive and soulful. For taste and touch, it’s hard to top “The Boston Edge,” Earle Hitchner

  Irish Music Magazine March 2005

  It’s about time that two of the most respected and masterful traditional musicians in the Boston area got together to record a CD. Seamus Connolly, fiddle, and Joe Derrane, button accordion, share a number of remarkable attributes: both were lauded in their early careers as prodigies of their respective instruments, both are accomplished tunesmiths, whose compositions have passed into the traditional repertoire, and both are centres of the Boston area traditional music community and heroes to a younger generation of musicians and enthusiasts.

  Their musical styles, however, are quite distinct: Seamus Connolly is known for his gorgeous tone and fluid, inventive phrasings; and Joe Derrane’s playing is all clear, crisp precision and brilliant ornamentation. What is perhaps most striking about The Boston Edge is the fact that these two very different approaches are meshed seamlessly, with John McGann’s able and versatile guitar and mandolin accompaniment, into a whole that reflects the respect these musicians have for each other, the love of their music, and the fun they must have had recording these tunes. The tracks include newly-composed tunes, that are rarely heard in sessions, tunes from the Cape Breton tradition, and tunes that are typical of what one might hear at a Boston-area session.

  Each musician is featured in solo pieces, but the real revelation is the freshness and delight the group brings to each of the ensemble sets.

  The Boston Edge is cutting-edge stuff. Let’s hope this is just the first of several outings by this outstanding trio. Sally K Sommers Smith

  Taplas: The Welsh Folk Magazine

  THIS American/Irish trio comprises Joe Derrane on button accordion, fiddler Seamus Connolly and John McGann on guitar and mandolin. The vastly skilful playing reveals the decades of experience these fellows have in the Irish music tradition.

  Although there are only three of them, they produce a very full sound, perhaps partly because this was recorded and mastered live in what sounds like a fairly echoey room. The repertoire is mainly traditional Irish session tunes, arranged in a mainly session-like way.

  This, the old fashioned style of recording, and the accomplished playing makes it sound like a non-crackly version of an old masterpiece. In fact, Derrane featured on 78-rpm recordings during the 1940s and 1950s, so you can easily guess the influence of his style!

  There are a lot of hornpipes – roughly a third of the album consists of them. One features McGann’s solo mandolin track, Whidden’s The Nightlight and Hannah McGann’s – the letter two being his own compositions. Another is the complex, chromatic and downright flash, Petticoat Promenade, written and played by Derrane. This is a great CD for the collection – I just wish there was more of that wonderful mandolin on it. Imogen O’Rourke.

  HOT PRESS

  Following on the heels of button accordion player Joe Derrane’s 2004 National Heritage Fellowship, this rollicking album sees him teaming up with fiddler Séamus Connolly and their fellow Bostonian, guitarist John McGann.

  These three musicians share a bracing, muscular approach and have been playing together long enough to achieve a rare sympathy, easing back or surging forward as a solidly cohesive unit.

  The opening set of reels sets the pace, with McGann occasionally breaking effortlessly into melody flat-picking for a bar or two before returning to chordal accompaniment. McGann’s mandolin solo set, Whiddon’s/The Nightlight/Hannah McGann’s (the latter two of which are McGann originals), is another highlight, as are Connolly’s original slow air Remembering Curly and Derrane’s turn in the spotlight on Miss McLeod’s and his own Petticoat Promenade, featuring a jazzy Hot Club de Paris-style backing from McGann. Sarah McQuaid Nine/Ten

  www.netrhythms.com

  The press handout describes this release thus: “a ‘dream team’ Irish trio plays traditional jigs, reels and airs with passion and originality”, so what gives it the “edge” of the title over other instrumental albums which might be similarly depicted?

  Well, the Boston edge refers to the distinct advantage of the superlative virtuosity of the three musicians who come from the Boston (Mass.) area. Button accordionist Joe, fiddler Séamus and guitarist/mandolinist John first played as a trio onstage at a New York club in 1999, an occasion noted by all who attended as bringing to the scene something worth pursuing further, an outstanding tightness of ensemble allied to brilliant solo work.

  Cementing the musicians’ approach was their mutual deep respect and enjoyment of each other’s music, and once they’d worked together it then seemed the most natural thing to continue the working relationship. After five years of memorable concert performances, at last we have a recording to treasure.

