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Teada
Press Reviews
Irish Dancing International March 2003
Sharp eyed readers of this column will recognise any references to Oisin MacDiarmada, the fiddler with this band, Teada, as the self same that ran away with our ‘Album of the Year’ in December’s issue. Since last year, Oisin has moved on and now jets around the world with Teada, one of a core of excellent, young trad Irish bands.
The band comprises Oisin, John Blake, Sean McElwain, and Tristan Rosenstock. John is a Londoner and when he first came to Ireland, his forte was acoustic guitar. He is also a multi-instrumentalist and an excellect ‘fluter’, (I know I could say flautist, but tradders hate that), Sean brings more strings in the form of the banjo and the bouzouki. Tristan completes the quartet with virtouso bodhran talent and backing vocals. Oisin himself is noting short of a genius when it comes
to playing the fiddle, as we already eulogised in the December issue.
And so to this, their debut album. It’s a fine album indeed and those with a keener understanding of the finer points of Irish trad that myself have spoken volumes about it. It is a fair compendium of jigs, reels and hornpipes and a significant confidence builder forthe group in these early years. It’s a pointer to what we might expect in a year or two. Donal Lynch.
Folk On Tap March 2003
Here we have another young band emerging from the Emerald Isle playing traditional tunes on a variety of instruments, led by a fiddle or a flute, backed up by tenor banjo, bouzouki, piano and bodhran. Their playing is slick and professional as you might expect froma country so steeped in traditional music and musicians, but a creeping suspicion nags me, a sense of deja-vu perhaps. Haven’t we heard this music before, in fact many times over?
There have been so many good Irish bands playing reels, and jigs, with the occasional song thrown in for good measure, that I find hard to differentiate between them anymore. That said, however, they are at least as good as anything that has gone before, but not ground breaking and inovative they are not but maybe, they don’t want to be. Phil Hugill
The Irish Echo Téada comes with “strings” attached By Earle Hitchner
Youth is very well served on “Téada,” the Irish word for “strings” adopted as the name of a new band and their debut album on their own Sligo-based imprint, Ceol Records.
The accent on strings comes from 24-year-old, Clare-born Oisín Mac Diarmada, the 1999 All-Ireland senior champion on fiddle, London-born John Blake on guitar, and Monaghan’s Seán McElwain on bouzouki and tenor banjo. Mac Diarmada also sings and plays whistle and piano, Blake adds flute, whistle, and piano, and Dublin’s Tristan Rosenstock, Téada’s fourth member, plays bodhrán, so this “string thing” really only goes so far. (I mean, is Altan with two fiddlers, two guitarists, and a bouzouki player also a “string” band?)
Semantics aside, “Téada” represents a fresh force in Irish traditional music. Two years ago, Mac Diarmada made an excellent recording with Monaghan harper Mícheál Ó Ruanaigh and Limerick banjoist Brian Fitzgerald, and guesting on that album were Blake and Rosenstock, so the rudiments of Téada were largely in place then.
Part of what makes their debut CD impressive is the variety of moods and tempos they achieve. The band opens the album not with a customary blast of reels but a hornpipe and jigs medley that is admirably paced, especially by Mac Diarmada’s tender fiddling of “Tom Connor’s Hornpipe.” In “Teresa Halpin’s/Rathlin Island/Michael Hynes’,” McElwain’s banjo and Rosenstock’s bodhrán establish at the outset a steady, rhythmic pace that gains in power with Mac Diarmada’s fiddle and Blake’s flute coming in on the second reel. Then the third reel shifts into almost a céilí band sound, as Blake doubles on piano and McElwain adds bouzouki to the mix.
There’s a lot of adroit dueting — fiddle and flute, flute and bodhrán, bodhrán and banjo, banjo and fiddle — within the arrangements. This juicy subtext courses through the main musical reading and piques the overall listening pleasure.
Fiddle and banjo, for example, shoulder the melody throughout “The Liffey Banks/Pat Molloy’s” reels, backed at first by guitar and then by guitar, piano, and bodhrán. Fiddle and flute start off “The Surround/Up in the Garret/Port na Deoraí” slip jigs, then give way to flute and bodhrán, then to banjo and fiddle. The progression is natural, not constrained, and changes between tunes are like smooth hand-offs in a relay race, with no strides broken.
“Tom Roddy’s,” a tasty jig written by Mac Diarmada and played by him on fiddle and Rosenstock on bodhrán, effortlessly segues into two traditional tunes, “The Old Firm Jig/The Maid at the Well,” featuring all four band members. Again, the seams don’t show.
Nowhere is that more apparent and accomplished than in the album-concluding medley of “The Crock of Gold/Johnny Has Gone to France/The Tailor’s Thimble,” where the change to the last reel is brought off with a quick swoop into a lower register.
Instrumentally, Téada is exciting, but vocally, they’re much less so. Mac Diarmada sings lead on two songs, “Peigín Is Peadar” and “A Bhean a’ Tí,” backed by harmonies from McElwain and Rosenstock. The vocals are thin and tentative, especially when compared with past popular renditions of those songs by Dervish and Clannad.
Other shortcomings on the album are its brevity, clocking in at a pre-CD-era 38 minutes and 16 seconds, and its production, where some tracks end with an unsettling scissors-like snip.
But don’t be put off by these faults. Oisín Mac Diarmada is one of the most talented fiddlers in Ireland today, someone who imaginatively breaks free of convention, and John Blake’s skills on guitar and keyboard are exceptional not just with Téada but with At the Racket, the Carberry family, flutist Harry Bradley, and fiddlers Brian Rooney, Jesse Smith, and Liz and Yvonne Kane. Blake is also a good flute player, and Tristan Rosenstock on bodhrán and Seán McElwain on bouzouki and banjo are solid complements to him and Mac Diarmada.
