Shop
Showing 81–96 of 213 results
-
Island Eddy
The Band
Island Eddy was formed after a gig one night in Kinvara Community Hall by friends Brendan Larrissey, Jim McKee and Martin Gavin. The night went really well, and as Brendan and Jim were living in the area and kept meeting up, they sat down and decided that it would be a good idea to form a band that would be based locally in Kinvara. They were very interested in the idea of recording original songs and tunes.
Brendan and Brian Duke had already enjoyed playing many a tune in Ballaghadereen and Carrick-on-Shannon and, indeed, in Galway city. They found that the combination of fiddle and flute proved to be second to none.
Brendan and Martin have been friends for years and Martin’s sensitive touch was just what was required to complete the line-up of the newly-founded Island Eddy. Between Jim’s original songs and new tunes from Brendan and Brian, Island Eddy would like to build on the recording and performing of original pieces from Irish composers.
Brendan Larrissey comes from Dundalk, County Louth, and he has been living in Galway for nearly twenty years. In the late 1970s and early 1980s traditional Irish music flourished in Dundalk and Brendan enjoyed honing his musical skills in many sessions and fleadhs during that time.
In 1985 Brendan joined his first band, Gael Force, which was based in Galway. During the two following years, 1986 and 1987, he played with Dolores Keane and John Faulkner, touring Europe and Ireland, and he also recorded with Dolores and her two aunts, Rita and Sara.
In 1987 Brendan won the Senior Fiddle Championship and the following year he decided to become a full-time musician. In 1988 Brendan was a founding member of the award-winning band Arcady, which led to him touring worldwide – in the USA, Canada, Europe, Hong Kong and, of course, at home in Ireland.
He was also involved in the albums A Woman’s Heart and Trad at Heart, to name but a few. Since then he has recorded two solo fiddle albums, A Flick of the Wrist and Up the Moy Road. He has been involved in running the first International Fiddle Festival in Ireland, runs his own fiddle school in Galway and has taught many All-Ireland champions to date. Brendan lives in Kinvara with his wife Helen and their four children, Clara, Hannah, Nessa and Conall.
Jim McKee is an artist and singer-songwriter who hails originally from Cookstown, County Tyrone; he has played guitar with many traditional bands. He has toured from time to time in Europe and America during the last ten years.
Jim was involved with the award-winning White Hare Band, based in Tyrone, with P. J. MacDonald, who is a virtuoso whistle player and singer and also with Brendan Henry, a fiddle player. The White Hare Band have done various BBC TV and radio recordings and have won the Danny Kyle Celtic Connections award. Two of Jim’s original songs were used as soundtracks for two film productions. In recent times he has toured with Bridgestreet, a Galway-based band.
Jim is based in Bell Harbour in the Burren area of north Clare in the west of Ireland. He has written three new songs for this album that are based on his past experiences in the North of Ireland. Jim is also about to release his first solo album, Just a Piece of, which features Cathal Hayden from Four Men and a Dog, and Brendan O’Regan, who helped to produce the album. It also features string arrangements by Gary O’Briain. Details can be found on his website: www.iimmckee.ie
Brian Duke comes from County Roscommon, which is widely recognised as being the home of flute playing, and indeed Brian is one of the finest exponents of this flute-playing heritage. He has played at venues across the world and has recorded on many albums over the years.
Brian has played with various groups over the years, most notably the band Cian. Cian released two superb albums in the 1990s, Three Shouts from a Hill and The Rolling Wave. He can also be heard on the flute recording Flute Players of Roscommon.
Brian’s style has been influenced by the playing of Matt Molloy and the discerning ear can hear this in his playing. He possesses his own unique style of playing, however, and displays a wonderful interpretation of music old and new.
Martin Gavin has a great love of east Galway music, and had the great pleasure of playing in sessions with Paddy Kelly, Paddy Carty and Jenny Cambell, and he still meets Paddy Fahy and Eddie Kelly now and again. He played with the band Talteralla and has also played on albums with Mary Staunton, lomar Barrett and Angelina Carberry.
There was a love for music in his mother’s family: his grand-uncles Matt and Jim Callanan played with Vincent Brodrick, and his cousins Frank and Brendan Farrell played with the Kilreekil Ceili Band in the 1930s. He got his passion for the bodhran after listening to some of De Danann’s early recordings, which included a bodhran solo by Johnny Ringo McDonagh. Martin now teaches the bodhran in Ballinasloe and Galway. At weekends Martin helps to encourage the next generation of young musicians to keep the music going through his involvement in the music pub Maud Millars in Ballinasloe.
Press Reviews
The Living Tradition
The core of Island Eddy was formed after a gig at Kinvara Community Hall, Co Galway, by fiddler Brendan Larrissey (Gaelforce, Dolores Keane), guitarist/songwriter Jim McKee (White Hare Band, Bridgestreet) and bodhran player Martin Gavin (Talteralla, Mary Staunton), who thereafter swiftly recruited Roscommon flute player Brian Duke (with whom Brendan had already played many a tune!) to make an irresistible foursome.
The band’s debut CD brings together eight sets of tunes (both original and traditional) and four songs penned by Jim. The general demeanour of Island Eddy’s music-making is that of the easy, unhurried, calmly swinging session, where solid and thoroughly unassuming musicianship takes the place of frenzied seat-of-the-chair attention-grabbing note-spinning, and where the observer is invited to actively listen as well as tap feet. The opening set of jigs exemplifies the band’s approach, and their trusty fiddle-and-flute combination is heard to best effect on the ensuing set of reels, where we can also enjoy the contours of Martin’s gently passionate beating in sensible context. These musicians are all completely at ease and feel no need to prove themselves – that much is obvious on all of the instrumental tracks here, many of which reveal subtle delights on each successive play.
Some tracks also employ guest musicians on cello, double bass and extra percussion, and the darker eddying undercurrents of counterpoint thus provided give the music-making an intriguing new complexion that you don’t tend to encounter in renditions of session-tunes, even on record. I’m not so readily convinced – at first, at any rate – by the four songs, however, for Jim’s very contemporary-sounding vocal style really seems to belong elsewhere; but taken on their own terms outside the framework of the rest of this album these songs really do work their own special magic (and I’ll also be interested to hear Jim’s forthcoming solo CD Just A Piece Of). Some Dignity Beyond The Flowers, the first of the songs, is probably the most appealing on first acquaintance, drawing on childhood memories and the strength Jim himself drew from his father; Jim’s edgy singing on the tale of his neighbour Bradley is acutely passionate, while there’s a persuasive yearning quality to the homesickness of The World Around. Only with the tedious and rather casual musical setting of the final song (The Bomb Went Boom) does Jim seem at odds with his own material. The disc is well presented, with some fine booklet notes and attractive photos. On the evidence of this debut, Island Eddy clearly have potential, yet it remains to be seen in what direction it will best develop. David Kidman
The Examiner
Island Eddy, a new four-piece band based in the west, launched their self-titled debut on the Clo lar-Chonnachta label earlier this month. Comprising Dundalk fiddle player Brendan Larrissey (formerly of Arcady), guitarist and singer Jim McKee from Co Tyrone, Roscommon flute player Brian Duke and east Galway man Martin Gavin on bodhran, this fresh ensemble are to be commended for their session-like approach to tune playing and the highly stylised singing and arrangnents of McKee’s four songs;
Kickng off with a pair of jigs, The Castle/The Nightingale the bands languid style is reminiscent of Kevin Burke and Michalel O’Domhnaill on their late 70s Mulligan albums. For some McKee’s voice and songwriting might not immediatelv sit comfortably alongside the more traditional material
£14.99 -
Island to Island – Traditional Music from Ireland and Newfoundland
Press Reviews
FolkWorld CD Reviews
Traditional Music from Ireland and Newfoundland off the east coast of Canada. “Talamh an Éisc” (land of the fishes) as the island is known in the Irish language.
