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  Gerry Diver – Diversions

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  Gerry Diver – Diversions

  Press Reviews

  Live Ireland Web Site

  THIS is a young fiddler!!! Wow! Joined by a myriad of guest stars, this Manchester-based fiddler is overwhelming! All the energy, all the drive, all the talent!!

  This may well be our favourite album out of all these, and he is a serious contender for Newcomer Of The Year, or Musician of the Year! Now, go find this album. Get on it, and you will be rewarded.

  All the influences, Mc Goldrick, Carty, Mairin Fahy, this boy has done his homework, practiced and practiced and come up with his own deal! We are blown away. (God help us, he also plays a great banjo and a passable bass!!) Lots of diversity. Let’s repeat. Wow!! Bill Margeson

  Net Rhythms Music Web Site

  Donegal-born, Manchester-based fiddle player Gerry presents a very eclectic mix of tunes indeed on this his debut album.

  Opening with a stirring set of reels, followed by a Grappelli-style Hooley (mm, that tasty jazzy shuffle!), a fairly laid-back version of Bonnie At Morn (with vocal by Lisa Knapp, who also sings The Blacksmith later on), then a set of Roumanian Hora. Get the picture?

  Sure, Gerry excels himself instrumentally as you’d expect (principally on fiddle, but with occasional excursions onto banjo, guitar or bouzouki), always the musical virtuoso but without being over-flashy, and sometimes he’s multi-tracked.

  Variously, he enjoys instrumental support from Ed Boyd, Tim Edey, Ollie Blanchflower, Gino Lupari, James O’Grady and Richard Pryce (to name but a few), and there’s even a Pete Townsend credited on double bass on one track!

  Taken individually, each track is a gem; Gerry has the knack of pulling together disparate musical strands into a seamless whole, at any rate within the compass of each of the individual tracks; the drawback is that in the final analysis I can’t help feeling that the very Diver-sity of styles and material weakens rather than strengthens the album’s overall identity – but you may well disagree. David Kidman

  Froots October 2003.

  Belfast fiddler Gerry Diver’s debut album lives up to it’s name, with everything from Jazz, Western swing and homegrown traditions. While his approach is cheeky and competent, it struggles as times to make a definitive personal statement.

  However, its victories outnumber its defeats; potentially a major border crosser in embryonic form.

  Hot Press. Sept 2003

  This is a grand jolly debut CD. No slouch on the fiddle and banjo, Donegal’s Diver also plays guitar, bazouki, bodhran, bass, shaker and is a dab hand at writing new tunes, several of which feature on the album notably, Hot Summer Hooley, a bouncy tribute to the swing jazz style of Stephane Grappelli. A pair of Rumanian horas and two Peter Ostroushko tracks add an international element to the mix and Lisa Knapp sings a Northumbrian lullaby called Bonnie at Morn as well as an interesting waltz tempo version of the classic The Blacksmith. Sarah McQuaid

  Pay The Reckoning. Music Web Site September 2003

  Diver (fiddle, banjo, guitar, percussion, bass) is a major talent. No two ways about it. You don’t even need to listen to the album to know that he’s in the first division. Simply check out the list of people who’ve gone out of their way to guest with Manchester’s maestro. Lisa Knapp (vocals, fiddle), Tim Edey (guitar, accordion), Lucy Randall (bodhran, bones), Gino Lupari (bodhran, bones), Ed Boyd (guitar, bouzouki), Ollie Blanchflower (double bass), Jo May (djembe), James O’Grady (pipes), Ben Clark (drums), Edel Sullivan (fiddle), Pete Townsend (bass), Johnny Hennessy-Brown (cello), Les Hill (pedal steel) and Richard Pryce (double bass) contribute their various and varied talents to a smorgasbord of an album.

  Diver’s tastes are diverse. Eastern European influences feature at various points on the album, as does a Western Swing/country jazz aesthetic on the epic “Hot Summer Hooley”.

  However Irish traditional tunes form the album’s bedrock. Some quality sets here, grounded in the “pure drop” approach, but accommodating more than a little experimentation. “Ferny Hill/Rakish Paddy/Christmas Eve” is a real corker and leads into the compelling “The Orthodox Priest/Charlie Lennon’s/The Sailor’s Bonnet”.

  “Henry’s Jig/Calliope House/The Munster Buttermilk” gets our vote for the highlight of the album. The first jig was composed by Diver himself as a tribute to his dad. The closing jig is the first tune he ever learned. There’s a very real sense of the forces that drive Diver in this set; that, despite his love of exotic musical forms from other places, his roots are very much in the Irish tradition. A modern classic. Utterly contemporary and yet solidly traditional.