Together, they are a quartet whose age belies how fully seasoned they are as instrumental performers. I recommend “Téada,” both the band and the CD, strings attached. Earle Hitchner
Folk Roots Review Aug/ Sept 02
Teada are a traditional quartet with a rising reputation, thanks in parts to the spirited unison playing of fiddler Oisin MacDiarmada and flautist JohnBlake, backed by first rate banjo and bouzouki from Sean McElwain and the sensitive bodhrah of Tristan Rosenstock.
Hugely enjoyable throughout and definitely one to watch out for. Thumbs UP!
Taplas June/July. The Welsh Folk Magazine
Teada, (say tay-do) are a boy band of the exciting young, traditional variety.
Interestingly they are a bit different in their laid-back and more ‘traditional’ approach to the music. Translation: they tend not to play fast and frantic, there are no cheesy ‘arrangements’, synthesisers or crossover attempts.
The band features flowing fiddle and singing from Oisin MacDiarmada, contrasting with exciting flute of John Blake, with banjo/ bouzouki and bohran completing the line up. Oisin’s singing isn’t totally convincing but that’s maybe a matter of personal preference (think Marcus O’Murchu).
The arrangements and choice of songs are a good mix of favourites, done a bit differently, and more unusual stuff. It’s a shame the production is marred all the way through by over loud fiddle, which has led to a somewhat bare sound, the instruments not quite blending. Teresa Clark
Pay The Reckoning April 2002
Pay The Reckoning know what we like (and we like what we know, but that’s a different story). And we LIKE this album.
Are you fed up with ham-fisted, hob-nailed approaches to Irish traditional music? Do you hanker after playing with depth, soul, meaning? Music where the wild, “high lonesome” sound is at the heart of its being?
Then look no further than Téada, the young 4-piece who have redefined the word sensitive and elevated understatement to an art-form.
The musicianship on this collection is impeccable. John Blake (flute/guitar/piano/whistle), Seán McElwain (bouzouki/banjo/backing vocals) and Tristan Rosenstock (bodhrán/backing vocals) display a talent which can only be described as virtuoso. However I’m sure that they will forgive our waxing lyrical for a few moments over Oisín MacDiarmada’s utterly mesmerising way with the fiddle.
Here is a young lad whose voice and style are unique. While aspects of his playing call to mind, variously, the approach of the Sligo maestri Coleman and Morrison (MacDiarmada’s a Sligo man himself!), the fluid style of Kevin Burke, the keen intelligence of Martin Hayes and the heart-stopping subtlety of Paddy Canny, there’s little doubt that MacDiarmada walks alongside the greats; not in their footsteps!
The opening track on the album (Tom Connor’s Hornpipe/The Joy Of My Life/Handy With The Stick) showcases MacDiarmada’s playing to great effect. His solo work on the hornpipe is delicate, yet assured. Smooth, elegant, stately. Unhurried (as opposed to slow). And then the band join him on the jigs. Not with the wham-bam with which other outfits might choose to treat us, but rather with an ensemble approach whose atmosphere of mutual respect mirrors the respect for the music which MacDiarmada demonstrated in his opening solo.
And from then on in, it’s one treat after another. On the reel set which follows (Teresa Halpin’s/Rathlin Island/Michael Hynes’), Blake’s flute is much more to the fore alongside McElwain’s intricate banjo picking. The touch of piano towards the end of the set lends it an air of nostalgia as its position in the mix calls to mind those now-ancient American recordings of the 20s and 30s.
The slip jig set (The Surround/Up In The Garret/Port Na Deoraí) is a stunner. The first tune is a little-heard and idiosyncratic number and the follow-ons are so well-constructed to serve as archetypes for the 9/8 form.
MacDiarmada, McElwain and Rosenstock are in fine voice on the first song on the album “Peigín’s Peadar”, before they deliver a beltin’ set of reels (Micho Russell’s/Bill Harte’s/The Green Gates).
The next set (The Chaffpool Post/The Mayday Hornpipe) epitomises Téada’s approach to musical direction. The first tune, a barndance, was selected from a set of barndances recorded by Michael Coleman in 1927 – and not played much since. Nevertheless the musicians have spotted its great potential and, set alongside the hornpipe which got an outing on the legendary “Dog Big, Dog Little” album, it sparkles.
On the next reel set (The Liffey Banks/Pat Molloy’s) the piano is to the fore again, this time creating a mental link with the dancing masters and mistresses of the recent past (i.e. before Riverdance and the conversion of as graceful and restrained form of self-expression into something which approaches the Folies Bergeres in hob-nailed boots).
On the song “A Bhean A Tí”, MacDiarmada treats us to another of his talents when, as well taking the lead vocals, he plays whistle.
The jig set “Tom Roddy’s/The Old Firm Jig/The Maid At the Well” kicks off with a MacDiarmada-composed tune which sits very happily alongside the two traditonal tunes.
MacDiarmada gives us a great version of Charlie Lennon’s hornpipe “Rossinver Braes”. The emotional depth of his playing comes as no surprise, given what we’ve already heard. What perhaps does surprise is the degree of restraint which he shows.
And then – too soon! – the finale. A flawlessly executed set of reels, “The Crock Of Gold/Johnny’s Gone To France/The Tailor’s Thimble”. Having paid homage to Coleman on their version of The Chaffpool Post, the lads bend the knee to his fellow Sligo-man Morrison who recorded the two closing reels with John McKenna in the late ’20s.
Young, ferociously talented, sensitive, intelligent. Pay The Reckoning cannot overstate just how accomplished this album is. The band have dug deep and constructed tune sets which are truly their own and yet which hold together so well that the listener could easily be fooled into thinking that time itself had brought the tunes together in a happy coincidence. The lads play like they’ve each been at the music for longer than their collective years. Let’s hope they stick around for another two or three albums at least!