  It highlights their seamless togetherness, boosted by arrangements that are carefully prepared and yet remain flexible enough to allow inspired touches of improvisation or ornamentation or else felicitous swopping-round of the carrying of the melodic line from, say, accordion or fiddle onto guitar, giving surprising and delightful twists to one’s expectations. The skill of these musicians in creatively rethinking well-trodden session staples is stunning, whether they’re tackling sets compiled entirely from Irish sources or mixing in Scottish or Cape Breton tunes to demonstrate the cross-fertilisation and enriching of the different tune traditions.

  Highlights of this album for me are the sparkling opening set, the fiery lead work throughout but especially on the amazingly together fiddle/accordion duet that comprises two-thirds of the set of reels on track 9, also on the Humours Of Lisheen/McMahon’s Jig/The Merry Old Woman set (track 7), the joyous sense of rhythm on the hornpipes (track 10), and, on a smaller canvas track 6, an entire set played solo by John on mandolin, a benchmark of agility and imaginative interpretation the like of which you don’t often encounter on albums of Irish traditional music.

  But on every single track the playing exhibits a rich but vigorous energy that’s absolutely captivating, with a healthily varied interplay between parts that’s born of true understanding between the players. Each set is played at a sensible speed (not rushed through as if to fit onto one side of a 78!), allowing the felicities of melody to emerge through the spring in the step that the players’ keen rhythmic sense

  deploys. And what’s also important, listening to the music on this album rather often brings a smile to the face – a nice touch that (just lend an ear to the delicious swing of track 8 for instance!). It starts off really good, but then just goes on getting better, and you really don’t want it to end!

  The only drawback as far as I can hear, albeit a minor one, is with the recorded sound, which isn’t ideally clear, the guitar sound in particular being somewhat boomy or boxy in the ensemble context – or maybe I’ve heard too many state-of-the-engineer’s-art recordings lately? But the 64 minutes of this seriously enjoyable album just fly by – take it from me! David Kidman

  The Glasgow Herald 11.12.04

  Amid the avalanche of supertalented youngsters who are making traditional music an exciting, hip and gratifyingly youthful artform of the twenty-first century, it’s as well to remember that the older heads still have wisdom and musical examples to share.

  Joe Derrane is now on his second career as a button accordionist; his first began in the 78rpm era and he spent thirty-five years as a jobbing keyboard player.

  This brand new set with fellow Boston residents, fiddler Seamus Connolly and guitarist-mandolinist John McGann, shows the zest, appetite and musical mastery Derrane restored on his return in 1994.

  It’s essentially three musicians playing as one: tightly executed Irish tunes played with heart, self-expression and the richness that comes from long dedication to the music. Rob Adams FOUR STARS

  The Irish Echo. Ceol Column 24.11.04 Give the ‘Edge’ to this Boston trio

  We New Yorkers can get immodest, spoiled, even complacent about the Irish traditional musical riches in our backyard. But when it comes to

  top trad playing, Boston doesn’t have to take a backseat to any other city in America or Ireland.

  For proof, listen to “The Boston Edge,” the CD debut of 2004 National Heritage Fellowship-winning button accordionist Joe Derrane, fiddler

  Séamus Connolly, and guitar-mandolin player John McGann. Residing or working in and around the Boston area, this trio have created something

  altogether rare: an album showing no restraint in individual musical expression yet cohering as a well-rehearsed, mutually sensitive and

  responsive unit.

  In that respect “The Boston Edge” is a significant improvement on “Ireland’s Harvest,” a Mapleshade CD made in 2002 by Derrane, fiddler Frankie Gavin, and pianist Brian McGrath. I picked it as the fourth-best trad album of that year, but with this caveat: “A sonic imbalance among box, fiddle, and piano (the latter two instruments are too high in the mix), some odd choices in tunes (e.g., ‘The Minstrel Boy’), and the personal tangents taken by producer Paul MacDonald in his liner notes prevent this release from placing higher.”

  The seat-of-the-pants, strut-my-stuff approach to playing by Gavin in “Ireland’s Harvest” did generate some heat, but it also resulted in more

  dueling than dueting with Derrane. Technique trumped teamwork and partly undercut both Derrane’s trademark preparation and the trio’s overall effectiveness.

  “The Boston Edge,” in contrast, shows what can happen when three musicians who have been gigging from time to time during the past five years

  put their heads as well as their talents together in the recording studio. It’s obvious that the music has been mapped out with meticulous care but also with enough flexibility to allow inventive flourishes.

  Those qualities combine viscerally right from the album’s opening track, “The Curragh Races/The Skylark/The Reconciliation.” This medley of reels breaks out of the gate like Secretariat: strong, spirited, sure-footed. The synaptic sparks and symmetry between Derrane and Connolly are extraordinary, each feeding off the other’s virtuosity and energy, each performing with, not at, the other.