  Folking.com Music Web Site

  Gerry Diver brings to mind a young Kevin Burke from the opening track ‘The Shepherd’s Bush Reel/Goldhawk Road/

  The Procrastination Reel’ and it’s bound to set the listener in mind of The Bothy Band on heat (!) with its driving rhythm

  and soaring fiddle.

  The only problem I have with it is that all of the musicians seem to have a problem in keeping up and unfortunately nobody seems to have a chance to draw breath such is the unrelenting speed. There are quite a few clipped notes in order to attain

  the speed which is a shame really as Gerry is without doubt a fine musician.

  The second track, a more evenly paced Grappelli style jazz infused number called ‘The Hot Summer Hooley’ really swings

  and collaborator Tim Edey’s “Django” guitar is the ideal compliment but why, oh why the inclusion of the pedal steel guitar – more than a bit jarring for my tastes I’m afraid.

  No, I must admit that although I know the album is supposed to focus on the instrumental talents of Gerry it is on the songs

  that I am most impressed. The simplistic approach taken on bouzouki backing the delicate (but delicious) vocals of Lisa Knapp is a real coup.

  ‘Bonny At Morn’ has long been a favourite of mine and Lisa gives it depth without making it insipid. It has to be said that when he’s not going for gold in the speed stakes this talented multi-instrumentalist proves his worth either leading the field or accompanying.

  For me, Gerry has a lot of potential but it appears at the moment it’s a case of trying a bit too hard although hopefully by

  that all important second album he’ll achieve his ultimate goal. Pete Fyfe

  The Irish Post 19.7.03

  You’re unlikely ever to find yourself thinking: now, what I’d really like to listen to is some Irish traditional music mixed in with a bit of Stefan Grappelli/ Northumbrian/ Rumanian/ English/ Ukraine music. But should that mood ever descend upon you, I have the very album.

  Diversions contains all the above — plus a few self penned numbers as well.

  Of these, The Shepherd’s Bush Reel and The Procrastination Reel put me in mind of the old joke: How do you tell one Irish tune from another? Answer: by their names.

  The thing is there’s about 6,000 pieces in the Irish national store of traditional music stretching back these last 300 years or so.

  Now we’re talking here about a very precious music, the best in the world as far as I’m concerned, and I seldom listen to anything else.

  But one would have to say that being a fairly rudimentary music, as all folk music is, 6.000 pieces is really all we need.

  Everything you can do with the ‘ould music’ has more or less been done — and there’s nothing about any of the self-penned music on this CD to persuade me otherwise.

  Let me say here and now: there’s some absolutely terrific musicians on this album, not the least Gerry Diver on fiddle himself.

  There’s some exceptional accordion playing from Tim Edey, and of course, you can’t really improve on Gino Lupari on the bodhran.

  But by the end of the album you feel with all that musical firepower as his disposal, Gerry might have been better visiting just one or two places in the world and confining his musical style accordingly. Malcolm Rogers

  SKU: 530 Categories: Accordion, Banjo, Bodhran, Bozouki, Fiddle, Groups, Guitar, Vocals Female

  £14.99
• 

  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

  £14.99
• 

  Charlie Lennon – Turning the Tune

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  Charlie Lennon – Turning the Tune

  Turning the Tune is a new double-CD of fiddle music from Charlie Lennon which includes one CD of his own compositions, released on the CIC label.

  “One CD looks back, the other looks forward.” That is how Charlie Lennon summed up his new double-CD Turning the Tune.

  Charlie is a veteran of traditional Irish music and a member of the well-known Lennon family from Kiltyclogher, Co. Leitrim, which includes his older brother Ben, also a master fiddler. Charlie has seen many changes within the tradition over the years and fears that it may be in danger of becoming too diluted. “We are moving through a period of constant innovation and unless we keep a sharp eye on where we’ve come from, we’re likely to stray off course,” he says. The challenge, he feels, is to build on the tradition, and that is the underlying principle of Turning the Tune. The first CD looks back to the roots of the tradition and past masters and features trusted old tunes with the notes in the booklet referring to many sources including McKenna, Morrison, Coleman and Killoran. Charlie Lennon presents many of these tunes in a new way while staying within the tradition, demonstrating the possibilities which the tradition offers. The second CD looks forward, and contains all new music composed by Charlie. He says of the compositions: “I find it helpful in writing to recall good memories of people and places and seek to capture these in music. While the genre is primarily Irish traditional, I have moved into other genres at times in order to best paint the picture.” The booklet details the inspiration for each piece, adding a particularly personal touch to the album.

