Celticmusic

Visual Artist and Musician Eva McCauley: The Power of Light and Air (Interview)

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Also in this edition: NUA

Eva McCauley & InVisible

A painter’s paradise: Eva McCauley talks about how in Ireland, “the air is infused with moisture, and because of that, there is a luminosity to the light  that is very unique, and an incredible thing for a painter to experience.”

Technology has a way of bringing visual artists and musicians together. Art has become multimedia. Eva McCauley explores the mystical side of painting and print making with her installation works. Inspired by technology’s ability to create something new and her love for evocative spirit of the Irish landscape, she created haunting and beautiful artworks. These are hanging illustrations rendered in a way that light and occasional wind play tricks on them. If musicians like Loreena McKennitt, Moya Brennan, Enya and Connie Dover have talents that can transport you with their voices and melodies, then Eva McCauley is the visual counterpart of such power.

Hi Eva, welcome to The Celtic Music Fan artist of the week edition! Your prints are fascinating. Can you give us a brief background on the things that inspire your work…these are beautiful ‘ghostly’ creations of paintings printed on scrims of fabric (silk oraganza) and hung from the ceiling in multiple layers to create an installation.

My recent print media installation “In/Visible”  was exhibited in Cork, Ireland this past August/September at the beautiful Wandesford Quay Gallery . As you say, the images are larger-than-life faces printed on transparent silk-like fabric (42” X 96”),  making them appear almost ephemeral, wafting in the breeze as people walk by.

The images are originally created as hand-pulled prints (monotypes & lithographs)  and then are digitally captured, enlarged and printed on fabric (PolyVoile) using a wide format Agfa Aquajet printer. The faces came to me as a result of my experience living in a pre-famine stone cottage on a cliff overlooking the Atlantic Ocean on the rugged southwestern coast of Ireland, where I was taking part in an artist residency in a very old village  called Cill Rialaig, which has become  an internationally renowned artist retreat, created by Noelle Campbell-Sharpe Although I wouldn’t consider myself to be superstitious, after  living and painting  in this  stone cottage  every day for a month,  I became aware of the invisible but tangible  presence of human beings, who may have lived in these stone dwellings in the past.

My show, called “In/Visible”, gave these “ghosts”, or apparitions,  a larger-than-life presence in the exhibition. The large faces were interspersed with large photographic images of the skies and water, so that they melded with each other, creating a multi-layered layered effect, so that the viewer could see through each ghostly image to what was behind.

 Your travels to Ireland inspired most of your artworks. What was the most memorable thing about your travels there.

As a a painter I was struck by the quality of the light. Since Ireland is an island, and it rains almost every day, the air is infused with moisture, and because of that, there is a luminosity to the light  that is very unique, and an incredible thing for a painter to experience. It really is  a painter’s paradise.  And the people in Ireland are the salt of the earth…incredibly kind, generous, always have time to talk and tell stories, in spite of the incredibly stress they are experiencing as a result of their tanking economy.

The other aspect of Ireland that influences my art is the music—I play traditional Irish music on the fiddle, mandolin and concertina, and when I’m in Ireland I become totally immersed in the local music session scene, and the local people who play the music have become great friends. I listen to the music continually when I paint, and it’s become an integral part of my work.

You have a strong affinity for things Irish/Scottish …. this is a strong influence in your art. Even your son Jacob is a world renowned Bodhran player. What was the earliest memory you have being exposed to the Celtic culture.

My father, Robert McCauley,  is the Irish side of my family. He plays the harmonica and Irish tin whistle by ear (and incredibly well!), and I grew up listening to him play. He took me to Ireland for the first time in 2002, and I was instantly smitten! Since then, I have been back to Ireland 4 times (and my son Jacob often flies over with me, and then takes off on his own travels in Ireland and Scotland) in 2007, 2009, 2010 and 2012 (for 6 week visits), and am looking forward to returning next summer for another artist residency in Cill Rialaig, Kerry. I then hope to return to the little village of Glendree (near Feakle) in East Clare for the music and to visit friends.

 You are presently the Founder & Director of Riverside Celtic College, Guelph, Ontario. What can students learn going to this place?