Legend has it that Saint Brendan undertook the voyage across the Atlantic in the 6th century. Seriously recorded Irish settlement began in Newfoundland in the 17th century, mainly from the South-East, the counties Waterford, Wexford, Kilkenny and Tipperary. Indeed, by the late 18th century, the Irish were the 2nd largest group in Canada.
Today about 4 of 30 million Canadians claim Irish ancestry. Placenames, phrases, accents, a traditon of house dancing and lilting clearly indicate the Irish connection. The fiddle is the predominant instrument regarding traditional music, the button accordion is popular as well, usually accompanied by the piano.
So it’s a meeting of cousins: Bodhran player Paddy Mackey (Black Dog Bodhrans), guitar players Mick Daly (Arcady, Four Men and a Dog, Lee Valley String Band) and Jason Whelan, banjo player Billy Sutton, accordeon players Aidan Coffey (De Dannan) and Graham Wells, fiddlers Colin Carrigan and Séamus Creagh. Concerning the latter, “Island to Island” actually is almost a Séamus Creagh album in disguise. Originally from Westmeath but residing in Cork, Séamus is one of the best exponents of the Sliabh Luachra style. Not many traces here, straightforward jigs and reels prevail.
Séamus spent five years in Newfoundland (1988-93), during which he taught and played traditional music with a number of St John’s musicians. “Island to Island” is the meeting of two traditions sharing an ample amount of common ground, energy and fun. Walkin’ T:-)M
The Living Tradition Dec/ Jan 2004
This is a very interesting CD, bringing together the music of traditions separated by 2000 miles of ocean. The traditions in question being the Irish and that of Newfoundland, are nowhere near that far apart musically. Irish emigration to Newfoundland has a long and fairly unique history. According to the information contained in the notes the first Irish settlers in Newfoundland were from the southeast, Waterford, Wexford, Kilkenny and Tipperary, many left before the Great Famine.
Newfoundland’s isolation has meant that until recently the Irish musical influence has been left uncontaminated.
So most of the music on this CD is very Irish in both sound and structure.
Some of the musicians, the Irish ones, Seamus Creagh, Aidan Coffey, Mick Daly among others are known to me and
I am sure to readers of L.T. The Newfoundlanders are new to me.
However, everyone is a fine musician and on top form. The tunes are a mixture of old and new, bet you couldn’t tell which is which without referring to the notes, from both Ireland and Newfoundland.
Island to Island is a most enjoyable CD of well played traditional music, some from one of the most well known of traditions, some from a tradition that may sound familiar but is much less well known.
Island-to-lsland is an unusual project and worthy of support buy it and enjoy the music;
the academic interest is a bonus. Danny Saunders
The Irish Music Magazine Aug 2003
The word, reflections, or alternatively, retrospectives, could be useful subtitles for this new CD, which brings together the music and the musicians of the two Atlantic Islands, Ireland and Newfoundland.
Anyone who has been a reader of this magazine over the years will know of my personal interest in Talamh an Eisc as Newfoundland in known in the Irish language, so I’ll admit right away a definite pleasure in just seeing the CD appear on my desk. That pleasure was greatly added to by listening to it later.
The production was made possible not only through the efforts of the musicians and the producers themselves, but also through the backing and support of An Chomhairle Ealaion, (The Arts Council of Ireland) and the Ireland Newfoundland Partnership. Over the past few years, the latter organization has done great work in creating opportunities for business, educational, research, and cultural groups and individuals in Ireland and Newfoundland to promote and develop mutual interests and joint projects. Long may it flourish.
But to the recording itself; in an introduction to the detailed and very useful CD notes, musician and broadcaster, Peter Browne, observes that listening to the music “suggests a comfortable meeting of cousins who have not seen one another in a while”. He adds, “tunes from both traditions blend easily together and there is a unity of sound that could not be contrived”. Exactly; and what I like also is the pace and the delivery of the music is easy and fluid, no trick o’ the loop stuff, but just letting the music speak for itself, as it were, which allows the listener to identify who is playing what and how.
Fiddle player, Seamus Creagh spent five years in Newfoundland (1988-93) and while he’ll no doubt acknowledge
That he gained a lot from his time there; it has to be said also that he has made an enormous contribution to the Newfoundland as a player and teacher. The other Irish musicians with him on this CD are Aidan Coffey, (accordion), and Mick Daly, (guitar). The Newfoundlanders are Graham Wells, (accordion), Billy Sutton, (banjo), Jason Whelan, (bouzouki/ guitar), Colin Carrigan, (fiddle) and Paddy Mackey, (bodhran). Aidan O’Hara.
The Irish Post 12/7/03
The culture and music of Newfoundland is remarkedly similar to Ireland — even though 3,000 miles of ocean separates the two areas.
Indeed, the accent of the average Newfoundlander is so similar to the Irish that there is one celebrated case of an Irish musician being especially irked on arriving in this corner of Canada to discover that people enjoyed mocking him by imitating his accent.
It was only the hapless musician turned on the local telly that he realised this was the way they spoke in the area.
The accent of the music is similar — mainly because there has been a Celtic presence in Newfoundland since the 17th century.
Here in the north east corner of Canada, traditional music has been transplanted some 3000 miles from its Irish roots.
However, instead of being in anyway watered down by new world influences, if anything the music seems closer to the original form than most you might happen across in Ireland today.
In Island to Island, the links between the two music cultures is explored by a crack outfit of Irish and Newfie musicians.
Fiddle and accordion are the two dominant melody instruments, backed by bodhran, bouzouki, guitar and even the odd tenor banjo.
The fiddling of Seamus Creagh, a Westmeath fiddler, not only employs some of the characteristics of the Midlands (of Ireland) — he also uses some of the Scottish influences of nearby Cape Breton: short bow, lots of that characteristic Scot’s “snap”,
and with the triplet often being preferred to the more languid Irish roll on the notes.
The CD is packed full of traditional goodies — a great job is made of two particularly attractive double jigs, Lizzie’s Jig and Sam’s Jig, written by the respected Newfoundland fiddler, Rufus Guinchard (1899 – 1990) — but really the standard throughout is exemplary.
The only criticism might be that a little light and shade could have crept into proceedings — the odd air or song might well have been a welcome contrast to the wall-to-wall reels and jigs.
But that’s a small criticism. You’d have to recommend this album to anyone who loves Celtic music.
Or indeed to anyone who just enjoys a one-night stand with the tradition. Malcolm Rogers. 3/5
The Irish World 27.6.03
Two thousand miles of ocean water may separate Newfoundland and Ireland, but the two communities have m ore in common than you would imagine, especially musically.
This beautiful collection of music represents the meeting of two traditions sharing an amount of common ground. Newfoundland and Ireland have many similarities in both the dance and music tradition and this album demonstrates a “meeting of cousins”. Broadcaster and folklorist, Aidan O’Hara has conducted considerable research into the music and songs of Newfoundland, finding similarities such as the importance of house dances known as “sprees” or “times” during the lengthy winter nights and even a tradition at one time of dancing masters.
Island to Island album features some of the finest musicians from both islands. Seamus Creagh, Mick Daly abd Aidan Coffey, all highly respected traditional Irish musicians combine with Graham Wells, Billy Sutton, Jason Whelan, Colin Carrigan and Paddy Mackey from the Newfoundland tradition to give us this unique album containing both historical depth and musical dexterity. Xenia Poole.