  Other musicians featuring on the album include: Brian McGrath, Frank Kilkelly, Éilís Lennon, Brian Lennon, Johnny and Johnny Óg Connolly, Steve Simmons and Emmet Gill. Turning the Tune contains thirty tracks in total.

  Press Reviews

  The Irish Times 2.11.07

  Leitrim fiddler and prolific composer Charlie Lennon lends some finely wrought tunes to the tradition, and this double CD is a formidable addition to his arsenal.

  With one CD of established tunes accompanied by another brimful of newly minted compatriots, Lennon bestows another gabháil of music to listeners and players hungry to cross new borders.

  Against an occasionally overly robust backdrop of piano, banjo, viola and box, Lennon’s throaty fiddle traces an earthy route around old standards such as James Morrison’s Peach Blossom, as well as recently birthed muzettes (Waltz Joe-Anne), strathspeys and a pair of sublime commemorative pieces: an air/reel in memory of Lennon’s talented sound engineer, Éamonn Goggin, and a reel dedicated to his nephew, John Lennon.

  Delicately perceptive playing from a musician who marries the cerebral and the emotional without ever sacrificing one to the other. Siobhan Long

  The Folk Diary

  Under the booklet section entitled “A Word of Advice” Charlie counsels ‘Don’t just learn the notes for these are only a portion of the tune.

  Think about the different ways of phrasing it.’ He then demonstrates the value of this over 30 tracks and two albums. Thus on the first album,

  his assured fiddling finds new and exciting ways of addressing standards from the Irish repertoire and tunes such as ‘The Liverpool Hornpipe’ and

  ‘The Wind that Shakes the Barley’ have new life breathed into them and his rendition of ‘The Blackbird’ makes the hair stand on its end.

  Charlie doesn’t mention the value of listening to the classic recordings of Irish music, but from his whole approach we can hear his appreciation of these, particularly of the early Irish American 78s.

  On the second album, Charlie plays tunes that he has written himself, but apart from the fact that these obviously sound less familiar than those on

  the first album, nothing else in the approach is changed. These are tunes that totally fit alongside the tradition.

  These albums are as exhilarating as any I have heard in a long time. Vic Smith

  (This album also got my vote in the fRoots Critics/BBC Radio 3 “Album of the Year” poll)

  Irish Music Magazine OCT 07

  To get one CD of fiddler, Charlie Lennon’s playing is cause enough for celebration, but to get two, one of them devoted entirely to his own compositions, is quite something indeed. On the album he also plays viola, piano, harpsichord, bass and keyboards, and he is joined here and there by Brian McGrath (piano & banjo), Frank Kilkelly (guitar), Johnny O’Connolly (accordion), Johnny Connolly (melodeon), Steve Simmons (guitar), Emmet Gill (uilleann pipes), and family members, Eilis Lennon (fiddle), and Brian Lennon (flute).

  The arrangements are nicely varied, but always with justice done to the fiddle player himself, whose sound doesn’t lose out to over-dominant accompaniment. For that we must thank Charlie himself who, along with David Lennon, produced the album, and to Ed Kenehan and the late Eamonn Goggin who were the sound engineers. The CD is dedicated to Eamonn, who was a close friend of Charlie’s.

  In Clo lar-Chonnachta’s (CIC) website notes we are told, “One CD looks back, the other looks forward,” which is how Charlie summed up his new double-CD Turning the Tune. The first CD looks back to the roots of the tradition and past masters and features trusted old tunes with the notes in the booklet referring to many sources including McKenna, Morrison, Coleman and Killoran. Charlie presents many of these tunes in a new way while staying within the tradition, demonstrating the possibilities that the tradition offers. The second CD looks forward, and contains all new music composed by Charlie. He says of the compositions: “I find it helpful in writing to recall good memories of people and places and seek to capture these in music. While the genre is primarily Irish traditional, I have moved into other genres at times in order to best paint the picture.” The CD booklet details the inspiration for each piece, adding a particularly personal touch to the album.

  In his written introduction to the CD, Charlie explains the choice of the album’s title. “Can you turn this one?” Francis John McGovern used to spend time at Charlie’s parents’ house in Co. Leitrim in long winter evenings. Charlie recalls that his father and Francis John would chat by the fire, and during a pause in the conversation, the latter would draw a Clarke’s whistle from his breast pocket and play part of a seldom-heard tune. “That came to me while I was taking the rough off a headstone in the workshop today but I can’t turn it,” he would say. There’d be another long pause while all looked into the fire for inspiration. “Sometimes I would get an inkling of the high part,” Charlie writes, “reach for the fiddle and start to stagger out a phrase or two.” Francis John would exclaim, “That’s it! I have it now.” Then the old man and the boy would take time in fleshing out the tune together. “This was Francis John McGovern’s way of giving encouragement and recognition to any aspiring young musician that he came in contact with,” says Charlie.