We offer classes in traditional Irish and Scottish music (Irish Fiddle, bodhran, Irish Flute, Scottish Smallpipes, Mandolin and Tenor Banjo, Guitar accompaniment, Tinwhistle, Introductory Violin and Celtic Song) as well as Irish Language and Irish Ceili & Set Dancing.  We also host  trad sessions for students, as well as traditional music concerts with musicians, (both internationally renowned and emerging), from all over the world. Often we’ll offer trad music workshops in conjunction with the concerts.

In 2012 we’ve had concerts with musicians like renowned fiddlers Tony Demarco & Patrick Ourceau, brilliant Galway fiddler Maeve Donnelly with guitarist Andy Hillhouse,  the amazing Irish flute player and singer Nuala Kennedy with fiddler Dana Lyn and guitarist Andy Hillhouse, and  look forward to upcoming concerts with the new trad trio Nua (fiddler James Law, guitarist Graeme McGillivray and bodhran player Jacob McCauley)  as well as a joint concert in December featuring Bua and North Atlantic Drift.

We have 52 mutual friends in facebook. And you are also very active in networking. But tell me, how effective is social network sites in terms of getting people to attend shows…especially in terms of those you invited within Ontario. 

I think that it’s a great way to get the word out, as more and more people are on Facebook.  And it’s an excellent way to keep people informed of what going on in one’s life and career, especially if you’re travelling, and touring around Ireland and having shows!

The Riverside Celtic Society is turning lots of heads these days. Can you tell us more about it?

I founded Riverside Celtic College in the village of Elora Ontario, in 2003, when I was first getting into learning how to play the fiddle. I was instantly addicted to the instrument, and traditional Irish  music, but was having trouble finding instructors to teach Irish fiddling.

I started the school, partly because I wanted to learn how to play, but also wanted to turn other people on to the music. I also found that after my trips to Ireland, I would come back to Ontario and crave the intimacy and richness of the Irish culture that I’d left behind me, and had a desire to create that same feeling of community in Ontario.

So, in addition to starting the school, my close friends and I started a traditional Irish pub session at the Shepherd’s Pub, in Elora, Ontario, Canada, that has been going for almost 13 years! Since then, the school has evolved into a really special and unique non-profit organization that seems to attract the most wonderful folks to its classes and events.

Riverside Celtic Society has recently received a major catalyst to its growth and evolution as an organization: we received a generous two year grant from the Ontario Trillium Foundation, which has proven to be a  very positive development, allowing us to offer  a new educational outreach series of  music/dance performances called the “Kitchen Party”, as well as hosting an exciting new concert series (including music  workshops),  called the RCC Traditional Music Concert Series “Live Trad at the Albion”.

We have also recently received generous donations from a group of former students, to create a a new traditional music scholarship, in memory of a dear former student who, sadly, passed away in June 2011, the Tom Kelly Music Scholarship.  Ar RCC, we’ve essentially put our energy towards creating a community of like-minded people,  who love the music and culture of Ireland and Scotland, and want to share that passion.

What albums are you listening to these days and what music would you recommend to us?

After spending time in East Clare this past summer, and going to the Feakle Festival (and spending time with my good friend Maeve Donnelly), I’ve been immersing myself in the music of Clare: “The Thing Itself” with Maeve Donnelly and Peadar O’Loughlin, “The Shores of Lough Graney” with Martin Hayes and P. Joe Hayes, the albums of Dennis Liddy and Michael Hynes “Waifs and Strays”, and “Spectacle Bridge”,  and I love John McEvoy’s album  “Traditional Irish Fiddle”, as well as the album “The Kilmore Fancy”, recorded with his sister, the brilliant Irish Flute player, Catherine McEvoy.

The most recent recording I’ve been excited about is the soon-to-be-launched EP of the new trad trio, NUA (full length CD to released in 2013), with fiddler James Law, guitarist Graeme McGillivray, and bodhran player, Jacob McCauley, which features some really exciting original music that, while grounded in traditional Scottish music, is really innovative and experimental in its approach.

Who is Eva McCauley as a mom and as a friend?