  Some accompanists in Irish traditional music can lapse into metronomic rigidity or tepid vamping, and for critics with a blinkered appreciation

  of rhythm, an unnoticed accompanist is a good accompanist. John McGann has refused to wear this silly musical straitjacket. He brings plenty of chops and imagination to the CD, laying down a rhythm that can be percussive and driving or finely brushstroked behind Derrane and Connolly.

  From time to time McGann tucks in his own nimbly picked passages of melody, and in “Whiddon’s/The Nightlight/Hannah McGann’s” hornpipes,

  the last two of which he wrote, McGann showcases his exceptional soloing skill on mandolin.

  Backed by McGann on guitar, Derrane offers a jaunty hornpipe-clog pairing, “Miss McLeod’s/Petticoat Promenade,” as his crisply played solo.

  The clog is the button accordionist’s own tune and vividly conjures up a scene of Irish girls in rustling skirts out for a night of dancing at one of the five ballrooms dotting Dudley Street in Roxbury, Mass., during the 1940s and ’50s.

  Accompanied by McGann on guitar, fiddler Séamus Connolly takes a different tack on his solo, “Remembering Curly/The Twins/Mordaunt’s Fancy.”

  The initial slow air, his own composition, is a moving threnody in which Connolly explores, not exploits, honestly felt emotion. It eventually segues

  into a hornpipe that he plays with more joyful verve, and the medley finishes with a capering jig that reveals another side of the master fiddler’s touch.

  Above all, true teamwork gives this album its finely honed edge. “The De’il and the Dirk/The Trip to Windsor/Brumley Brae” reels, “The Humors of Lisheen/McMahon’s/The Merry Old Woman” jigs, and “The Dash to Portobello/McFarley’s/Geegan’s” reels represent three-part instrumental

  playing of the highest order.

  There’s also some breathtakingly tight dueting by Derrane and Connolly throughout “Patsy Touhey’s/The Gooseberry Bush/Reilly’s,” with McGann

  entering on mandolin just for the third reel. A slice of Django-ish guitar swing by McGann provides a tantalizing intro to “The Man From Newry/The Last of the Twins” hornpipes, where Derrane and Connolly interlock impressively in their ornamentation. The fun of playing together similarly comes across in another pair of hornpipes, “Chief O’Neill’s Favorite/The First of June.”

  Not a single moment of weak or mediocre music can be heard on this 14-track recording. “The Boston Edge” is full of tasty tunes, focused

  arrangements, unclichéd thinking, transparent communication, and resplendent playing. These three musicians are a bona fide trio, not an

  armchair-impulse gathering. They thrive in each other’s company, and I can’t imagine any listener not thriving in theirs. In the parlance of

  their beloved Red Sox, this album is a World Series clincher. Earle Hitchner

  PAY THE RECKONING.COM

  Following Mapleshade’s release of accordionist Derrane’s comeback album – Ireland’s Harvest, which featured Frankie Gavin and Brian McGrath – Mapleshade have succeeded in coaxing the National Heritage award winner back into the studio. In the process they’ve assembled yet another

  “dream team”, with Connolly on fiddle and McGann on guitar.

  No mistakes, this is a superb album, every bit as compelling as his comeback. Despite (or perhaps because of!) his advanced years, Derrane hasn’t lost the magic touch that teases impossibly inventive ornaments from his box; at the same time he manages to be incisively precise and crisp in his playing. Connolly, of course, is equally renowned for his inventivess and McGann is a much sought-after accompanist, whose chords and runs anchor the tune, but never dominate his fellow musicians.

  So it’s no surprise that this is an album, which elevates the senses. It brims with good humour and abandon. Three master musicians have chimed in to create a modern masterpiece. Aidan Crossey.Joe Derrane.

  Joe Derrane, born in Boston, Ma. In 1930 to Irish immigrant parents developed a deep and abiding love for the accordion and traditional Irish music from a very early age. Around 1940, he started studying the 10 key melodeon with the great Jerry O

  SKU: 581 Categories: Accordion, Fiddle, Guitar, Mandolin

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• 

  The London Lasses & Pete Quinn – Enchanted Lady

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  The London Lasses & Pete Quinn – Enchanted Lady

  “The London Lasses are back in bouncing form with even more excitement, enthusiasm and energy than ever before-if that is possible. Their latest offering presents well chosen material which juxtaposes old with new, slow with racy, song with dance tunes from dreamy to overdrive.

  The blend of instruments (and there are many) is a delight to the ear creating an authentic traditional sound with a freshness that attracts and holds the attention of the listener. A tasty use of backing as a strong support to musician and singer completes the sumptuous meal.