Finally … a request. Next time around, any chance of nodding in The Professor’s direction once again and giving us a Téada version of “The Tailor’s Twist/The Flowers Of Spring”? There’s a prospect that would have Pay The Reckoning towers buzzing for months!
Teada Live Review
The Herald (Scottish Newspaper) April 25th 2003
The name, like k d lang’s, is determinedly lower case. It’s pronounced ‘tay-day’. It’s Irish for ‘strings’, and it might be advisable to get used to it because there was a feeling of portent as pronounced as a poteen hangover about this gig. The band are young — how young you can guess by the news of teada’s bodhran player’s absence due to exams — and maybe it was the novelty of having an accordionist make up the quartet, but loathers of football clichés look away because I’m going to use one: this was a game of two halves — bloody good and bleedin’ marvellous. The first established the group’s liking for variety of metre and arrangement, pairing off for fiddle and flute duets, and employing numerous other instrumental permutations, from solo to quartet. It also confirmed that, in Oisin Mac Diarmada, teada have a fiddler of quite starting old-head-on-young-shoulders ability. You could hear centuries of tradition and doubtless long hours of dedication in his sweet and graceful melodiousness. If at times, then, his colleagues seemed to be playing catch-up, later they were right on the pace, adding richness and precision on banjo, bouzouki, box, and flute. Flautist John Blake, English-accented but Galway-based, takes stick for his origins but brings natural aptitude and technique on tunes, and in doubling upon guitar he offers harmonic invention and real drive. One complaint might be their one song per set ration. Mac Diarmada sings well, interestingly, and with feeling, and might do even more so with some practice. But with such quality of musicianship and attention to a tune’s essential shape, they’ll so as they are for now. Rob Adams
Teada Live Review
Edinburgh Evening News (Scottish Newspaper) April 24th 2003
Edinburgh’s Ceilidh Culture programme continued last night as young Irish band Teada brought their classic Celtic credentials to town in their debut Scottish gig. Now a five-piece outfit since the recruitment of accordion player Paul Finn earlier this year, Teada were shorn of their bodhran player Tristan Rosenstock, back home in Dublin preparing for his finals, but, in his absence, the band, with Oisin Mac Diarmada leading on fiddle and excellent vocals certainly passed this test. Traditionally Irish but with a punkish edge to their style, Teada, which is Irish for strings, genuinely enjoy their music, and their repertoire had enough shifts in pace and style to keep the band, and their audience, on their toes, raucous one minute, sensitive and serene the next, traditional Irish music with attitude. Seemingly playing well within themselves in their first set, with an intriguing mix of reels, jigs and hornpipes, the band cut loose in a second set that got one encore, but could have received several, such was the reception they received. Mac Diarmada is a real talent, his fiddle-playing of the highest order, but with a distinctive, almost discordant edge to it, and his Irish vocals were full of Irish passion. Teada, however, are no one-man-band, and with banjo/bouzouki player Sean McElwain offering subtlety and style, Finn on accordion and John Blake on guitar and flute, they are a refreshing addition to the genre. The highlights were the numbers in celebration of the piping tradition shared on both sides of the Irish Sea, and the hornpipes, especially Tom Connor’s and Mayday, and reels such as Teetotaller and Billy McCumiskey’s showed the versatility of Teada goes across the spectrum of Irish music. Teada are a tight, traditional Irish band with something quite intangible to separate them from the rest, and if there is a better new band on the Emerald Isle, then they must be very, very good. Mike J. Wilson A band focused upon creating a soulful, traditional sound with a subtle approach to adornment. Featuring the uniquely sweet fiddle playing and vocals of Sligo musician, Oisin MacDiarmada. In tandem with the flowing flute playing of John Blake and rhythmic banjo playing from Seán McElwain, the thoughtfully crafted tune settings are enhanced sensitively by Tristan Rosenstock on bodhran. Superbly aided by the harmonic understanding of London born Blake’s guitar playing and complimentary buozouki accompaniment of McElwain from Monaghan.
Téada have undertaken tours of USA, Scandinavia and Germany in the run up to the launch of this debut recording.
Oisin MacDiarmada: Sligo fiddle-player aged 23 is an honours graduate in Music Education from Trinity College, Dublin/ RIRM. In addition to his widespread performing activity, Oisin is respected internationally as a fiddle tutor and for is journalistic, lecturing and production work. Fast becoming one of the most exciting young musicians on the traditional scene. His playing on his previous recording. (CICD 148 Traditional Music on the Fiddle, Banjo and Harp, available from Copperplate) released in 2000 was described by Simon Jones of UK magazine, Traditional Music Maker as ‘so sensitive it’s enough to make grown men weep’.
John Blake was brought up in the thriving music scene in London, where he learned to play flute from Brendan Mulkere. Since moving over to Ireland in 1998, he has become a regular performer here and abroad. In the process establishing himself as a talented multi-instrumentalist, whose contribution has been notable on an increasing number of albums in recent times. John currently lives in Galway.
Seán McElwain hails from Monaghan and brings a strong string dimension to téada through his energetic contributions on banjo and bouzouki. In recent times, touring performances have seen Seán gain growing accolades for his accompaniment and melodic skills from many quarters. Having recently completed a degree in Commerce. Seán is presently based in Galway pursuing postgraduate studies in the field of electronic Commerce.
Tristan Rosenstock, from Glengarry in Co Dublin, Tristan’s bodhran playing encompasses a distinctive musical sensitivity, evident on the number of recordings and tours with he has had involvement. Prominent in Dublin musical circles in recent years. Tristan is currently pursuing studies in Irish and Old Irish at Trinity College, Dublin.