The first Irish settlers in Newfoundland were from the South-East – the counties of Waterford, Wexford, Kilkenny and Tipperary and they were unique among Irish emigrants to North America in that they went there before the
Famine. Placenames, phrases and, most remarkably, accents in Newfoundland indicate strongly the Irish connections and I know of one Irish musician in recent times who, on arrival in St. John’s, felt quite insulted by, as he thought, his own accent being imitated to his face. The truth of the matter only dawned when, after several conversations, he realised that the problem had been caused simply by the similarity of the local accent to his own
Aidan O’Hara, a broadcaster and folklorist, conducted considerable research into the music and songs of Newfoundland and made many valuable recordings there in the 1970s. He found similarities, such as the importance of house dances known as “sprees” or “times” during the long months of winter isolation, lilting and even a tradition at one time of dancing masters.
No wonder therefore, that listening to the music played by these Irish and Newfoundland musicians suggests a comfortable meeting of cousins who had not seen one another for a while. Tunes from both traditions blend easily
together and there is a unity of sound that could not be contrived. All of the musicians playing on this recording are highly skilled and in a perfect position to bring out the essential nature and feeling in the tunes. It is a unique experiment, which succeeds in providing both interesting and enjoyable listening”. Peter Browne RTE MUSIC PRODUCER and uilleann piper.
The Musicians.
Seamus Creagh (fiddle) is one of the most respected fiddle players in Ireland; He is originally from Westmeath, but now resides in Cork. his relaxed style has brought him to international prominence, particularly his duets with Jackie Daly and Aidan Coffey. He spent 5 years in Newfoundland (1988-93), during which he taught and played traditional music with a number of St John’s musicians. He made regular appearances at the St John’s Folk Club, and folk festivals. His solo album, Came The Dawn was recorded at Daydeen’s Studios, (St John’s) and also featured Don Walsh, Paddy Mackey and Rob Murphy. The album was released by Ossian (OSSCD90) in 1993. While in St John’s, Seamus was also a member of the band, Tickle Harbour, and appeared on their album, The Brule Boys in Paris. He also worked as a session musician ona number of other Newfoundland albums. Since he has returned to live in Ireland, he has been visited by a constant stream of Newfoundland musicians.
Mick Daly (guitar) is from Cork City and is a long-time player on the shifting Irish traditional music scene. He has been a member of Arcady, Any Old Time, Four Men & A Dog, Mary Black Band and Lee Valley String Band. He has been
playing for many years with Seamus and Aidan in traditional sessions in Cork City. As well as being a much sought after
guitar accompanist, he is also a well-known vocalist and 5 string bluegrass banjo player.
Aidan Coffey (accordion) is from County Waterford on the south coast of Ireland. His early repertoire was derived from sessions of traditional music during the early 1980’s around west Waterford. He uses the “press and draw” C#/D and D/D#.
For the last 10 years, he has been playing hand-made French accordions b Salterelle and uses the Salterelle Nuage ( three voice with stoppers and conventional 8- bass) model. He has played and recorded with De DANANN. with Frankie Gavin and Arty McGlynn as a trio, and also with Seamus Creagh. He plays mostly around Cork with Seamus and Mick.
Graham Wells (accordion) At 22 years of age, Graham has already logged 16 years behind the bellows in his hometown of
St John’s, Newfoundland. While recent musical stints have seen him on stage with such groups as, The St Pat’s Dancers, Connemara, and A Crowd of Bold Sharemen, he is perhaps most closely associated with the local session scene. Graham
has played as important role in establishing traditional music sessions in St John’s, and currently hosts two weekly sessions downtown.
Billy Sutton (banjo) is a multi-instrumentalist, an excellent player on more instruments than we have ink to name. Raised in Harbour Grace, he has performed as a freelance musician throughout Newfoundland and has toured Canada extensively
with his group, The Fables. In his spare time, Billy has been known to teach, compose and produce albums.
Jason Whelan (bouzouki, guitar) has been playing music professionally in Newfoundland snce 1989, with such diverse acts as, The Roger Howse Band, Connemara, The Plankerdown Band, and The Punters. He also owns and operates, The Sound Solution Recording Studio. When not playing, he enjoys madrigals and interpretive dance (not necessarily in that order).
Colin Carragan (fiddle) has been involved in Newfoundland music for most of his life. Over the past decade, he has travelled
in Quebec, Ontario and Northern England, pursuing music professionally as a solo and group performer, while practising his trade as a violin and mandolin maker. Colin’s commitment to Newfoundland traditional music hinges upon his repertoire of the fiddle tunes of Rufus Ginchard and Emile Benoit, and the dance tunes from around the island
Paddy Mackey (bodhran) is the brains behind Black Dog Bodhrans, Paddy, is perhaps the longest-standing instrument maker in St John’s, Newfundland. He’s also lent his tipper to many bands in town throughout the years, notably Tickle Harbour and Jeezus Murphy. As his building talents spill over into furniture making and house carpentry, so does his muse occasionally
draw a 4 stop accordion to his knee.
£14.99 -
James Carty – Upon my Soul
One of the positive aspects of emigration to London for me in the late 1970’s was the introduction to a whole community of traditional musicians of extraordinary talent living there. Often, it was within family groups that the music was at its strongest, and their commitment to it under conditions that were not always that favourable seemed to me remarkable.
James Carty comes from such a family, and the distillation of generations of flute playing from the Connaught region is clearly evident in this recording. I was privileged to become a personal friend of James’s family: his father John P, his mother Margaret, brother John, his sister Angela. Their collective contribution to Irish music over a long period has been outstanding.
This is James’s first solo recording, and I think its significance lies in its difference, its change of direction for contemporary flute playing. I love the shorter phrasing, so typical of the older flute playing of Connaught, and now so rare in flute recordings of today. That is not to say that this is archive music, or an attempt to recreate an old style; for it is obvious that there is much that is creative in his treatment of the old favourites, such as the Boys of the Lough or the compositions of Josie McDermott. To breathe new life into old music is certainly a gift – a gift that James has in abundance.
As ever, the accompaniment of musicians Alec Finn, Francis Gaffney and John Blake is very much in keeping with the spirit of this music. Tried and tested on many a recording, the contributions of these brilliant musicians to Irish music generally speaks for itself. Finally, I would like to draw attention to the bodhran playing of Boyle man, Joe Kennedy. Especially suited to the flute, the sound of the hand-struck bodhran, in itself something of a rarity these days, gives an authentic ring to this recording, especially in the hands of a player such as Joe. Beware of imitations. Gregory Daly Kesh July 2006
James Carty was born in London in 1969 into an extremely musical family:-. John P, his father plays mainly the flute but can also turn his hand to the fiddle, banjo and other instruments, his; mother, Margaret Folan, herself came from a family steeped in Irish traditional music and his older brother is the renown fiddle and banjo player, John Carty. With such a pedigree behind him it was inevitable James would become a musician himself.
The flute is his chosen instrument and he plays with a very distinctive almost ancient style that belies his years. James has become one of the mainstays of the session scene in London and his session in the Auld Triangle is the first port of call to many visiting musicians. James’ animated and vivacious playing demeanour is guaranteed to set any musical scene alive and he is a most welcome visitor at any sessions he visits, particularly in his father’s home county of Roscommon
This is James’ first solo recording although he has featured on many recordings to date including playing a flute and fiddle duet with brother, John on John’s album At It Again, and he also appears with fellow London residents Liam Farrell and Joe Whelan on They Sailed, Away From Dublin Bay.