  For those who follow the group this latest CD will be a welcome addition to their collection. To the newcomer

  I simply say buy it now, taste it and discover just how good it is”. Charlie Lennon

  The pride of London return with their finest to date. Another rousing set of tunes finely played and a careful selection of songs all delivered with the usual panash and polish. Music to rouse the dullest of hearts!

  Copperplate is very proud to have this title on our roster

  Also available from Copperplate Mail Order:

  LoLa001 London Lasses & Pete Quinn

  LoLa 002 London Lasses & Pete Quinn: LoLa002 Track Across The Deep

  LoLa003 Kathleen Sullivan: LoLa003: Born On St Patrick’s Day

  Further details on their own web site http://www.londonlasses.net/index.html

  Press Reviews

  provides a well-balanced helping of first-class Irish music’ Alex Monaghan, Irish Music Magazine

  ‘The sort of album to make anyone fall in love with Irish music’ David Thorpe, The Irish Post

  ‘They play with much finesse without missing the trick of generating the informality and excitement of pub sessions’ Colin Randall, Daily Telegraph

  ‘There’s a grace and subtlety in their playing that few bands could match’ Sarah McQuaid, Hotpress (Ireland)

  ‘guaranteed to keep you riveted for the entire 55mins’ www.irelandxposed.com

  ‘Kathleen O’Sullivan provides the lovely, warm vocals on all four songs…whilst the beautiful instrumental backings support the vocals well’ Dave Beeby, The Living Tradition

  ‘Third album from the Irish six-piece who play traditional music beautifully, unadulterated by global influence or genre crossover’

  BBC Radio 2, Folk & Acoustic website

  ‘They bring fresh life and assured musicianship to the immortal Irish tradition’ New Classics website

  ‘Enchanted ladies and gentlemen you will be, once this album reaches your weary little ears’ Shelley Marsden, The Irish World

  The Living Tradition

  You have to be careful if you do a Google search for London Lasses, so I was glad for both the promotional material provided (always helpful to a reviewer) and the search has a filter on it. London Lasses and Pete Quinn are back with their third album (I think) of basically good quality Irish Traditional music mixing the old with newer material most arranged by the band themselves. It is these almost spontaneous-but carefully worked out- arrangements, which brings the Enchanted Lady to life, and gives a freshness to the sound.

  Let’s deal with the songs first. Kathleen O’Sullivan provides the lovely, warm vocals on all four songs, telling the story clearly, allowing the meaning to come out, whilst the beautiful instrumental backings support the vocals well. Excellent sleeve notes provide the listener with that extra bit of information as well as the words. Incidentally this is an issue, which will have to be addressed before downloading becomes popular with this reviewer as I like to know the sort of info provided in this good quality CD booklet. But back to the Enchanted Lady.

  I think Maid from Maraclune shows the group’s talents off at their best, and you can tell Kathleen enjoys singing this, which is, interestingly, in waltz time. My Ballingarry Lady is also a waltz written by John Whelan for his mother and is again handled well by the band but my favourite tune is the slow air Rocking the Cradle – it really does work as I felt myself drifting away before being brought back to earth by the set of reels which follow. Fiddles mix with accordion, banjo takes over from flute and behind it all is the keyboards-never obtrusive though- of Pete Quinn.

  Good clear production, engineering and recording also help to make this an enjoyable album. They will be launching the CD at this year’s Ceiliuradh an Earraigh in Gurteen, Co Sligo in May. There seems to be no immediate tour- it’s not on the website – so if you want to hear The London Lasses and Pete Quinn then this CD might be your only chance at the moment, unless they are on Eastenders again. I recommend you take your chance.

  Dave Beeby

  The Irish World

  You might already be big fans of The London Lasses. You may even have seen Karen Ryan and company letting their hair down at The Return to Camden festival, or witnessed their rip-roaring set at Glastonbury.

  If so, you won’t need any convincing about the musical prowess of their third album, ‘Enchanted Lady’. If you’ve been living in Outer Mongolia for the past six years and don’t know of them, then you’ll have to trust me on this one.

  One of the most talented, vital traditional groups to come out of the London-Irish music revival, The London Lasses are what they say they are, five women from London, all with Irish roots. Pete Quinn is the sole male in the lineup, providing sturdy and versatile piano backing. As their latest offering confirms, The London Lasses still offer their straight-down-the-line traditional music, no messing around.

  But they stand out from the crowd because they play it with a modern touch.