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The Baileys – A Song for Ireland
As soon as they were old enough to acquire a dubious-looking brown van, Michael and Anthony began touring the country, passing on great ballads in the time honoured folk tradition. By now, there’s hardly a village hall or pub in any hamlet of Ireland that hasn’t yet played host to their electrically-charged performances.
Michael is a founding member of Rig the Jig and Anthony joined Rig the Jig two years ago. Rig the Jig released four critically-acclaimed Celtic music records. PASSING THROUGH débuted at #5 on Billboard’s World Music chart. Rig the Jig has been heard on more than 60 NPR stations and performed at the Country Music Hall of Fame, CMT and dozens of festivals across America. Rig the Jig are currently recording their fifth album.
Times have changed, however. With the music industry awash with complex fusion works and variations of Irish music, demand for a truly organic Irish sound has soared. Michael and Anthony caught the crest of this wave, enjoying a success that has seen them play to massive audiences in theatres and folk music clubs across Ireland.
Where The Baileys go, true aficionados follow. Theirs is a gift that transcends national boundaries.
Attention music lovers everywhere. If you’ve been noticing a yawning gap in your current musical diet, worry no more. Irish folk singing sensation The Baileys are about to enrich your diet by unleashing a sensational new album onto the World stage. Brace yourselves for a taste explosion. The Baileys, all the way from the heart of Ireland, have a plethora of musical ingredients to dazzle the palate. And well they might. Life-long friends Michael Banahan and Anthony McDermott boast an impressive pedigree, steeped in the folk tradition since the embryonic stage. Now, to the delight of their ever-increasing fan base, they’ve put their unique energies together to create an album that perfectly encompasses the beauty and history of Irish folk songs. Make no mistake; this collection of 20 songs is a vital addition to the collection of any discerning folk song lover.
From the timeless ballad ‘Fiddler’s Green’ and the sorrowful yearning of ‘Raglan Road’ to the pithy and humorous ‘Colcannon’ and the aching beauty of the sports anthem The Fields of Athenry, this new offering from The Baileys is an aural patchwork of all that is great about the Emerald Isle. Throw in the fast-paced ‘Rocky Road to Dublin’, truly a song with a rhythm of its own, and it makes for an album that is truly a balm to the music lover’s ears.
It’s a recording that has been stewing for a long time in the minds of these two talented troubadours. For over a quarter of a century, they’ve been honing their talents along the highways and byways of Ireland. From their childhood days in the midlands town of Roscommon, they eschewed fairytales and nursery rhymes in favor of learning some of the best folk songs their country has to offer. ‘Sullivan’s John’ was one of the first songs ever carried by Michael’s compelling voice, accompanied by the pulsating chords of Anthony’s hard-working guitar. Of course, no self-respecting Roscommon musicians would reach adulthood without their own well-practiced rendition of ‘The Mountains of Mourne’; the lilting ballad penned by the county’s most famous writer Percy French.
Press Reviews
Rambles.net
Whether or not you’ve been to Ireland, this 20-track CD will have your heart longing for its shores.
The Baileys are the real thing. Sure, the Irish music tradition these days is saturated with world-music influences and glitzy electronics, but these two gents — Michael Banahan and Anthony McDermott — are the true, pure sound of Irish songcraft. Having honed their art over more than two decades of touring the pubs and venues of their lush green countryside, they now offer their music to the world with A Song for Ireland.
Both men sing, with Banahan on lead. Both play acoustic guitar, and Banahan sometimes adds bodhran. For this recording, they’ve added several welcome guests: Paul Gurney on piano, bass, accordion, guitar and percussion, Noel Carberry on uilleann pipes and whistles, Aoife Kelly on fiddle, Johnnie Duffy on banjo and Danny Sheerin on backing vocals. It combines for a full sound that is never crowded or overproduced.
But at its heart, this recording is a couple of guys who love their musical tradition and offer it up with touching sincerity. There are no surprises in the song selections here; almost all are familiar, from the opener “Colcannon” through “Rocky Road to Dublin,” “Danny Boy,” “Black Velvet Band,” “The Ould Triangle,” “Peggy Gordon,” “The Fields of Athenry” and “Spancil Hill,” right into the closing track, “Raglan Road.”
The songs are slow, sweet and simply presented. They are often sad, mournful but never maudlin. The more sentimental listeners may find themselves misting up every now and again as Banahan and McDermott sing. And, oh, I want to be there, listening to these men sing from a Guinness-soaked bench in a dark Irish pub. And when they’re done, I want to shake their hands and tell them they made me miss Ireland so much, I just had to come.
In the meantime, I’ll be listening to A Song for Ireland fairly often — if I can collect it again from my father, who would never forgive me if I didn’t loan it to him as soon as I’m done writing this review.
Celtic Music Magazine
The title of The Baileys debut album ‘A Song for Ireland’ sums up the entirety of this record. This album acts as a who’s who of favorite, traditional Irish songs. It unabashedly takes the reader through many of the classics with the driving purpose to once again put the songs themselves in the spotlight instead of the performers. Listening to this album instead makes you feel as if you are in a warm, relaxing pub listening to true Irish folk music the way it was meant to be played, with sensitivity and emotion.
While this is their first album as a duo, Michael Banahan and Anthony Mc Dermott are no strangers to this style of music. Originally, both Michael and Anthony were two members of another well-acclaimed band, Rig the Jig, and they have both been playing sessions for years. As such, their skill and familiarity with these tunes is highlighted on this album with each successive song.
In ‘Rocky Road to Dublin’ and ‘Spancil Hill’ Michael and Anthony both showcase their dexterity with the fluidity and cleanliness of their instrumentation. In ‘Arthur McBride,’ ‘Raglan Road,’ and ‘The Fields of Athenry’ the beautiful harmonies and stories instead take the center stage. Furthermore, on this album The Baileys treat us to some of the rarer classic as ‘Colcannon,’ ‘Peggy Gordon,’ and ‘Dublin In The Rare Ould Times.’