An artist and musician…equally addicted to both!   www.evamccauley.com   www.riversidecelticcollege.ca 

Art samples:

Eva McCauley: Invisible

Eva McCauley:Invisible

Cill Rialaig Sky

Night Swimmers III

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NUA

A addictive traditional brew is being served courtesy of  award-winning fiddle player James M Law, versatile & tasteful guitarist Graeme McGillivray and award-winning bodhrán player Jacob McCauley. Stylish, delicate at times and mostly energetic, Nua is a trio that’s sure to captivate and please listeners. I am a big fan of Jacob McCauley’s drumming style as he brings layers of expression to the bodhran. Graeme McGillivray’s wispy strums create an envelope of steady rhythm to the laser preciseness of James M Law’s fiddling.

NUA live in Guelph, April 2012. Original composition by NUA

NUA is an innovative new trad trio, bringing a fresh and unique sound to traditional music, creating their own distinctive flavour with both original and traditional compositions from Ireland and Scotland. Based in Toronto, Canada, NUA consists of three members: award-winning fiddle player James M Law, versatile & tasteful guitarist Graeme McGillivray and award-winning bodhrán player Jacob McCauley. The interaction between the three is what really makes the music shine, whether it be their soaring melodies or tasteful grooves. The trio is also well known for their exciting incorporation of odd time signatures and poly rhythms, which give the music an electrifying lift and spontaneity.

Each member adds their own distinctive sound and influence to the music. Although they are a trio with a sole melody player, the brilliant multi-tasking of each member is demonstrated countless times with perhaps a guitar-driven flat-picked melody, rhythmic fiddle playing, or melodic bodhrán playing to add to the mix. The ability for each member to take on multiple roles is one of the staples of NUA. This adds to a thrilling live experience, and a “you just don’t know what’s coming next” approach!

NUA is currently preparing for the release of their first E.P and their debut album to be released early 2013.

More of Nua here: https://www.facebook.com/TRIONUA

Weekend makes way for great tunes!

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Also in this edition:Damien Mullane, The Tristan Legg Band, Paul Mounsey and Alalé.

Instagram pic of Frost at Midnight’s Happy Birthday

Album Review: Happy Birthday by Frost at Midnight.

Country: Wales

Band members:

Robert Atkins: guitar, bass, keyboards

Catherine Atkins: vocals

Catherine Handley: flute

Johnny Quick: vocals

John Tribe: harmonica

Record label: taff vale

Beautiful and uplifting, Frost at Midnight crafted an album that is determined to encourage repeated listens. Even the album artwork encourages a smile with its illustration of golden birthday cake framed in blue. The album title is Happy Birthday. Opening the cardboard case introduces me to a back cover picture of band members slicing that cake. There are references to Keats, Jacques Humbert, Jack Sinclair, Julian of Norwich and TS Eliot.

I can tell that songwriter Rob Atkins is somewhat into academic themes. This album is also traditionally influenced with classical frills. As for the vocals, Catherine Atkins and Johnny Quick both deliver superb singing styles. Catherine has pure soprano voice which is comparable to Judy Collins and fellow Welsh singer Mary Hopkins. Johnny  has a faint folk roughness underneath the Broadway smooth voice.

A kind of high plucky sound is heard all over the album courtesy of Rob Atkin’s mandolin. The airy sounds of keyboards, bass and guitars almost slide into the border of indie folk and is only hold on a balance by the flute of Catherine Handley. The harmonica of John Tribe reinforces the band’s folk influence.

Happy Birthday opens with the lively A Birthday. It has a kind of 70’s vibes. The signing here reminds me a bit of Sally Oldfield and Maggie Reilly. Deep Open Chord follows with its heartfelt lyrics and pastoral melodies. Surprise by Joy opens with “Surprise by joy impatient as the wind I turn to share, I turn to share the rapture..” I am touched with the poetic elegance of this track. I love the mandolin playing in The Egg Timer. It’s one of those instrumental tracks that should be given more exposure for its delicate and atmospheric beauty.

Writ in Water has a renaissance kind of sound while All Shall Be Well reminds me of those Irish ballads performed by the Dubliners and Planxty. Love’s a Mystery is filled with magical bells which grow on you after repeated listens. Why Should I Care strikes me as something the late Sandy Denny would sing. At the same time the Jazz melodic flavor makes it a perfect lounge track.  Percy Paves the Way burrows its melody from the Scottish song Ae Fond Kiss. The voice of Catherine Atkins soars like an angel.