James is also a founding member of the All-Britain senior champions: The Auld Triangle Ceili Band,
James is also featured on They Sailed Away from Dublin Bay alongside Liam Farrell and Joe Whelan
Press Reviews
James Carty is an excellent flute player whose skills rival that of his better-known brother, banjo and fiddle player John Carty. Another side of James’ music which immediately reminded me of his brother’s playing is his seemingly off-the-cuff, completely relaxed, yet extraordinarily creative approach to traditional tunes. Although this is James’ very first solo recording, we are definitely listening to a mature player, with a great sense for balancing creative expression with traditional style in a naturally tasteful manner. This is very much flute music, encompassing some of the great titles of the Sligo-Roscommon tradition, along with a few judiciously picked newer tunes, like the Josie McDermott compositions or Jean Duval’s “Caucus” reel. On one lovely track of reels, James is joined by his father John P, and his brother John, both on flute as well, demonstrating the strong connection between musical heritage and family ties. Sparse accompaniments, including Joe Kennedy’s hand-struck bodhran, enhance the music just so. This will be at the top of the list of “must-haves” for lovers of Irish flute music for years to come. (3/2007) Rating: ****
£14.99 -
Jerry Lynch – The Dimming of the Day
Press Reviews
The Irish World Newspaper 4.3.05
THIS IS A reissue of the The Dimming of the Day as it was originally released in 1998. Due to public demand, however, it has been re-released and it is clear to see why. Intitally issused by the Dolphin Label to build upon Jerry’s ultra- successful debut single A Silent Night (Christmas 1915) this album is an opportunity to experience Jerry Lynch’s beautiful, emotive tenor voice.
Hard to put this in a catergory but really I would say, that this is for listeners who adore old-fashioned Irish music.
In contrast to the sound of the album is the eclectic choice of songs which Lynch has chosen, putting his unique sound onto them. Covering a mixture of classics, traditional and contemporary songs, displaying his remarkable voice.
The beauty is the clarity of this album. Lynch’s voice is clear- yet emotive. Through ultimate control he sings along to empassioned trad music.
Although this is not one for everyone, it is taste rather than quality. Tara McWeeney.
www.netrhythms.com
Jerry hails from Kilfenora, Co. Clare, from a musical family (his brother John leads the Kilfenora Ceili Band), and over the past few years has cemented his reputation as a fine singer with a lyrical tenor voice.
The Dimming Of The Day, Jerry’s debut album, was first released in 1998 on the Dolphin label, as a response to a great deal of pressure following the enormous success of his single A Silent Night (Christmas 1915), which achieved a high position in the Irish charts and almost saturation airplay on Irish radio stations.
The album presents a collection of ballads and story songs, drawn from the tradition and the drawing room alike, a variety to highlight the versatility of Jerry’s voice and his interpretative powers.
The selection of material carefully reflects Jerry’s background and development too (he’d starred in light operatic productions as well as featuring in singing competitions).
So this is obviously not an album for the strict folk enthusiast, or the more traditionally-minded listener who appreciates sean-nós, say; it’s far more likely to appeal to the lover of crossover easy-listening. Think a kind of low-key Josef Locke without the over-cloying rubato, perhaps.
The instrumental accompaniments are for the most part anchored firmly at the tasteful end of the folky colouristic spectrum (accordion, fiddle, concertina, guitar, bass and occasional piano,
all played by choice Clare musicians), with not a glutinous synth in earshot (hurrah!), and the playing is plain and unadorned – no intrusive vibrato or needless emotional pointing, but just enough expressiveness to provide an attractive foil for Jerry’s voice.
As for the choice of material, well much of it is distinctly middle-of-the-road albeit tasteful and refined in execution if you like that kind of thing; myself, I can only listen to the likes of Mona Lisa, I Hear You Calling Me and Mary Of Argyle for so long, although I can appreciate Jerry’s superb artistry and innate way with this repertoire for what it is. Jerry’s performances of Hard Times and the celebrated Richard Thompson opus that gives the CD its title are, I find, marginally too florid, due to his wholesale adoption of the parlour ballad style on material that it doesn’t quite suit; Jerry’s gentle crooning does, however, perfectly suit Dreaming My Dreams (waltzing is for dreamers, after all!), and I also liked his rendition of My Lagan Love, while earlier in the album there’s a nicely responsive take on Mark Knopfler’s Done With Bonaparte.
So the verdict is that if you enjoy the smoothness of Irish singers such as Sean Keane and Christy Moore, and can cope with Jerry’s choice of material, then you’re likely to find this well-recorded CD well worth trying. David Kidman
fROOTS
Until the end of last year, Jerry Lynch was a completely unknown quantity but with A Silent Night Christmas 1915 written by journalist Cormac McConnell he gained considerable airplay, which subsequently lead to this debut album.
A Silent Night (Christmas 1915) is one of those unpretentious tear jerkers which, like its nearest neighbour, John McCutcheon’s Christmas In The Trenches, hits the tear ducts with uncompromising force yet is bereft of sentimentality.
Lynch’s voice is suitable for both narrative and lyrical ballads with the selection of material gathered for The Dimming of the Day encompasses both parlour sonqs and more recent material, including Mark Knopfler’s Done With Bonaparte and Mr Thompson’s title track.
Musically the sensitive backing of Paul O’Driscoll, Josephine Marsh, Claire Keville, Declan Corey and Padraig O’Broinn is both subtle and suitably minimal,
while P.J. Curds’ production work borders on the sublime. With delicate and appropriate brushstrokes where others would stomp slipshod, he cruises in laid-back mode. The initial comparison would suggest a sophisticated Sean Tyrrell, with a broad scope of diverse material arranged in a minimal fashion working from the heart rather than going for overkill.
Lynch’s voice is a subtle instrument, which lets the songs sing themselves and create their own atmosphere.
The Dimming Of The Day grows on continued exposure, and while initially I found the overall selection somewhat scattershot and perhaps a mite too diverse for
comfort, I have warmed to its ways over time.
As a showcase for Jerry Lynch’s melodic and lyrical voice it is commendable but The Dimming Of The Day’s ultimate charm is its sweep of the narrative ballad and art song form into a strange and compellingly attractive package. It becomes a treasured possession, but after time and extended listening rather than the initial encounter. John O’Regan.
The Clare Advertiser
On approaching an album such as this, one ventures with as much trepidation as curiosity. A new singer with ambition is always welcome. Peering at the sleeve notes, it’s impassible not to be struck by the diversity of song sources. The song – writing talents of Bob Dylan, Tom Paxton, Mark Knopfler and Richard Thompson could suggest a folk rock leaning.
On the other hand, the inclusion of standards such as ‘Mona Lisa’, ‘Hard Times’ and ‘I Hear You Calling Me” conjour up something else entirely.
Having listened on a few occasions to this CD, the songs or their sources are not what immediately jump from the speakers. Lynch’s superb tenor voice does.
Uncluttered production, sympathetic semi-folk arrangements nonetheless, it’s the purity and clarity of his voice that appeals. His bravery at attempting such an eclectic mix of songs must be commended, but I suspect the selection was based more on vocal suitability rather than any attempt at showing off musical dexterity.
Credit on this score I consider must go to the producer P J Curtis. Using the aforementioned folk-style arrangements behind a classical mannered tenor voice must nave been a gamble, but it is one that has worked for the most part.
I can understand the approach of trying a solo minimal upright-piano accompaniment on “Mary of Argyle”, to achieve that ‘parlour sound, but I suggest a bigger grand-piano backing might have accentuated the vocal to greater effect. Nevertheless this CD is to be treasured. The warmth exuding from this recording is palpable.
Excellent musicianship never gets in the way of splendid vocalising.
The title track, Richard Thompson’s ‘The Dimming of the Day’ has a freshness and simplicity which if equal to or better than other fine versions by Bonnie Raitt or Larry Rice.