In short, if you love traditional Irish music The Baileys album ‘A Song for Ireland’ will be a wonderful addition to your collection.Stephen McSweeney
Greenmanreview.com
The Baileys have been around for a number of years, but are not widely known on my side of the Irish Sea, mainly in Ireland. However, this could all change soon. I understand this is their first album as a duo. The experience they have gained on the road (having gigged extensively in Ireland), and their ability to ‘read an audience’ shows not only in their choice of material but also in the way it is played. This is a superb album of favourite Irish songs that won’t offend anyone. It simply entertains from start to finish.
Sometimes these days artists trying to be too clever often spoils good songs, It is almost like a step back in time listening to the arrangements and delivery of the songs; true Irish pub folk as it used to be played when I was a lad.
The Baileys are Michael Banahan on vocals, acoustic guitar and bodhrán and Anthony McDermott on acoustic guitar and backing vocals. So why are they called The Baileys? Damned if I know! Perhaps they wanted to call themselves The Dubliners, but that name had been taken! They are joined on the album by guest musicians Paul Gurney, piano, bass, accordion, acoustic guitar, and percussion; Noel Carberry on Uilleann pipes, and whistles; Aoife Kelly playing fiddle; Johnnie Duffy on banjo and Danny Sherrin singing backing vocals.
The songs, 20 tracks in all, are mostly traditional Irish ballads such as ‘I’ll Tell Me Ma,’ ‘Rocky Road to Dublin,’ ‘Black Velvet Band,’ ‘Arthur McBride,’ ‘The Wild Rover,’ and ‘Colcannon’ to name but a few, and contemporary material such as ‘Fields of Athenry,’ ‘A Song For Ireland,’ ‘Fiddlers Green’ plus many more. If you are looking for new arrangements and treatments for these songs, you will be disappointed. This is not what the album is about. Instead, the songs are sung as they are supposed to be with sensitivity and taste, very much as you might expect to hear at any folk club or session. In short they are enjoyable and entertaining letting the lyrics and melodies speak for themselves.
To sum up, this is the debut album from the Baileys, and it won’t be their last. Here is a band that is commercially viable. It won’t be long before they start to appear on folk club and festival guest lists. They have a web site here with more information, plus you can hear, and buy the album on-line. Good entertaining Irish folk at its best. Peter Massey
Piping It In – Irish American News Chicago USA Nov 2009
While I’m talking about talented duos, I have to mention what is rapidly becoming one of my favourite CDs this year, A Song for Ireland by the Baileys. The Baileys are Michael Banahan and Anthony McDermott, two experienced, talented, traditional musicians who have created, in this CD, a classic. It contains 20 popular songs that we all know and have heard many times, but never played and sung this well. I’ve recommended this to many folks looking for a traditional CD that they can use to learn traditional songs and everyone has loved it. It’s seldom that you get this much music performed this consistently well. Some of the tunes, you ask
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The Barefield Ceili Band – Between the Sets
Press Reviews
FolkWorld CD Reviews
Let’s céilí again! It’s been a long way from the first one held in London in 1897 by the Gaelic League and today’s music for set dancing. In the 1930’s came the céilí band revolution when public dances in village and parish halls replaced the traditional crossroads dancing. The acoustic situation created the modern dance band, including a large troupe of musicians, piano and drums, sometimes even saxophones.
Despite the ups and downs of traditional Irish music there has been and still is always fresh supply to cater for the dancers. Denis Liddy (see above) formed the Barefield Céilí Band at Barefield National school, a little village outside Ennis in Co Clare, the heartland of Irish traditional music and set dancing. The group was formed when most of the pupils have been at the age of only eight, in 1998 they won the All-Ireland Fleadh in the category Ceili Ceili Band under 12. “Between the Sets” features 12 tracks, the “Caledonian Set” and the “Plain Set” in 5 figures,
respectively, recorded by Michel Sikiotakis. Featured are 5 fiddles, 5 flutes, 2 uillean pipes, 2 accordions, 4 concertinas, 1 banjo, piano and drums. And dancers. It is straight set dancing music, the tunes handed down to us over generations of house dances and sessions. So let’s dance! Walkin’ T:-)M
The Irish World Newspaper16.1.04
THE BAREFIELD Ceili Band is a group of young musicians from an area just north of Ennis in County Clare called Cort loman or Barefield, named so because of it’s bleak fields. The musicians involved in the band have all won several All-Ireland titles and have travelled all over the world from Galway to San Francisco and even played at the renowned Milwaukee Irish Festival.
This is their 3rd album in fairly quick succession after lolar and Flowers of the Burren. This was treated more like a live album however, which you can hear on the recording. One of the ways in which they achieved this was by having a group of dancers performing while the band were recording the album, thus invigorating the band.
On this album the tracks are arranged into the two most popular sets in County Clare with tracks 1-6 being the Caledonian Set and tracks 7-12 being the Plain set.
This is a vibrant traditional music album that would be perfect for any ceili. There is energy and skilful playing that sounds well beyond the band’s collective ages. Inspiringly, this successful band will carry on spreading County Clare’s excellence in traditional music and keep many a crowd dancing. Tara McWeeney
The Irish Post 10.1.04
THIS is the Barefield Ceili Band’s third CD, and it would be fair to say, if this is the sort of thing which turns your crank, butters your muffin or rosins you bow, then waste no further time reading this: get the boots on and head for town.