Tambourine is a track that introduced me to the band after hearing it online. This is definitive Welsh trad style.The tambourine sounds  trimmed down to give more emphasis on the flute of Catherine Handley. Sleep starts with an ambient keyboard style. This is the only track featuring a synthesized sound that works well! As the title suggests, it is a lullaby.  Another Birthday(reprise) closes the album as an instrumental track.

My verdict: There should be more Welsh bands like Frost at Midnight that celebrates the beauty of combining the delicate styles of various genres. It is a must have album whither you are into indie folk, Celtic or easy listening.

http://www.myspace.com/frostatmidnight

Samples:

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Damien Mullane

Damien Mullane has just released 13. The carrier single is “The Orphan”. He’s just finished a tour with Fiddle player Colin Farrell and Lunasa’s Kevin Crawford. Big thanks to Cillian Doheny of Irish trad band Moxie for recommending this music.

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The Tristan Legg band

I discovered The Tristan Legg band last July of 2011. Since then I have been following their updates. Tristan Legg is based in Nova Scotia, the Celtic music capital of Canada. Below are videos that will give you an idea about his music. Enjoy!

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 Paul Mounsey

My friend Paula who is based in Yorkshire England posted this man’s music on my facebook wall. I was captivated. There is definitely a strong Scottish identity in his music.This track is also very hypnotic. He was featured in the UK docu called Visit Scotland…

Video notes:

One picture video of Paul Mounsey track The Fields of Robert John

Album:- Nahoo Too

Year:- 1997

Track:- No10

Last FM:- www.lastfm.com/music/paulmounsey

My Space:- www.myspace.com/paulmounsey

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Alalé

My friend Sacha Talens is a punk rocker who travels around the world. He lived for a certain time in Ireland. This is a band he witnessed performing live when he was in Galway.

Video notes:

Born out of the lively music scene in Galway in the West of Ireland, Alalé was formed in 2006. The band was formed by Fergal Walsh, David Cardona, Gabriel G. Diges and Ciaran O’Donghaile. They soon released the self-produced album Wo Japen, which has since gone on to sell over 4000 copies. At the moment the band members include, Flute, Whistle and Galician Gaita player, Gabriel G. Diges; Singer and Fiddle player, Stephanie Swanton, guitarist, Esteban Moreno; and Bodhrán player, David Cardona. Alalé have played and toured extensively in festivals and venues in Ireland and throughout Europe, returning regularly to Germany, Spain and the Netherlands and recently got their first television exposure playing on BBC Northern Ireland.

Fraser Fifield: Relationship of sounds and styles(Interview)

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Also in this edition: Colin Nea, Therese Honey and Enda Seery

Fraser Fifield: Pic by Barryjohn Bj Stewart

Plays: saxophone/whistle/kaval/bagpipes/percussion/composition

From: Edinburgh, United Kingdom.

About: musician, composer and producer.

With the excitement of an upcoming album, Fraser Fifield talks to The Celtic Music Fan about music and what makes collaborative musical work interesting.

This week’s special attention is given to Scottish musician, composer and producer Fraser Fifield.  I was captivated the first time I listened to one of his tracks. There’s sensitivity, intricacy and a sense of underlying elegance in his musical voice. I think I read and heard his music a couple of years ago, way before I even started writing about Celtic musicians. It is only now that I got an opportunity to communicate with him directly for this edition.

He plays the traditional instruments in a way a Jazz musician would, and then reverse the process with the Traditional instruments. It is like what happens when you put different people in different attires and situations and see how they react or how they look in that environment. This is what he did with music and instruments. I think his striking importance is being able to walk between different worlds and still maintaining the authenticity of his artistry in playing. This edition is about relationships: between different types of music, musicians and instruments.

I think you will enjoy how this interview turned out. I had fun making this one.

What’s keeping you busy these days Fraser?

What’s going with me? Well, the main thing just now is having eventually started recording an album with Graeme Stephen, guitarist and long term colleague – just duo, focusing on live performances basically – meaning played live together, not actual concert recordings..lots of electronics too but hardware boxes used in live performance on the whole as opposed to studio laboratory type of process – which is cool, but not what we’re doing here.