Cormac McConnell’s ‘A Silent Night (Christmas 1915), is chilling in its passion and stark reality. I must admit though that my own personal favourite is the Old John McCormack chestnut, “I Hear You Calling Me”. The range and quality of Jerry’s voice is to be heard at its best on this track.
Ennis based vocal quartet The Ceol Millers’, can be heard to great effect on backing vocals on numerous selections on this CD, adding depth and colour to the overall tone whenever needed.
Recordings were done at both “Xeric Studios” Limerick and “Harmony Row in Ennis. Compliments to both studios for an excellent sound.
P J Curtis must once again be hailed for such a steady hand at the production board. The various session-musicians used throughout, especially Padraig O’Broin on guitar and bouzouki are in fine fettle, but the highest accolades must go to Jerry Lynch himself. Jerry Lynch is a natural at and must be very proud of this, a massive debut album.
Hopefully the record buying public will take to such a charming record and ignite this Kilfenora man to explosive stardom. Gerry QuinnJerry Lynch Career Highlights / Live Performances
’04 June Town Hall Galway. Concert with Kilfenora Ceili Band and Michael Donnellan
’04 St. Patricks Day. Earlsfort Terrace. Open air Ceili Mor with Kilfenora Ceili Band
’03 Aug. Lisdoonvama Festival at the R.D.S. with the Kilfenora Ceili Band. Featuring Christy Moore
’03 July. Live RTE Radio One Ceili House broadcast for Opening Ceremony of Special Olympics from ancestral home of Count John McCormack in
Monastrevin.
’03 March. Ceili House With Ennis Ceili Band.
’02 June. Semi-finalist in RTE ” Open House” search for an Irish Tenor.
’00 Mar. Successful in interviews for position of “Butler” at Bunratty Castle.
’99 Dec. Guest Spot – Ennis, also featuring Mick Hanly, Martin Hayes.
Nov. Clare F.M. 10 Anniv. Celebrations: Also featuring: Sharon Shannon, Maura 0′ Connell, Micheal O’Suilleabhain
Nov ” ” – Ennis Cathedral. Also featuring: Franzita Whelan, The Monks of Glenstall
Jun. ” ” – U.C.L. Limerick. Also featuring: Finbar Furey.
Apr. ” ” – Ennis. Also featuring :Phil Coulter, Sean Keane, Fiddlers Of Dooney
Jan. ” ” – Leisureland Complex, Galway. Gala Variety Performance Featuring: Dolores Keane, Frankie Gavin & Mairtin O’Connor, Triona & Maighread & Micheal O’ Dhomhnaill
TV Spot. Dec. TG.4 “Sibin” X-Mas Eve. ” A Silent Night Christmas 1915″ Dec. Also featuring: Tommy Peoples, Sean Tyrrell, Kate Purcell.
Nov. Concert – “The Dimming of the Day” at “The Hall” Lisdoonvarna
£14.99 -
Joe Derrane, Seamus Connolly John McGann: The Boston Edge
Press Reviews
The Wall Street Journal
The wearing of the green is upon us, a time to dye for, St. Patrick’s Day. Beer, beef, beans, bread and broth suddenly take on the hue of the
Emerald Isle, and too often the Irish music heard on March 17 is not much more appetizing or genuine.
The following albums are an exception. Consider them a three-leaf shamrock of music rooted mainly in the turf of centuries-old tradition.
This is blarney-free music, the kind that stays green without trying, all year round.
“The Boston Edge” is a triumph of equal impact. Released late last year by Mapleshade Records, a small, independent label in Maryland, the album is perfectly titled for the razor-sharp music of Boston-area trio Joe Derrane on button accordion, Séamus Connolly on fiddle, and John McGann on guitar and mandolin.
Derrane, who celebrated his 75th birthday yesterday, is the most talented Irish-style button accordionist America has ever produced. Born of Irish immigrant parents in Boston, he initially recorded from the late 1940s to the mid-1950s, then took a nearly 40-year hiatus from playing the button accordion in public. His performance on May 29, 1994, at an Irish folk festival in Vienna, Va.’s Wolf Trap launched what many regard as the greatest comeback in the history of Irish music, culminating for him in a National Heritage Fellowship from the National Endowment for the Arts in 2004.
Renowned for his triplets (three notes played in the time normally taken by two notes) and hornpipes (dance tunes usually in 4/4 time), Derrane sparkles in this inspired collaboration with Connolly, a 10-time All-Ireland fiddle champion, and McGann, a much-in-demand accompanist.
Never letting virtuosity or velocity overwhelm a melody, they play within the structure of a tune while infusing it with fresh, interpretive gusto.
It is in the details where this recording soars. The trio’s deftly ornamented playing of such reels as “The Curragh Races/The Skylark/The
Reconciliation” and “Patsy Touhey’s/The Gooseberry Bush/Reilly’s” represents Irish traditional instrumental music at its most propulsive and soulful. For taste and touch, it’s hard to top “The Boston Edge,” Earle Hitchner
Irish Music Magazine March 2005
It’s about time that two of the most respected and masterful traditional musicians in the Boston area got together to record a CD. Seamus Connolly, fiddle, and Joe Derrane, button accordion, share a number of remarkable attributes: both were lauded in their early careers as prodigies of their respective instruments, both are accomplished tunesmiths, whose compositions have passed into the traditional repertoire, and both are centres of the Boston area traditional music community and heroes to a younger generation of musicians and enthusiasts.
Their musical styles, however, are quite distinct: Seamus Connolly is known for his gorgeous tone and fluid, inventive phrasings; and Joe Derrane’s playing is all clear, crisp precision and brilliant ornamentation. What is perhaps most striking about The Boston Edge is the fact that these two very different approaches are meshed seamlessly, with John McGann’s able and versatile guitar and mandolin accompaniment, into a whole that reflects the respect these musicians have for each other, the love of their music, and the fun they must have had recording these tunes. The tracks include newly-composed tunes, that are rarely heard in sessions, tunes from the Cape Breton tradition, and tunes that are typical of what one might hear at a Boston-area session.
Each musician is featured in solo pieces, but the real revelation is the freshness and delight the group brings to each of the ensemble sets.
The Boston Edge is cutting-edge stuff. Let’s hope this is just the first of several outings by this outstanding trio. Sally K Sommers Smith
Taplas: The Welsh Folk Magazine
THIS American/Irish trio comprises Joe Derrane on button accordion, fiddler Seamus Connolly and John McGann on guitar and mandolin. The vastly skilful playing reveals the decades of experience these fellows have in the Irish music tradition.
Although there are only three of them, they produce a very full sound, perhaps partly because this was recorded and mastered live in what sounds like a fairly echoey room. The repertoire is mainly traditional Irish session tunes, arranged in a mainly session-like way.
This, the old fashioned style of recording, and the accomplished playing makes it sound like a non-crackly version of an old masterpiece. In fact, Derrane featured on 78-rpm recordings during the 1940s and 1950s, so you can easily guess the influence of his style!
There are a lot of hornpipes – roughly a third of the album consists of them. One features McGann’s solo mandolin track, Whidden’s The Nightlight and Hannah McGann’s – the letter two being his own compositions. Another is the complex, chromatic and downright flash, Petticoat Promenade, written and played by Derrane. This is a great CD for the collection – I just wish there was more of that wonderful mandolin on it. Imogen O’Rourke.
HOT PRESS
Following on the heels of button accordion player Joe Derrane’s 2004 National Heritage Fellowship, this rollicking album sees him teaming up with fiddler Séamus Connolly and their fellow Bostonian, guitarist John McGann.
These three musicians share a bracing, muscular approach and have been playing together long enough to achieve a rare sympathy, easing back or surging forward as a solidly cohesive unit.