That the 20-piece Barefield Ceili Band are accomplished musicians you can take as read
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The Bridge Ceili Band – Sparks on Flags
- Lord McDonald/The Holly Bush/Finbar Dwyer’s
- The Piper’s Chair/The Gig Rig/Kevin Loughlin’s
- Devaney’s Goat/Kilty Town/John McNeill’s
- Josephine Keegan’s/The Queen of the West
- The Tarbolton/The Longford Collector/The Sailor’s Bonnet
- The No-Name Polka Set
- Munster Bacon/Sean Ryan’s/The Classic
- Coleman’s/Paddy Lynn’s Delight/Cronin’s
- Harper’s/The Gallowglass/The B Flat Jig
- Austin Tierney’s/Music In The Glen/O’Rourke’s/The Wild Irishman
- Georgina’s March
- The Pigeon On The Gate/Jim McKillop’s Reel for Maeve/The Fiddler’s Welcome
- The Duet/The Fly by Night Hornpipes
- The Gravel Walks/Jackson’s/Martin Fallon’s First Night in America
Press Reviews
Froots
“The Portarlington, Co Laois, Ceili Band will be 30 years old next year and sounds in prime form with this enjoyable album of Irish dance music. Every collection should have one ceili band album and this is as good as any, with some grand stomping music. Thumbs Up”.
Musical Traditions Web Site
The Bridge Ceili band, based around north west Leinster, were recorded in 1999 after winning two All Ireland championships in ’96 and ’97. Every ceili band has it’s own sound and the Bridge started off in the early 70s with five fiddles and two flutes as the mainstay of the band and they have maintained that focus through various personnel changes. With box, piano and drums, they are probably closer to the sound that most people would associate with a ceili band. They provide a rich driving sound with all the instruments well balanced and the players keeping tightly to the settings. Having so many fiddlers in the band I suppose the choice of tunes is likely to favour the fiddle so there are a couple of Charlie Lennon compositions, one from Sean Ryan and one of Jim McKillop’s. Box players seem to be a good source of tunes too, with Finbarr Dwyer credited with two reels, Kevin Loughlin, the wonderful three row box player from Beleek is acknowledged in another reel, and the inevitable march is composed by the Co Wicklow box player Seamus Dowling. But it’s the fiddle that dominates in the end. For instance, two of Michael Coleman’s great sets from the 1930’s are included, the Tarbolton set, and O’Rourkes/ The Wild Irishman included in a mighty four reel marathon. There’s a nice break about halfway through when the fiddles start The Lady’s Choice with a simple bodhran accompaniment before the full ceili band returns for the second and third tunes of the set. If I have any complaint with the CD, it’s that the band end every track but one very abruptly, almost taking you by surprise with the suddenness of it. That aside, this is a well produced album with a nice history of the band in the sleeve notes and a few words about each of the current members.
Hot Press
About 30 years ago or so I first saw the Bridge Ceili Band in Dublin’s National Stadium and I thought they were brilliant, form and energy coalescing in a marvellous full frontal sonic attack. Their new album,(so aptly named) shows clearly that neither time nor the ageing process has dimmed their lights one whit as they steam through a 14 track collection which includes 8, (yes,eight) sets of reels. The playing is superb, the tracks are mesmeric; so that when it skids to a halt with the Gravel Walks set, there’s nothing for it, but to hit the replay button again. Oliver P. Sweeney. 9/12 Dice Spots
The Living Tradition 35 Nov/Dec 99
In May 1970, a bunch of musicians got together in Portarlington to form The Bridge Ceili Band, and they’re still playing under the same leader, Eugene Nolan.Obviously there have been several personnel changes in that time, but this is a group that has avoided the staleness that can sometimes creep in over such a lengthy spell. Perhaps this freshness has something to do with the 10-piece line-up, which blends 5, ( yes, FIVE ) fiddles, two flutes, accordion, piano and drums. Unlike some ceili bands, where the plodding of the piano is matched only by the hammering on the drum kit, the Bridge is driven, subtly yet passionately, by the fiddle section, allowing the other instruments to intertwine and build up a smooth fluid sound, in which no-one predominates. But they interact as a true band should, giving a performance which is as tight as I have come across in bands of this style. Their music is chiefly that of the midlands of Ireland, with the occasional Scottish tune being allowed in. Mostly reels here, interspersed with jigs, polkas and hornpipes, plus one march for good measure, with a grand blend of standard and lesser-known tunes. As I have come to expect from this recording company, the packaging is also impressive, with informative background notes about the band and the music, all of which make this a very tasty production indeed. Gordon Potter
Taplas
The 6 times All-Ireland title holders have certainly put together a spirited and lively collection of tunes, very much in the traditional style, on the second album they’ve made in their nigh on 30 years existence. Their trademark sound, fronted by five fiddles, is impressively tight, with lovely fluid control. And just to show they can, one track begins with synthesiser and bodhran for a more up to date feel. The sparks on flags of the title refers to the dancer’s feet and this CD comes highly recommended for anyone into set dancing. Bairbre Mc Ateer
Traditional Music Maker
The Bridge Ceili Band, going since 1970 and prizes by the armful for dance playing – fire-off polkas, reels, jigs and marches in true ceili fashion, full on five fiddles, flutes, accordions and drums smack on the beat. It maybe almost 30 years since they began, but this bunch are still pretty much the dance business. 14 tracks and if your feet don’t move at some point, dont bother to check them, you must be dead. Simon Jones.
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The Ennis Ceili Band – Traditional Dance Music from County Clare
Press Reviews
Irish Music Review
Altogether a very enjoyable listen — recommended. Sean Quinn
Taplas, The Welsh Folk Magazine. Oct/ Now 2003.
Gary – Sharon Shannon’s brother – was also the founder of the Ennis Ceili Band, whose current leader is Padraic O’Reilly. They are the current All-Ireland champions and Traditional Music from County Clare (Rath RRCD02) is straight-ahead ceill music.
Though you probably won’t recognize the names of any of the individual musicians, you can’t fail to be impressed by their spirited and lively playing, with plenty of lift for dancing. No,wonder they’ve just won the.All-Ireland for the third year running!
