Antóin MacGabhann: Matching Beats
with
Hilda Chiasson (piano)

Antóin Mac Gabhann: The Master Musician of Mullahoran

We are delighted to relaunch this early classic of Irish fiddling by the master from Mullahoran, a stalwart fo every fleadh and session. Sadly we only have  few copies, so get in quick. Previously released in 2004 to rave reviews. Hilda's piano accompaniement add a Cape Breton accent to the procedings. Antóin is one of Ireland's most popular fiddlers.

Early Years:
At the Fleadh Cheoil na hEireann in Clonmel last year, Antóin Mac Gabhann (Tony Smith) was honoured with a ‘Gradam Speisialta’ or a ‘Gradam na hÉigse’. It was not, however, Antóin’s first award of recognition, as he was made Cavan Person of the Year by the Cavan Association in Dublin in 1985. Both are an appropriate appreciation of his life, music, and work (so far!), which I will explore in this essay.

Antóin comes from Kilcogy Upper in the parish of Mullahoran, Co Cavan. He was taught to play the fiddle by neighbour, Terry Smith. He learned tunes by ear and was soon able to join in local sessions. When Terry Smith died he studied music for a short period with Sister Brigid, while at secondary school in Granard.

In the mid 1960s Antóin came to Dublin to study at UCD. At that time, there was no commercial music scene in Dublin, and a very small music scene. Musicians played together at different sessions in the city, the CCÉ sessions, the Piper’s Club on Thomas St, and the Church St Club. Only two pubs in Dublin were allowing music at the time, Donohoe’s in Merrion Row and Slattery’s in Capel St. These were played regularly. Every Saturday night, Tony went to the local Comhaltas session in St John’s Hall in Blackrock, where he met Mícheál O’hAlmhain, the Bergin family, Joe Liddy and Pádraig a’ Cnoic (uncle of Noel Hill), from all of whom he learned a great deal. He worked a summer in London where he spent his spare time playing with the London musicians such as Bobby Casey, Tommy McCarthy, Jimmy Power, Mairtín Byrnes, Dick Sherlock and others. He played in a céilí band every Saturday and Sunday night in the Galtymore Ballroom in Cricklewood. Back in Dublin, Tony began to play with many more influential musician, such as John Kelly, Joe Ryan, John Egan, Matt Molloy, Tommy Peoples, The Rowsomes, Mick Hand, Michael Tubridy, the Glackins and many more. He joined the Green Linnet Céilí Band on formation and played with them at many céilís in the city. All of this had a major influence on his musical development, and it was probably the biggest period of growth that he had as a musician.

Although not keen on the competitive side of traditional music, Antóin is one of the few musicians to have taken the Senior All-Ireland title at the Fleadh two years in a row. He is also the only one to win it twice in one year. The 1971 All-Ireland Fleadh was postponed because of the troubles in the North. It was held the following June in Dublin, when Tony had his first win. He won again in August that same year at the 1972 Fleadh which was held in Listowel. That year he also won the Fiddler of Dooney competition in Sligo, the Fiddler of Oriel in Monaghan, an tOireachtas and an tOireachtas Coirn Crotty (for previous winners of an tOireachtas). This abundance of winnings shows how much Tony’s musicianship and style had developed in the previous years due to the influence of those he played with.

Those musicians that he played with in Dublin and London also had a great influence on Antóin’s repertoire. His repertoire is built from Dublin, Clare, the North and London and spans the fiddle tunes of the North and the ‘big tunes’ to the rhythmic Clare set tunes. He spent lots of time playing with Tyrone and Fermanagh fiddlers such as John Loughran and others in the Pomeroy/Ballygawley/Cappagh areas of Co Tyrone and the Nugents, Gallaghers, Mick Hoy, Francie Quinn, and John McManus in Co Fermanagh. He also had a friendship with the Antrim and Derry Fiddler’s Association, adjudicating at their competitions throughout the 70’s and building a friendship with many of the musicians. His Clare connections come from his wife Bernie, a native of the county. Through her he kept company with the Kilfenora and Tulla Céilí Bands.  Deirdre Byrne

Audio

Track 1: Hand Me Down  the Tackle

Track 2: The Lucharacháin

Track 3: The New Broom

Track 4: Master McDermott's Reel

Track Listing

1. Reels: Hand Me Down the Tackle - The Devils of Dublin - The Sally Gardens
2. Jigs: Andy McGann's - Happy to Meet, Sorry to Part - The Kinnegad Slashers
3. Reels: The Skylark - George White's Favourite - Travers'
4. Damhsai Sciobiol: Around the Fairy Fort - The New Broom
5. Reels: Miss McGuinness - Sweeney's Dream - The Fox On the Prowl
6. Jig: The Gold Ring
7. Slide: Merrily Kiss the Quaker's Wife
8. March & Reel: O'Donoghue's Grand March - Lord McDonald's Reel - The Rookery
9. Reels: Master McDermott's - The Dairymaid - The Boy On the Hilltop
10. Jigs: Port an Lucharachain - Dave Collins' - William Thompson's
11. Hornpipes: The Stack of Oats - Lady Alexander's
12. Reels: The Fisherman's Island - The Corner House - The Maid Behind the Bar
13. Jigs: The White-haired Boy - Scatter the Mud - Morrison's Rambler
14. Slides: Denis Murphy's - Padraig O'Keefe's
15. Reels: Kitty Gone A Milking - Lucky In Love - The Flogging
16. Jigs: Pay the Reckoning - The Lark On the Strand - The Maid in the Meadow

Press Reviews

Rock 'N' Reel Magazine
From the very first tune Tony Smith establishes a tempo and rhythm that allows the melody to sing out bright and clear. Hilda Chiasson's piano backing complements Tony's fiddling brilliantly, adding a rhythmic exuberance and attack.
"The result is serious fun and serious traditional music."

Straight off in the English bit of the booklet the writer tells us the artist is Tony Smith and that he is a whiz on the 'sessions' circuit (and he's a whiz on the album, too), so he went to the right place to record, Cape Breton, where he got another of the best, Hilda, to add that irresistable C.B.piano.