The opening set of reels sets the pace, with McGann occasionally breaking effortlessly into melody flat-picking for a bar or two before returning to chordal accompaniment. McGann’s mandolin solo set, Whiddon’s/The Nightlight/Hannah McGann’s (the latter two of which are McGann originals), is another highlight, as are Connolly’s original slow air Remembering Curly and Derrane’s turn in the spotlight on Miss McLeod’s and his own Petticoat Promenade, featuring a jazzy Hot Club de Paris-style backing from McGann. Sarah McQuaid Nine/Ten
www.netrhythms.com
The press handout describes this release thus: “a ‘dream team’ Irish trio plays traditional jigs, reels and airs with passion and originality”, so what gives it the “edge” of the title over other instrumental albums which might be similarly depicted?
Well, the Boston edge refers to the distinct advantage of the superlative virtuosity of the three musicians who come from the Boston (Mass.) area. Button accordionist Joe, fiddler Séamus and guitarist/mandolinist John first played as a trio onstage at a New York club in 1999, an occasion noted by all who attended as bringing to the scene something worth pursuing further, an outstanding tightness of ensemble allied to brilliant solo work.
Cementing the musicians’ approach was their mutual deep respect and enjoyment of each other’s music, and once they’d worked together it then seemed the most natural thing to continue the working relationship. After five years of memorable concert performances, at last we have a recording to treasure.
It highlights their seamless togetherness, boosted by arrangements that are carefully prepared and yet remain flexible enough to allow inspired touches of improvisation or ornamentation or else felicitous swopping-round of the carrying of the melodic line from, say, accordion or fiddle onto guitar, giving surprising and delightful twists to one’s expectations. The skill of these musicians in creatively rethinking well-trodden session staples is stunning, whether they’re tackling sets compiled entirely from Irish sources or mixing in Scottish or Cape Breton tunes to demonstrate the cross-fertilisation and enriching of the different tune traditions.
Highlights of this album for me are the sparkling opening set, the fiery lead work throughout but especially on the amazingly together fiddle/accordion duet that comprises two-thirds of the set of reels on track 9, also on the Humours Of Lisheen/McMahon’s Jig/The Merry Old Woman set (track 7), the joyous sense of rhythm on the hornpipes (track 10), and, on a smaller canvas track 6, an entire set played solo by John on mandolin, a benchmark of agility and imaginative interpretation the like of which you don’t often encounter on albums of Irish traditional music.
But on every single track the playing exhibits a rich but vigorous energy that’s absolutely captivating, with a healthily varied interplay between parts that’s born of true understanding between the players. Each set is played at a sensible speed (not rushed through as if to fit onto one side of a 78!), allowing the felicities of melody to emerge through the spring in the step that the players’ keen rhythmic sense
deploys. And what’s also important, listening to the music on this album rather often brings a smile to the face – a nice touch that (just lend an ear to the delicious swing of track 8 for instance!). It starts off really good, but then just goes on getting better, and you really don’t want it to end!
The only drawback as far as I can hear, albeit a minor one, is with the recorded sound, which isn’t ideally clear, the guitar sound in particular being somewhat boomy or boxy in the ensemble context – or maybe I’ve heard too many state-of-the-engineer’s-art recordings lately? But the 64 minutes of this seriously enjoyable album just fly by – take it from me! David Kidman
The Glasgow Herald 11.12.04
Amid the avalanche of supertalented youngsters who are making traditional music an exciting, hip and gratifyingly youthful artform of the twenty-first century, it’s as well to remember that the older heads still have wisdom and musical examples to share.
Joe Derrane is now on his second career as a button accordionist; his first began in the 78rpm era and he spent thirty-five years as a jobbing keyboard player.
This brand new set with fellow Boston residents, fiddler Seamus Connolly and guitarist-mandolinist John McGann, shows the zest, appetite and musical mastery Derrane restored on his return in 1994.
It’s essentially three musicians playing as one: tightly executed Irish tunes played with heart, self-expression and the richness that comes from long dedication to the music. Rob Adams FOUR STARS
The Irish Echo. Ceol Column 24.11.04 Give the ‘Edge’ to this Boston trio
We New Yorkers can get immodest, spoiled, even complacent about the Irish traditional musical riches in our backyard. But when it comes to
top trad playing, Boston doesn’t have to take a backseat to any other city in America or Ireland.
For proof, listen to “The Boston Edge,” the CD debut of 2004 National Heritage Fellowship-winning button accordionist Joe Derrane, fiddler
Séamus Connolly, and guitar-mandolin player John McGann. Residing or working in and around the Boston area, this trio have created something
altogether rare: an album showing no restraint in individual musical expression yet cohering as a well-rehearsed, mutually sensitive and
responsive unit.
In that respect “The Boston Edge” is a significant improvement on “Ireland’s Harvest,” a Mapleshade CD made in 2002 by Derrane, fiddler Frankie Gavin, and pianist Brian McGrath. I picked it as the fourth-best trad album of that year, but with this caveat: “A sonic imbalance among box, fiddle, and piano (the latter two instruments are too high in the mix), some odd choices in tunes (e.g., ‘The Minstrel Boy’), and the personal tangents taken by producer Paul MacDonald in his liner notes prevent this release from placing higher.”
The seat-of-the-pants, strut-my-stuff approach to playing by Gavin in “Ireland’s Harvest” did generate some heat, but it also resulted in more
dueling than dueting with Derrane. Technique trumped teamwork and partly undercut both Derrane’s trademark preparation and the trio’s overall effectiveness.
“The Boston Edge,” in contrast, shows what can happen when three musicians who have been gigging from time to time during the past five years
put their heads as well as their talents together in the recording studio. It’s obvious that the music has been mapped out with meticulous care but also with enough flexibility to allow inventive flourishes.
Those qualities combine viscerally right from the album’s opening track, “The Curragh Races/The Skylark/The Reconciliation.” This medley of reels breaks out of the gate like Secretariat: strong, spirited, sure-footed. The synaptic sparks and symmetry between Derrane and Connolly are extraordinary, each feeding off the other’s virtuosity and energy, each performing with, not at, the other.
Some accompanists in Irish traditional music can lapse into metronomic rigidity or tepid vamping, and for critics with a blinkered appreciation
of rhythm, an unnoticed accompanist is a good accompanist. John McGann has refused to wear this silly musical straitjacket. He brings plenty of chops and imagination to the CD, laying down a rhythm that can be percussive and driving or finely brushstroked behind Derrane and Connolly.
From time to time McGann tucks in his own nimbly picked passages of melody, and in “Whiddon’s/The Nightlight/Hannah McGann’s” hornpipes,
the last two of which he wrote, McGann showcases his exceptional soloing skill on mandolin.
Backed by McGann on guitar, Derrane offers a jaunty hornpipe-clog pairing, “Miss McLeod’s/Petticoat Promenade,” as his crisply played solo.
The clog is the button accordionist’s own tune and vividly conjures up a scene of Irish girls in rustling skirts out for a night of dancing at one of the five ballrooms dotting Dudley Street in Roxbury, Mass., during the 1940s and ’50s.
Accompanied by McGann on guitar, fiddler Séamus Connolly takes a different tack on his solo, “Remembering Curly/The Twins/Mordaunt’s Fancy.”
The initial slow air, his own composition, is a moving threnody in which Connolly explores, not exploits, honestly felt emotion. It eventually segues
into a hornpipe that he plays with more joyful verve, and the medley finishes with a capering jig that reveals another side of the master fiddler’s touch.
Above all, true teamwork gives this album its finely honed edge. “The De’il and the Dirk/The Trip to Windsor/Brumley Brae” reels, “The Humors of Lisheen/McMahon’s/The Merry Old Woman” jigs, and “The Dash to Portobello/McFarley’s/Geegan’s” reels represent three-part instrumental
playing of the highest order.