The Irish World 8/8/03
THE Ennis Ceili Band are currently one of the most respected bands playing in Ireland.
Set dancers all over the country love them and for good reason, for this band has the drive and energy of no other. Now, their classic CD is finally available in the UK. It’s no surprise that the band has twice won the All Ireland Ceili Band competition.
They’re also currently the subject of a fly-on-the-wall documentary for Irish television, as they get ready for the hat trick of wins at this year’s All Ireland Championships in Clonmel, Co. Tipperary this month.
The album kicks off with the band’s captivating set of reels that saw, the, band .walk away winners at the Senior All Ireland Ceili band competition in Listowel last year.
The album also includes some of the best-loved selections from the band’s last 11 successful years.
This is truly a remarkable album from a remarkable band.
They’ve managed to attain musical heights beyond compare with their verve and enthusiasm.
A must for any self-respecting music lover’s collection. Xenia Poole
The Irish Post Newspaper 23.8.03
THE Ennis Ceili Band’s latest CD, entitled Traditional Dance Music From County Clare, is now finally available in the UK. The album contains a great selection from the past 11 years and does justice to heritage, Garry Shannon originally formed the Ennis Ceili Band as a julior band in 1992.
They enjoyed much success over the years, winning the senior All-Ireland in Listowel in both 2001 and 2002.
They became only the third Clare band ever t o win the All-Ireland senior title, sharing that distinction with the illustrious names of the great ceili bands from Tulla and Kllfenora. They were accorded a civic reception by the town of Ennis to mark their achievement. Joe Mullarkey
www.Pay The Reckoning.com web site , July 2003
The Ennis Ceili Band, under the direction of pianist Padraic O’Reilly, have built up a formidable reputation in Irish music circles. Current All-Ireland champions, the band has all the hallmarks of the ceili band sound – percussion, a driving piano accompaniment and tight musicianship with pared-to-the-bone settings.
However a band doesn’t claim the hotly-contested All-Ireland title on the virtue of these alone. To achieve this ultimate accolade an outfit requires the “je ne sais quoi” that separates the confident and competent from the masterly.
Hard though this special quality may be to define, it’s by no means difficult to detect. And nowhere is it more obvious than on the opening set “Martin Mulhaire’s/Cregg’s Pipes”, captured live at 2002’s Listowel Fleadh Ceoil na hEireann. The barely-restrained energy of the band mirrors the excitement and tension of the audience and the ecstatic, enthusistic ovation from the assembled crowds is richly-deserved.
The second set, “Maid At The Spinning Wheel/Port an Bhrathar (Behind The Haystack)” is a mighty piece of music. Those of you who play music may, like we have, struggled with the first tune in this set – a jig which is as intricate and wide-ranging as it is exciting to the ear and appealing to the feet. We were genuinely surprised to find a ceili band tackling this tune which, on account of its many intricacies and quirks, we have always associated with the solo player. (Seamus Ennnis, for example, played a typically majestic four-part version of the tune.) However we learn from the sleeve notes that The Kilfenora Ceili Band have recently recorded a version and so – we eat our hat and ponder the fact that we don’t know ha;lf as much as we think we do! Still, we marvelled at how fluidly and expressively “The Ennis” rendered the tune and how well it sits alongside Port An Bhrathar – another big jig.
Elsewhere, keep an ear out for two marches from the Grier Collection, “The Fourth Dragoons” and “Number 101”. The latter in particular is such a splendid tune that its Gan Ainm status is a complete surprise.
You will also be captivated by the jig set “Claire Griffin’s/King Of The Pipers”. The appearance of the second tune in this set took us by surprise. Like “The Maid At The Spinning Wheel”, this elaborate jig is one which we always associate with individual musicianship and it’s a mark of The Ennis’ confidence that they tackle (and with such applomb!) a piece of this nature.
Ed Reavey’s “Hunter’s House” appears in two settings, firstly paired with “Rakish Paddy” and later with “Rip The Calico”. The decision to include the tune twice is a very nice touch, demonstrating the band’s versatility and flexibility.
We’re well aware that some traditional Irish fans are wary of ceili bands. We’d urge anyone to set their prejudices to one side and give this album a listen. You may well find that you regard ceili bands in a very different light afterwards! Aidan Crossey, Pay The Reckoning web site July 2003 The band’s journey towards their third title will be featured on Léargas on RTÉ1 in September, in a documentary produced and directed by Pat Butler. It will also feature footage of the band appearing at Fleadh Nua 2003, interviews with the chief protagonists, among them band leader Padraic O’Reilly and musical advisor Garry Shannon (himself a member of the current Kilfenora Céilí Band), and interviews with Kilfenora legends Jerry Lynch and Gus Tierney. The competition can also be viewed online on the Comhaltas Internet Broadcast Service, www.comhaltaslive.com, and on the Tipperary Institute website – http://www.trbdi.ie/fleadh.htm. Their performance to win the title will be shown later in the year on Forefront Productions annual Fleadh programme on RTÉ1, as will their open-air midnight performance on the Guinness Gig Rig from Clonmel town centre, where they played for up to 10,000 Fleadh revellers.
In what was a hugely successful Fleadh for Clare Céilí Bands, the Ennis-based Turloughmore Céilí Band finished runners-up to Ennis in the Senior category. The Inis Óg U-15 Céilí Band acheived their own 3-in-a-row in their age-group, while their U-18 counterparts finished runners-up in their catgeory for the second year running. Both bands were coached by Ennis band leader Padraic O’Reilly. the Barefield and Burren Céilí Bands also kept the Clare flag flying in the U-12 age-group, finishing first and second respectively. These bands were coached by Denis Liddy and Garry Shannon.