  Their vibrancy of arrangement and the pure sonic energy of twin fiddles, flute and accordion bring old tunes back to life, set off beautifully by the graceful, restrained vocals of Kathleen O’Sullivan (hear Cailin Rua). Enchanted ladies and gentlemen you will be, once this album reaches your weary little ears. Shelley Marsden

  The Telegraph

  When need or ambition inspired the Irish to find new worlds, they took their music with them. As a consequence, wherever folk music is played and sung in the English-speaking world, recent emigrants or descendants of old ones are to be found holding the fiddles, singing the maudlin ballads and belting out the choruses.

  The five-strong London Lasses, all but one of Irish background but not birth, belong to this tradition. Like the best of the transatlantic variety, exemplified by the exceptional Cherish the Ladies, they have built a reputation for standards of musicianship that sit nobly alongside those of the homespun bands.

  With a token male, Pete Quinn, of Liverpool Irish stock, on piano, keyboards and the ubiquitous goatskin drum or bodhrán, they play with much finesse without missing the trick of generating the informality and excitement of pub sessions.

  Dotted among the reels, hornpipes and jigs are songs by Kathleen O’Sullivan with a texture that occasionally recalls the Bothy Band’s Triona Ni Dhomhnaill. Irish music in London has moved on some way from the impassioned but raw, scratchy days of Paddy in the Smoke. Colin Randall

  Irish Music Magazine, July 07

  Officially, this album is the third album by The London Lasses And Pete Quinn: maybe they needed a token man, or they couldn’t find a female keyboards player, but either way this group of five Irish emigrées is backed by a boy who’s among the best in the business. Now we’ve sorted that out, I’ll just call them the London Lasses. In four songs and eight instrumentals, Enchanted Lady provides a well-balanced helping of first-class Irish music. Lyrical reels like The Barr Road and Green Grow the Rushes (from the Burns song), cracking jigs like The Coming of Spring and Peadar Ó Ríada’s Spóirt, together with a sprinkling of slower tunes: all are delivered with depth and feeling. The gutsy flute of Dee Havlin lashes into The Humours of Castlefin, Maureen Linane’s button box bleeds and sighs for My Ballingarry Lady and Rocking the Cradle, and twin fiddling strikes sparks from The Walls of Liscarroll as Karen Ryan and Elaine Conwell ply their bows. A touch of banjo, a touch of whistle, and that man on the ivories supplies the foundation for a fabulous sound.

  Kathleen O’Sullivan kicks her heels for eight tracks, but gives us a good mix of songs in her four solo spots. Cailín Rua is an old chestnut tastily roasted here. The Green Fields of Canada is also well known, and gets a mammoth six-minute arrangement from The London Lasses. The Mickey Dam and The Maid from Maraclune are less familiar, but Kathleen’s renditions make them memorable. Her voice is full of fighting passion on The Mickey Dam, and there’s a full showband arrangement to back it up. The air from The Rocks of Bawn visits Maraclune for the usual sad story of untrue love, from which Kathleen wrings every ounce of pathos. The title track is not a song, nor another reference to Pete Quinn as I first thought, but a striking brash and bubbly reel which nicely sums up this album. Alex Monaghan

  New Classics

  Since the release of their debut album in 2000, this acclaimed Irish six-piece have appeared at some of the world’s most prestigious festivals and concert halls (Cambridge Folk Festival, Glastonbury, Philadelphia Irish Festival). Widely regarded as one of the finest acts on the traditional Irish/folk scene, the group plays a mostly traditional repertoire that is reflected in this new album. Enchanted Lady features a host of lively reels, bursting with life, along with intricately arranged jigs and captivating songs. Highlights include Cailín Rua (beautifully sung by Kathleen O’Sullivan), the plaintive Green Fields Of Canada, the irresistible Hornpipe And Reels (Lad O’beirne’s Hornpipe; Joe Madden’s; Mick O’connor’s Choice), and the wistful Slow Air: Rocking The Cradle (featuring Maureen Linane). The London Lasses are five London-based women of Irish heritage: Karen Ryan (fiddle, whistle, mandola, banjo), Elaine Conwell (fiddle), Dee Havlin (flute, whistle), Maureen Linane (accordion), Kathleen O’Sullivan (vocal). Together with pianist Pete Quinn they bring fresh life and assured musicianship to the immortal Irish tradition. Look out too for the group’s previous albums: LONDON LASSES & PETE QUINN (LL001) and TRACK ACROSS THE DEEP (LL002).