There’s also some breathtakingly tight dueting by Derrane and Connolly throughout “Patsy Touhey’s/The Gooseberry Bush/Reilly’s,” with McGann
entering on mandolin just for the third reel. A slice of Django-ish guitar swing by McGann provides a tantalizing intro to “The Man From Newry/The Last of the Twins” hornpipes, where Derrane and Connolly interlock impressively in their ornamentation. The fun of playing together similarly comes across in another pair of hornpipes, “Chief O’Neill’s Favorite/The First of June.”
Not a single moment of weak or mediocre music can be heard on this 14-track recording. “The Boston Edge” is full of tasty tunes, focused
arrangements, unclichéd thinking, transparent communication, and resplendent playing. These three musicians are a bona fide trio, not an
armchair-impulse gathering. They thrive in each other’s company, and I can’t imagine any listener not thriving in theirs. In the parlance of
their beloved Red Sox, this album is a World Series clincher. Earle Hitchner
PAY THE RECKONING.COM
Following Mapleshade’s release of accordionist Derrane’s comeback album – Ireland’s Harvest, which featured Frankie Gavin and Brian McGrath – Mapleshade have succeeded in coaxing the National Heritage award winner back into the studio. In the process they’ve assembled yet another
“dream team”, with Connolly on fiddle and McGann on guitar.
No mistakes, this is a superb album, every bit as compelling as his comeback. Despite (or perhaps because of!) his advanced years, Derrane hasn’t lost the magic touch that teases impossibly inventive ornaments from his box; at the same time he manages to be incisively precise and crisp in his playing. Connolly, of course, is equally renowned for his inventivess and McGann is a much sought-after accompanist, whose chords and runs anchor the tune, but never dominate his fellow musicians.
So it’s no surprise that this is an album, which elevates the senses. It brims with good humour and abandon. Three master musicians have chimed in to create a modern masterpiece. Aidan Crossey.Joe Derrane.
Joe Derrane, born in Boston, Ma. In 1930 to Irish immigrant parents developed a deep and abiding love for the accordion and traditional Irish music from a very early age. Around 1940, he started studying the 10 key melodeon with the great Jerry O
£14.99 -
John McEvoy & Friends – Traditional Irish Fiddle
youtube=http://www.youtube.com/watch?v=OTeajYhFspA]
Press Reviews
Trad Connect
John McEvoy has called his new album “Traditional Irish Fiddle”. It’s a straightforward, no nonsense description that perfectly describes what is in store for you the listener. This is his third recording, with previous releases including critically acclaimed albums ‘The Kilmore Fancy’ with his sister Catherine McEvoy and ‘Pride of the West’ a collaboration with Roscommon’s John Wynne who also appears here. This album is a clear representation of John’s love for solo and duet playing and he keeps it simple throughout with pure traditional fiddling of the highest calibre. The album kicks off with a moderately paced set of reels called Paddy the Piper/Master Henry’s Reel/The Sporting Days of Easter . With John Blake on guitar you immediately get a feel for his pure traditional style. Both the sound and the feel of the album takes you back to some of the great fiddle albums of the past. The music of Sligo and west Clare have had a major influence on his style of playing and there is little need for modern twists, turns or external influences. This is firmly in the pure traditional mould and is fantastic for that.
Accompaniment is again kept sparse on The Squirrel’s Nest/Mist on the Meadow with piano by Paddy McEvoy. The third set includes duet fiddles with Conor McEvoy joining in on Munster Grass/Lad O’ Beirne’s . Throughout the album you have great arrangements and lots of variety with various musicians adding their support. Apart from John Blake and Paddy McEvoy you have Mick Conneely on bouzouki as well as Conor and Catherine McEvoy on fiddle and flute respectively. Gay McKeon on uilleann pipes, John Wynne on flute, Paudie O’ Connor on box and Jacinta McEvoy on concertina. In fact it is precisely this variety that really engages you throughout. John’s fiddle sits centre stage and with 15 tracks you really get your moneys worth. Traditional music is going through various phases of experimentation at the moment. It’s being mixed with other genres and given a contemporary twist. However all invariably return back to the heart of the tradition and on this album you have just that. John McEvoy is a superb traditional fiddler and on this album he presents some great music with variety, good arrangements and some talented support players making up a really enjoyable recording. A supreme traditional musician delivering another great fiddle album. Tony Lawless
£14.99 -
John Regan & Paddy Glackin – Let Down the Blade
The Golden Keyboard / The Bellharbour Reel
The Maid at the Spinning Wheel / A Visit to Ireland
The Queen of the Fairies / Victoria Hornpipes
The Flax in Bloom / Colonel Rodney
The Tailor’s Twist / The Friendly Visit
Billy McCormack’s / The Ship in Full Sail
The Greencastle Hornpipe / The Kildare Fancy
The Maid at the Well / The Knocknagow Jig
Tom Ward’s Downfall / The Piper’s Despair
The Road to Ballymac / The Policeman’s Request
Sliabh Russell / Bimis ag Ol
Spillane the Fiddler / President Garfield
Scotch Mary / Farewell to London
Buttermilk Mary / The Knights of St Patrick
James F. Dickie / Drops of Brandy
The Laurel Bush / The Sligo Lasses
The Waltz from “Coppelia”
Mulqueeney’s Hornpipe
Miss Langton’s / The Copperplate
Press Reviews
Folk Roots Aug/Sept 2000
John Regan is a north Sligo button box player who moved to Dublin some years ago and bumbed into players like Mary Bergin and a young Paddy Glackin.
Paddy joins John for five tracks and Mary Corcoran’s solid piano underpin a regular but lively selection of reels, jigs and hornpipes that will appeal to his fans.
Joe Crane
The LivingTradition May/June 2000
Back when I’d aspirations to play the button box, I used to listen to as much of John Regan’s playing as possible. My playing didn’t improve but I liked his style, and still do. He partnered fiddler Paddy Glackin on the first ever Comhaltas concert tour of Britain, back about 197O~ Somewhere, I’ve a tape of him playing in the square in Listowel in 1972; no audience, just playing for the love of it. He seemed to drop out of earshot for a long time but he certainly didn’t rust away, because he’s as good as ever I remember him. This is good Sligo-style accordion, crisp and driving, without over-ornamentation. There’s obviously influence from Joe Burke, but Regan’s his own man all the time.
The 19 tracks are a balanced mixture of reels, jigs, and more hompipes than you’d normally expect. Most are familiar, some less so. Besides solos, John plays 5 duets with Paddy Glackin, and accordion duets with each of his young sons, CoIm and Donal. Most tracks have Mary Corcoran’s sensitive and unobtrusive piano accompaniment, a welcome change from some of the piano drivers I’ve heard. A happy combination is of strathspey and slip jig; unusual, but it works. ‘James F Dickie” just slides into a Donegal version of “Drops of Brandy”. The surprise of the album is a duet with Donal on piano on Delibes’ Waltz from “Coppelia”. I’m usually scornful of “cross-over” but if this is what it’s about, then I’m all for it. I suppose it’s evidence that good music is universal and timeless.
The inlay notes are concise and adequate, with the sources of each tune, and tributes to many other musicians, from Patsy Tuohy to the current crop. Definitely one for the more discerning accordion fan.
(By the way, I finally gave up on the box. I realised that nof only did the left hand not know what the right hand was doing, it didn’t even know what it was doing itself.) Mick Furey.