  There is a feast of good music and tunes on these two CDs of Charlie’s: reels, jigs, hornpipes, a couple of barn dances, a waltz, an air/reel (dedicated to Eamonn and his parents), and even a strathspey which Charlie composed in memory of his friend, Dick Lett, who promoted Irish and Scottish music workshops when Charlie lived in the north of England. I recommend this album highly. Aidan O’Hara

  www.liveireland.com

  Turning the Tune” is a new double album out from the great musician, Charlie Lennon. In this outing, we have Charlie giving a tour de force on fiddle. This is a beautiful textbook of music at its best, played with total understanding and grace. This is for real trad lovers only. It is required for all aspiring Irish fiddlers, not only for the technique, but the vast array of tunes on offer. In a double album we would have wanted more airs, but you can’t have everything. This is a corker. Rating: Recommended. Bill Margeson

  SKU: 662 Categories: Accordion, Fiddle, Flute, Guitar, Melodeon, Piano

  £16.99
• 

  The Music of Kevin Keegan

  £14.99 Add to cart

  The Music of Kevin Keegan

  Press Reviews

  Irish Music Magazine

  Many musicians have come and gone with little trace of their music left behind them except their memory in folklore, story and sometimes in song. Kevin Keegan was one musician who shied away from commercial recording because he never wanted attention focussed on him. As a result the remaining recordings of his music are mainly those made privately.

  On ‘The Music of Kevin Keegan’ we are allowed to glimpse the style and heart of this musician who enthralled and inspired so many during his relatively short life. Like his contemporaries Paddy O’Brien and Joe Cooley, he emigrated to the United States, staying on when the Aughrim Slopes Ceili Band toured there in 1956. He settled in Chicago and later moved to San Francisco where he made many broadcasts on Californian radio stations. Most of the recordings here were made in Chicago and San Francisco.

  Kevin was also a singer and the two songs on this album were recorded in Ireland, Adeste Fideles’ might be considered an oddity on a traditional music album but carols, hymns and church songs were part of the routine musical fare in everyday Irish life one time.

  This recording was made on a wire recorder in the wee small hours of Christmas Eve, 1954 in Boula Parish Church in Co. Galway. Later in 1962 an emotional rendition of ‘The Old Thatched Cabin’, the song most associated with Kevin, was recorded in the home of Eoin 0′ Kelly near Portumna accompanied by the late Aggie Whyte on fiddle and Jennie CCampbell on piano. Eoin is on of the voices we hear on this album along with that of Joe Cooley, Alien Patterson, Richard Lundy and Kevin himself whose voice introduces the album.

  Kevin Keegan’s music is all heart and character. It is lively, sprightly and full of fun, a reflection of his own personality.

  The tunes are mostly great standards of the tradition such as Off to California, Contentment is Wealth, The High Reel, The High Level Hornpipe, with the exception of ‘Kevin Keegan’s Waltz’ composed by himself.

  Joe Burke who meticulously sifted through the many recordings provided by friends and acquaintances to put this CD together had enormous admiration for Kevin’s music and says “I just didn’t want it to happen that he would be forgotten.” This album is significant and invaluable in that it gives to the public and younger listeners a sample of the style and character of one of the

  most renowned and influential accordion players in Irish traditional music.

  We have the privilege of hearing a strong individual style of music that has thankfully been preserved and restored. It is a timely remembrance, a lasting document and a fitting tribute to a unique and stylish musician. Ita Kelly.

  Pay The Reckoning September 2004

  A master of the two row B/C accordion, Keegan – a former member of the famous Aughrim Slopes Ceili Band – remained behind in America after the band’s 1956 tour and there he lived and played his music until his untimely death at the age of only 54.

  Initially settling in Chicago, Keegan teamed up with the wealth of the musically talented who had taken up residence there. His playing days were far from over!

  CIC’s new CD of Keegan’s work has been compiled from cassette tapes and reel-to-reel recordings made by friends and musical acquaintances.

  The sound quality is not always of the highest order. However Keegan’s playing cuts through the hiss and the background noise like a knife. With touching sleeve notes by Keegan’s long-time friend Joe Burke – no mean accordionist himself!- the CD is both celebratory and melancholy in equal measure. Celebratory of a mighty talent; melancholy in its reflections on a man taken from us too soon – a man whose music still had a way to go.

  www.irishmusicreview.com

  “the sheer fun of his music and a resolute belief in letting the tune do the talking and you have an almost perfect release”.

  Great stuff and thanks, Joe! Geoff Wallis

  SKU: 577 Category: Accordion

  £14.99