  The Folk Diary

  Here is another very fine collection from this very fine bunch of second generation London Irish. They offer great variety amongst their seven sets

  of tunes and four songs. The tunes are played in a fine ensemble manner with the fiddle of Elaine Conwell and the punchy box playing of Maureen Linane to the fore and a nice sense of pace in whatever rhythm they chose – and the firm adventurous piano accompaniments from Pete are a great asset here. There is a waltz, there are hornpipes, jigs and reels and a polka to round off one of the songs which brings us to the inspiring voice of Kathleen O’Sullivan. Her four songs also show versatility as she switches from the light and humorous “Mickey Dam” to one of the most demanding of Irish songs in English, “The Green Fields of Canada”. Her singing is fine and balanced with excellent diction and the emotional range to do justice to these very different pieces. Vic Smith

  Ireland Exposed

  The London Lasses are presisely as their name suggests, five women of Irish heritage living in London. The group, Karen Ryan (fiddle, whistle), Elaine Conwell (fiddle), Dee Havlin (flute, whistle), Maureen Linane (accordion), Kathleen OíSullivan (vocal) and Pete Quinn (piano) have compiled this traditional album. Thankfullythough it does not consist of the same tunes you so often hear on the majority of trad albums.

  Their sound will not appeal to everyone but nomatter who you are you will appreciate the extraordinary energy and vitality of the album. There is an incrediblearray of sounds from the reel, to a slow air and on to a gig. Its variety is guaranteed to keep you rivetted for the entire 55mins.

  Each member of the group gets a chance to shine and shine they do. This will leave you indeed enchanted! It is thoroughly entertaining and a fresh approachto an old fashioned style of music.

  SKU: 665 Categories: Accordion, Banjo, Fiddle, Flute, Groups, Piano, Vocals Female

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• 

  Ceide – Out of their Shell

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  Ceide – Out of their Shell

  Out Of Their Shell is the second album by Mayo-based traditional band Céide, but it’s the first to feature their new ace in the hole: singer Marianne Knight, who also plays a bit of bodhrán and adds a jazzy flute to the spirited ‘Bold Donnelly’.

  “Her clear, bright voice and crisp ornamentation make her one of the most exciting vocalists to come along in years, and when flute player Brian Lennon sings harmony on the final verse of ‘John O’Dreams’ the effect is electrifying”. Hot Press

  Produced by Seamie O’Dowd, former guitar/fiddle ace with Dervish, who is acquiring the most sought after producer hat in Ireland, among his recent productions, which drew tremendous critical acclaim, was Mary McPartlan’s The Holland Handkerchief, which won MOJO magazine’s Folk Album of 2005. Seamie is bevering away at h is own solo debut album. Which is eagerly awaited.

  Copperplate is very proud to have this title on our roster and to help it achieve its full potential will be supporting this release with a full-scale promotional mail out to media and retail.

  Press Reviews

  These five lads from various backgrounds first started to play together at a regular Sunday night session in my pub in Westport. It soon became clear that they were developing a distinctive and original sound, combining the best of traditional music with contemporary songs and arrangements. This recording does great justice to their individual and collective talent. It has a very broad appeal and I highly recommend it.’ —- Matt Molloy

  The Chicago Irish American News, July 06

  “This is terrific, traditional music played with gusto and understanding—a rare combination”, Bill Margeson

  FolkWorld 33

  Well I come from the land of the long grass and gorse, I flew with the eagle and I ran with the horse, and I played with the wild wind and whistled its tune… The Irish band Céide (-> FW#21), featuring flautist Brian Lennon of the musical clan (Charlie, Maurice -> FW#23), evolved from a regular session at Matt Molloy’s pub in Westport in County Mayo. Their second album “Out of their Shell” features new singer Marianne Knight with a marvellous treatment of Bill Caddick’s “John O’Dreams” (with the Tchaikovsky tune), the traditional “Bold Donnelly” and Andy M. Stewart’s “Man in the Moon”. Guitar player Declan Askin wrote the traditional-like “Western Waves” and turns out to be a fine singer as well. Marianne plays no mean flute either — she then took out her whistle and she blew it sharp and shrill — and set out with the boys for a “Tae in the Bog” and swap some other tunes. Tunes such as “Pikeman’s” which dates from the 1798 rebellion when it was used for drilling Pikemen. The checks in the tune are the point where they would thrust into the dummy enemy. “Out of their Shell” has been produced by Dervish’s Seamie O’Dowd (-> FW#26) who brings in guitar, fiddle and dobro to polish it up. No need to actually, everything’s fine. Walkin’ T:-)M

  Froots Jan/Feb 07

  This County Mayo band named after a local megalithic monument, impressed highly on their debut album LIKE A WILD THING in 2001. While playing the basic Altan and Lunasa game line-up wise, they did endeavour to affix an individual slant through using contemporary song choices and clever subtle tune arrangements.