So we started that last week…and will be ongoing as time permits over the next wee while. Just had a flurry of CDs through the door as other projects I’ve recorded on came to fruition – Maeve Mackinnon, Sophie Ramsay and Wingin It…maybe you’ll hear some of these soon

Looking forward to playing London jazz festival with the Take 5 Europe ensemble plus a couple of gigs in Poland one with Maciej Obara 4tet and Take 5 again. Playing duo with Graeme in St Andrews Scotland in a couple of weeks…

Doing a recording session for Angus Lyon this week and hooking up for a small gig with an old friend – wonderful clarinet /sax player Dick Lee..

With John Surman and Tom Arthurs last week on Take 5 Europe. By Emile Holba

 What can listeners expect from this new album in terms of style and sound?

I’m hoping folk will hear two musicians enjoying playing together who’ve built up strong dialogue between them (we’ve been playing together some 16 yrs I think). A general rule seems to be emerging – remember we’ve just started – to avoid layering performances/multitracking ourselves i.e. you’re essentially going hear two musicians playing live together, there’s no click track etc… that’s not too say sonically the record will be simple – early results suggest anything but…this is often just low whistle and guitar but like you’ve never heard.

A bold statement perhaps..but I’m being fairy serious… The live recordings on the soundcloud page hint at the sound of course, but I am enjoying working a little more on our recordings after the initial performance, resampling ourselves in a way, extracting small bits of audio and changing it’s function…I’ll say that much. Will it sound folk or jazz – I’m bound to be asked that… and the answer is I have absolutely no idea..a bit of both, or plenty of both actually. The compositions are mine but compared to my previous records I’d say improvised passages will turn out be more featured.

I think making music is also a relationship between you, your fellow musicians and your fans. What have you learned so far in maintaining this relationship since you started? What are the things you avoid now and what are the things you consider essential?

….Essential in regard to making music with other musicians, for me, is a sense of openness, trust and maybe some kind of mutual understanding of what it is we’re doing, not necessarily verbalized but that the feeling of all being well is present…all makes for a good starting point, at least musically; you could be having the worst week imaginable, but sometimes these things can twist around into good musical moments. Sometimes, hopefully not often, one can’t get into the right vibe to make music creatively for whatever reason, cat gone missing, who knows, but assuming all is fine there should be something you can switch on to be excited about what you’re doing, if you’re not already. Basically it helps to be in good mood is what I’m saying I suppose.

Musical situations I try to avoid are those where none of the elements to my previous answer are present. Also I’ve not been drawn into a ‘band’ situation for a wee while now, which is maybe down to my personality, I don’t know..I kind of miss it in a way, the band thing, but at the same time value the diversity of music I’m currently able to fit on my modestly sized internal drive.

Be nice to audience members if they’re being nice to you…i.e. paying to hear you play….would be a good general rule…

Try and have a relationship with the people that enjoy your music, if you want to that is…unless you have some Garbarek like qualities, and I try to mean that in a nice way, it’s a probably good idea business wise to interact a bit.. which I guess is what I’m doing right now..but I’m sort of enjoying the therapy of answering your questions. How’s this piece shaping up now by the way ?

Oh this is shaping my work nicely!

If you evaluate all the tracks you composed throughout your career, which one has an impact to you in terms of the manner it was composed and the inspiration behind it?

I’ve chosen the track called Psalm from my first solo album Honest Water as it’s perhaps the tune or idea which has had the longest and most interesting journey with me to date. The first idea was to try and imitate the sound of psalm singing from the Scottish Gaelic tradition – a most beautiful and peculiar art form in itself. My approach is a very simple one and one that has worked for me in many situations over the years, the more instruments playing together the better the effect, so great if working with groups of students of varying levels of ability for example.

Most recently I used this idea in the opening section of my piece ‘Playground Tales’ written for the group Mr McFalls Chamber with guests Corrina Hewat, James Ross, Aidan O’Rourke and myself – hopefully a recording next year. So the track Psalm from Honest Water began life as one of five parts of a suite for saxophone quintet titled Traditions – one of the first years of the ‘New Voices’ series of commissions made annually by Celtic Connections, and it’s still running – quite a body of work in there now. My turn was 2001, a long time back now!