Irish Music Mag
From John Regan, one of the finest accordionists over the past 20 years, comes a new recording that will delight those who have enjoyed his tasteful and relaxed approach to music. Featuring plenty of well known tunes alongside ones of rarity, John Regan strikes a lovely balance on this recording with sets such as The Flax in Bloom/ Colonel Rodney, showing the flowing and unforced quality which is such a hallmark of his playing. Featuring piano accompaniment throughout from the able Mary Corcoran, this album also sees a guest appearance by fiddler Paddy Glackin who joins John for many a fine set. Similarly to Brian Rooney’s album, John plays the great jig, Buttermilk Mary and what great spirit there is in this playing. Another track of note sees John joined by his son, Colm, for a beautifully measured set of unusual reels, The Road to Ballymac/The Policeman’s Request. A most welcome addition to the collection of accordion albums, which like most others, is continually growing. Oisin MacDiarmada. Dec/Jan 2,000
The Irish Post
Irish music is simple. You get three good musicians, pick a couple of dozen tunes from the traditional repertoire of 6,000 pieces and press the record button.
Don’t add anything fancy, mind. Just use a top-class accordion player, (John Regan), a top-notch fiddler (Paddy Glackin), and one of the finest piano accompanists around (Mary Corcoran from the Templehouse Ceili Band).
What you end up with is a memorable traditional album with no frills, just plenty of great music. Let Down the Blade opens with a haunting reel, The Golden Keyboard, composed by Galway man, Martin Mulhaire, who has spent most of his life in New York. This well structured tune has shades of that great Irish set piece, Drowsy Maggie about it, but is altogether less jaunty, giving the melody an added poignancy. Played on the button accordion by John Regan you can almost hear the strains of the immigrant in the Bronx wafting through the air.
John Regan is originally from north Sligo, but moved to Dublin in 66, which accounts for the inclusion of jigs such as Sliabh Russell and Bimis ag Ol on the album, two favourites of pipers and fiddlers in the late 60s/early 70s, but not heard so often these days. John’s sojourn in Dublin however has given him an eclectic repertoire from which to choose. Everything from the definitive Michael Coleman version of the huge reel Tom Ward’s Downfall to the welcome inclusion of that Scottish traditional oddity the Strathspey.
There is one delightful aberration on Let Down the Blade — The Waltz from the ballet, Copelia by the 19th century composer Leo Delibes. From The Geese in the Bog to Swan Lake in one ethnomusicological leap! But I tell you what — it’s a great version and the most ballet I’ve listened to all year. Bravo, as they say at Covent Garden, both to Copelia’s Waltz, and to the whole album. Malcolm Rogers, Dec/Jan 2,000
The Irish World
Of all instruments used in traditional music, the accordion is probably my least favourite, but even so, in the hands of John Regan, and his sons Colm and Donal, it creates quite an effective sound. With fiddler Paddy Glackin and accompanist Mary Corcoran on hand to lend their two-pence worth, there is plenty of music on this 19-track album to fill the ear.
The tracks include, hornpipes: Queen of the Fairies/Victoria/The Tailor’s Twist/The Friendly Visit, Spillane the Fiddler/President Garfield’s, jigs, The Maid at the Spinning Wheel/The Knocknagow, and reels like, Miss Langton’s/The Copperplate, most with the bouncy nature that the accordion offers.
Both Colm and Donal Regan currently hold All-Ireland titles on the box, and the duets with their father make this album a family affair. L.A.Livingston
£14.99 -
John Wynne – Like the Wind
NEW JOHN WYNNE CD BRINGS SOLO TRADITIONAL FLUTE BACK INTO FOCUS
Following his critically-acclaimed duet album with fiddler John McEvoy on the Clo lar-Chonnachta label in 2007, Roscommon flute-player John Wynne releases a new album which brings his solo playing back into focus.
Ar Nós na nGaoithe/Like the Wind is an absorbing collection of fourteen virtuosic tracks, played with precision, discernment and breathtaking control. Nine years after his debut solo album, With Every Breath, John Wynne was compelled to make this second album, sensing his playing had turned a corner and that he had something new to offer. The album features popular session tunes which John learned from musicians over the years, as well as new compositions from fiddle players Tommy Peoples, Ed Reavy, Martin McGinley and Liz Knowles.
As flute-player Conal Ó Grada writes on the sleevenotes, ‘In flute playing, the elemental link between music and breath creates a dynamic tension of its own… John moves air through a flute with aplomb. In turns powerful and commanding… be prepared to be blown away!’
Also featuring John Wynne
John Wynne: With Every Breath
CICD 165 John Wynne & John McEvoy: Pride of the West
Providence.
Providence: A Fig For A Kiss
The Flute Players of Roscommon Vol 2
Press Reviews
Rock’n’Reel Mar/Apr 2010
Arriving a full nine years after his debut outing, With Every Breadth – now selling for upwards of £70 on eBay John Wynne’s second solo album has been a long time coming.
Ar Nos Na Gaoithe (Like The Wind) serves up more of the lightly-worn virtuosity heard there in a wide-ranging collection of popular session favourites interspersed with new pieces by fiddle players Tommy Peoples and Ed Reavy (a brace of characterful jigs seamlessly paired), Martin McGinley’s light-as-air ‘The Bunglas Lass’ nimbly folding into the familiar and quietly feisty ‘Belfast Hornpipe’, and the hauntingly evocative air ‘The Gift Of Falling’ by American, Liz Knowles.
Recent collaborations with fiddler John McEvoy and the curating of a CD of flute players from his native Roscommon have clearly deepened Wynne’s understanding of the instrument and its multi-faceted heritage. With strong support from Paddy McEvoy and Paul Gurney on keyboards, guitarists Arty McGlynn and Jacinta McEvoy, John Moloney on bodhran and Paul Doyle on bouzouki, this is a typically thoughtful offering, one in which Wynne’s impeccable sense of style seems to sculpt sound out of the very air itself. Michael Quinn****
Irish Music Magazine 9.09
John Wynne is known for his great technique and his grand ear for the tunes. He’s been taking Roscommon flute music very seriously since his excellent solo debut, With Every Breath, but here he lets rip in flamboyant style. The opening set of reels is a joy, starting with a virtuoso version of The Gladstone and working through variations and elaborations on Farewell to Mi/town Malbay and The Humours ofWestport. John throws caution to the wind, leaping registers like a Roscommon mountain goat, and sets a cracking pace. His customary control resurfaces on The Orphan, but the mood remains playful as John teases the rhythms and eases into Winnie Hayes’ Jig.
John Wynne’s playing is exciting enough for even the most firebrand folkies, but the accompaniment on this CD may seem a little staid to some. While the flute takes flight, there’s some surprisingly restrained drumming from John Moloney and old-style piano vamping from Paddy McEvoy and Paul Gurney. Personally, I think this suits the heavyweight tunes John has chosen: Farewell to Erin, The Belfast Hornpipe, and Tommy People’s splendid jig, The Wishing Well, for instance. There’s some lively guitar and bouzouki from Arty McGlynn, Jacinta McEvoy and Paul Doyle, and a lovely gentle touch on the two slow airs here. Liz Knowles’ air, The Gift of Falling, even gets a wash of synthesiser, but it’s never overdone. John throws in a few unusual polkas too, before finishing with a big set of reels and a reel/jig medley: The Ships are Sailing and The Hunter’s Purse, from the heart of the Roscommon flute tradition.
Without a doubt, Like the Wind (or Ar No Us na Gaoithe as it’s styled in Irish) is among the best solo flute recordings of recent years. Here is a master musician, at the top of his form, playing for pure pleasure – and it’s a pleasure to hear him. Full marks to the accompanists too, all in the best possible taste! Not to be missed, this recording underlines John Wynne’s reputation as one of Roscommon’s finest fluters. Alex Monaghan
£14.99