  Out of their Shell, Ceide’s second album, sees some logical and unusual developments in their respective game plan. Firstly, adding female vocalist Marion Knight increases the song quotient, bringing a colourful and distinctive feel. While some might find this move confusing, with Ceide’s guitarist Declan Askin handling vocals adequately on their debut and here restricted to a background role, Ms Knight turns out to be something of a find. She has a nice, raw, unblemished sounding voice that is less sweet or strident for many of her contemporaries. This makes for some fine performances on The Man in The Moon, Western Waves and Bold Donnelly, the latter the only traditional song on show.

  Musically, the tide pull of accordion, flute and fiddle handled by Tom Doherty, Brian Lennon and John McHugh, works well together laced with bass, guitar and percussion. The result is bold and precious with a well-placed balance of melody over dynamics.

  This is a sure footed line-up bakes its recipes before unveiling them to the outside world.

  Ceide are indeed out of their shell and while the sound is different, the basic promise remains intact. www.ceide.net John O’Regan

  Taplas The Welsh Folk Mag-Aug/Sept 06 Adolygiadau o Reviews

  Meanwhile Mayo-based Ceidc continue to impress with their second CD, which is greatly enhanced by the addition of singer Marianne Knight.

  The tight unison playing of fiddler John McHugh, flute player Brian Lennon and accordionist Tom Doherty is nicely underpinned by the guitar of Declan Askin and double bass of Kevin Doherty, who invite favourable comparisons with the mighty powerhouse of Donogh Hennessey and Trevor Hutchinson.

  The selection of tunes is interesting and varied too, with the wide range of sources duly acknowledged. Dervish’s Seamie O’Dowd produces and provides as some pleasing second guitar on the song Man in the Moon, which is one of the highlights of this excellent CD. Although the best-known version is probably that of Scottish singer Andy M. Stewart, this version comes from Donegal musicians Ernie O’Rahilly and Liam Deery.

  And like Lunasa’s earlier CD, this comes recommended by Matt Molloy himself, at whose bar in Westport the band originally came together. Nick Passmore

  The Irish Post 27/5/06

  “Out Of Their Shell” is the second album by the Mayo-based traditional band Céide, it’s the first to feature their new singer Marianne Knight, who also plays bodhrán and adds a jazzy flute to the spirited ‘Bold Donnelly’.

  “Her clear, bright voice and crisp ornamentation make her one of the most exciting vocalists to come along in years.

  Marian is one of that numerous band of musicians known as the FBI (foreign born Irish) she learned her music at that well known musical nursery St. Wilfrids branch of Comhaltas based in the Irish centre, Cheetham hill, Manchester.

  The material on the album has come from years of playing together trying new tunes and selections there is very relaxed feel to this album.

  “These five lads from various backgrounds first started to play together at a regular Sunday night session in my pub in Westport. It soon became clear that they were developing a distinctive and original sound, combining the best of traditional music with contemporary songs and arrangements. This recording does great justice to their individual and collective talent. It has a very broad appeal and I highly recommend it. “Matt Molloy.

  With a recommendation like that the album is a welcome addition to the discerning traditional fans album collection. Joe Mullarkey

  Irish Music Review

  “In conclusion, Out of Their Shell is the most striking album to be released by an Irish traditional band for some years and absolutely worth investigation”, Geoff Wallis

  The Chicago Irish American News, July 06

  We really, really like Ceide. Mayo-based, this group has a growing rep with other musicians, and a slowly but steadily growing American audience, as well. Big future, based on the fact that they are wonderful now! A talented sextet they offer some thumpin’ great tunes, lovely airs and some fine singing from recent addition, Marianne Knight. The album is titled, Out of Their Shell. Also got it from the aforementioned Copperplate.

  This is terrific, traditional music played with gusto and understanding—a rare combination. It got us dancing around the room, and with this arthritis, that ain’t easy! Go Ceide!! Rating 3

  SKU: 651 Categories: Accordion, Bodhran, Fiddle, Flute, Groups, Tin Whistle, Vocals Female, Vocals Male

  £14.99
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  Neansai Ni Choisdealbha – Draiocht na Feadoige

  £14.99 Add to cart

  Neansai Ni Choisdealbha – Draiocht na Feadoige

  Press Reviews

  The Living Tradition Jan/15

  Well known in lreland and beyond as a broadcaster, Nancy Costello shows herself here to be an equally ?ne fluter. In a generous 21 tracks, she covers a wide range of lrish music from session tunes to slow airs, on flutes and whistles, joined by some excellent accompanists and other musicians.