About the band
The Ennis Céilí Band was originally formed as a junior band in 1992 by Garry Shannon, who stepped into the void left by the retirement of Kilfenora stalwart Gus Tierney. The band enjoyed much success over the years and there were very few changes in personnel.
In Listowel 2001, the Ennis Céilí Band became only the third Clare Band ever to win the All-Ireland senior title, sharing that distinction with the illustrious names of the Tulla and Kilfenora. They were accorded a civic recognition by the town of Ennis to mark their achievement.
The Ennis Céilí Band are:
Padraic O’Reilly (piano), Brendan Vaughan (drums), Niamh O’Dea (flute), Eilis Faherty (flute),
Pat Nolan (concertina), Monica Queally (fiddle), Liz Gaughan (fiddle), Mark Sheehan (fiddle), Rena Queally (banjo), Nuala Hehir (button accordion)
Press Release
Léargas RTE 1 TV Monday Sept. 15 7.30
Ennis Ceili Band in ‘Briseann an Dúchas
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The Kilfenora Ceili Band – 95
“The best of traditional Irish music from Ireland’s number 1 Ceili band”.
Focal on gCeannaire.
As a youth growing up, my fondest memories were of attending the Ceilithe in Kilfenora. A Monster Ceili was held in the local Hall annually on Christmas night during the ’70’s. Its unique atmosphere was savoured by all who attended. It was a pleasure to see a community gathered where young and old enjoyed the music and dance together. Kitty’s motherly smile beaming down from the stage showed her delight at the ‘craic’ the music was generating on the floor. These memories provide the greatest motivation for me in making sure that our particular brand of music continues to prosper. At this point, I must pay tribute to Kitty who nurtured it for close on forty years. One of my proudest moments was receiving ‘The Kitty Linnane Perpetual Trophy’ from her family in ’93 and from Padraig O Ceallaigh, Uachtaran C.C.E. at a special function in An Culturlann in December ‘94.1 felt honoured to be the first band leader to receive this trophy. It signified for me the passing on of our tradition from one generation to the next.
After the ’61 All-Ireland, the senior band scaled down competitive activity. There was a busy schedule of ceih’s, concerts and broadcasts over the following 30 years and eventually a return to competition, rejuvenated for the ’90s. We work on the advice of P.J. Lynch (my father), Jerry Lynch (Snr.) and especially of Phil McMahon whose mother before her did likewise for the band of the ’50s. These no-nonsense individuals ensure we never compromise on the authentic Kilfenra style and that we pass it on unaltered. That’s what it’s all about!
To all the older musicians of the area, a sincere thank you for the heritage you have left us. To those of you who are gone to meet in a better place, we hope we’ve put your feet tapping again and to th; thank you for your commitment and help in fulfilling my dream.’ body who supports us, I extend my deepest gratitude. Finally. a very special thanks to Noreen and my family for their understanding and encouragement. Without them there would be no band. John Lynch. 6.2.95
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The London Lasses & Pete Quinn
Press Reviews
‘One of the most remarkable releases of 2000,’ The Rough Guide to Irish Music
‘There is a genuine sense of personality and a magnetic attraction to the music that enables them to produce performances laced with skill, sincerity and a lack of pretension,’ John O’Regan, fRoots
‘a sheer delight, a beauty of a collection
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The London Lasses & Pete Quinn – By Night and By Day
And now their fourth album, By Night & By Day (2010), in Brian Rooney’s opinion, ‘their best yet’ pays tribute to their 10-year anniversary with the addition of Elma McElligott (Flute player) and Brona McVittie (Vocalist, harper), who joined Karen Ryan and Elaine Conwell (Fiddlers), Maureen Linane (Accordion player) and Pete Quinn (Pianist) two years ago at the 10th Return to Camden Town Festival. The band is now very pleased that for the first time in its history all members are London-based.
The London Lasses and Pete Quinn have toured Germany with the St Patrick’s Day Celebration Festival, performed the first ever ceilidh in the Royal Albert Hall as part of the BBC Proms, and played at Ireland’s longest running folk festival, Ballyshannon. They have brought their unique sound to some of the world’s most prestigious festivals and concert halls including Cambridge Folk Festival, the Concertgebouw (Amsterdam), Glastonbury, Philadelphia Irish Festival and Sidmouth International Festival.
In addition to featuring on the 3-CD box set Beginner’s Guide to Ireland (Nascente, 2005), the band has appeared on UK and Irish TV including Backstage (BBC Choice), Ardán and Geantraí (TG4), plus a memorable turn on EastEnders (BBC1).
Described by Irish Music Magazine as ‘one of the best bands on the scene today’, The London Lasses and Pete Quinn have released three critically acclaimed albums:
* Enchanted Lady (2007) :: ‘a well-balanced helping of first-class Irish music’ Irish Music Magazine Available from Copperplate, click here
* Track Across the Deep (2003) ‘The London Lasses and Pete Quinn’s emergence is vitally important, acknowledging a forgotten voice in Irish music and rebirthing it magnificently’ fRoots. Available from Copperplate, click here
* The London Lasses and Pete Quinn (2000) ‘One of the most remarkable releases of 2000
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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.
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The London Lasses & Pete Quinn – Track across the Deep
Press Reviews
East Bay Express Sept 2003
The American audience is not generally aware of London’s importance in the development of Irish music over the last half century, though it’s taken for granted in Ireland. Pubs such as The Favourite in Finsbury Park, or The White Hart on Fulham Broadway held regular sessions in the 60s and 70s, and when the revival took off, London based youngsters like Kevin Burke were ready to make their own contributions.
The London Irish music scene remains vital, as Track Across the Deep demonstrates. Fiddlers Karen Ryan and Elaine Conwell seem to have absorbed something of every major Irish regional tradition- from the octave doubling of County Kerry to the virtuosic embellishment of the Sligo masters
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