  The title of this CD might translate as ‘Woodwind Wizardry’ and that would be no great exaggeration, although Nancy has no pretentions to be a Finnegan or McGoldrick.

  She breathes life into these tunes though and it’s the warmth and spirit which really comes across in her music, with enough technical skill to make her playing seem the most natural thing in the world. Most of these tunes are ones l often play myself, being a whistler, so l have to take a step back from the familiar and try to be objective.

  The material here comes from the heart of the tradition, well loved but sometimes neglected melodies. John Brennan ‘s and George White’s Favourite are great old reels, not heard so much in sessions these days. Tommy Mulhaire’s Jig is another rarity, but Condon’s Frolics is currently in favour. A set of polkas rolls beautifully off the fingers – no slides though. There are some exemplary hornpipes here too: The Navigator is a politically correct title and The Swan is rather less well known. Oiche Nollaig is a tune which is usually only heard for about one week a year, which is a shame. Redican’s Mother; The Skylark, The Green Mountain and The Lark On The Strand are all welcome as old friends. Lorna Hunter’s Reel puts a name to a tune for me, and Nancy’s Reel is a composition of Michael Hynes who joins Nancy here to play it. Fiddles, button boxes, jaw harp and the pipes of Nancy’s mentor, the iconic Meaiti Jo Shéamuis, provide duets and an occasional kitchen session sound, but most tracks are flute or whistle solos with deft accompaniment.

  Slow airs and waltzes are plentiful, some of them true solos. Taimse im Chodhladh, An Buachaillin Ban and Ballyvaughan Bay come from the lrish repertoire, while The Duchess Tree, Westering Home and Scottish Lament have crossed the North Channel at some stage.

  Alter more than an hour of fine music, Nancy launches into the pair of challenging reels, Colonel Rogers and Happy Days Of Youth, before a final house céili on four reels from Patrick’s Night to Ormond Sound. Warm, spirited and inclusive: The Magic of the Flute is a charming album which will bring a smile to the face of any lrish music fan. Alex Monaghan

  R2 Magazine Nov/Dec 14 * * * *

  Nancy Costello is one of the foremost’ broadcasters on RTE Radio na Gaeltachta, where she was appointed Head of Music in 2010.

  Originally from a Gaelic-speaking part of Galway, a small locality that has always been renowned for tradition, Nancy was first encouraged to play music by her parents.

  Accompanied by some excellent musicians, including Michael Hynes, Johnny Connolly and Eoin O’Neill, The Magic of the Flute is a varied collection of jigs, reels, hornpipes and airs, led by Nancy on flute and whistle. The playing and arrangements are solidly traditional.

  Nancy is a very capable flautist with a rock-steady rhythm. Her version of the C reel ‘Swinging On The Gate’ is beautifully played, with each rolling triplet adding to the flow of the tune. Likewise, Nancy is similarly adept on the whistle, as her excellent playing of ‘The Sweep’s Hornpipe’ demonstrates. The majestic slow air, ‘Taimse lm chodladh is na duistear Mé’ (I am Sleeping, do not awaken me) is, for me, a highlight of the CD. Here Nancy nicely decorates the melody and plays with true emotion.

  Draiocht Na Feadoige translates as the ‘Magic Of The Flute’, which is a very fitting title for this lovely CD. Keith Whiddon

  www.liveireland.com

  One of my favorites is by a terrific flute player named Nancy Costello from the Connemara in Ireland. The title: The Enchantment of the Flute on Clo Iar-Chonnacht. There are 21 cuts of fab fluting. Good heavens, this girl can play. I’m going to suggest that you get to the Clo Iar-Chonnacht website or Alan O’Leary at Copperplate Distribution in London to get this. Why? For some reason, this cd has the title, ‘Draiocht Na Feadoige’ by Neansai Ni Choisdealbha. Good God. That translates to Enchantment of the Flute by Nancy Costello. The title cannot possibly help sales, and that is a shame. All 21 tunes here are played impeccably in a gorgeous style. Nancy is a master musician. We will be playing this a lot on our LiveIreland show to help introduce this wonderful talent. Part of the fun will be to try to pronounce it. We can hear the purists calling in now. This is a terrific album, and qualifies Nancy for serious consideration as Female Musician of the Year. Bill Margeson

  SKU: 916 Categories: Accordion, Duets, Flute, Tin Whistle, Uilleann Pipes

  £14.99