I’ve never played the tune much on my own gigs for some reason, actually probably no reason, but have used it often in a variety of other settings, I recall…a group of 7 different European bagpipes at Rudolstadt Festival Germany, recently with Dutch trio the Nordanians, with the Take 5 Europe group this year, it’s served me pretty well, and I think it’s a nice melody.

With Corrina Hewat

If you have the time, the energy and the means to be an album producer, whom would you work with and what types of musicians would you help in producing records?

Well I’m doing that very thing right now in a kind of self-medicating manner along with Graeme Stephen in the making of a duo album together which is actually a bit overdue I feel, but at last is progressing nicely. I’ve always enjoyed being very hands on with every aspect of my own record making, from the engineering through arrangements, performance to mixing. I like having the freedom to work at my own pace with things and review/adjust at will…does end up taking forever sometimes though…and that’s not so cool always.

With other artists I’ve occasionally become involved in the role of producer or perhaps co-producer in some instances – for example where a group has developed a sound collaboratively and go on to then record. I’ve never been great at adopting a workmanlike attitude when it comes to making records. I think its quite a big deal. An example I can think of is with my friend Mick West, a traditional singer from Glasgow whom I first met whilst a student there. I’d played with him in various line-ups of the Mick West Band ever since, so when the chance to make his last album ‘Sark O Snaw’ came round I really wanted to do it, not least because having played with Mick for many’s the year he’d never properly captured the best of his music on record – I wanted to change that, and I think we did, to cut a long story short. It was a labour of love like most records I’ve worked on, probably ending up with a negative hourly rate or something close it, who cares, it’s a lovely document to have.

In terms of who to work with…if they can play well with heart and soul and give and take, and we can get along well, that’s the only ingredients required. I’m pretty happy doing a lot of the work I do for those very reasons.

Take 5 is an ongoing project you are involved with. Can you tell us a little bit about it and how’s it going so far?

It’s been a very nice experience. Firstly Take 5 then this year Take 5 Europe which is new extension of it. It’s about artist development essentially, through talks/discussions/networking (that mostly over one week) and making music with the other Take 5 participants you’re given tools or ideas at least aimed at perhaps focusing one’s career, taking a look over what you’re doing and what you might be doing…it’s positive certainly if anything at all.

This year the ensemble of musicians on Take 5 Europe proved to be a surprisingly cohesive group – not a typical line-up – 2 basses, vibes, drums, guitar, trumpet, 2 saxes + me. They’re a very nice bunch of people and amazing players, in late 20s or 30s – 2 each from Netherlands, France, Poland, Norway and the UK. We’ve been playing at the festivals run by partners of the scheme in Molde, Rotterdam, Coutance, with just 2 performances left to do in November in Poland and London. Playing and hanging out with John Surman on both these Take 5 weeks was certainly noteworthy, great musician and lovely chap.

I know you have played the bagpipes for a long time. But if you were a listener, what makes a bagpipe and amazing instrument?

There’s something primal going on with it that’s for sure. I can’t get into any physics that’s for sure too…I can but agree there is something about the sound that speaks to an enormous variety of people from every part of the world. Being very loud (if we’re talking the GBH here) is surely a bonus.

-Fraser

http://www.fraserfifield.com/

There you have it folks. Be sure to keep track of  his schedules and keep him on your radars. The new projects sound amazing!

Fraser Fifield

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Pic of the day: Colin Nea-Between the Jigs and Reels

COLIN NEA will be launching his CD ‘Between the Jigs and the Reels’ at 9pm, Thursday the 8th November in the Temple Gate Hotel

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Enda Seery: Website updated and revamped!

The musician/composer of The Winding Clock has introduced a new feel and look to his official website. Visit : http://www.endaseery.com/

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Featured Video: Therese Honey: Paddy Cronin’s Jig – Jenny Pippin from ‘Summer’s End’

Yes yes! We have a new addition to our list of harpists to watch out for. Therese Honey creates a relaxing wall of strings with with the talent of Jenny Pippin. Have a listen 😀

Track 2 from the 2012 http://www.Waterbug.com release, Summer’s End. Photos of the Dingle Peninsula were taken in April 2011 by Therese Honey and Larry Mallette. Therese learned Paddy Cronin’s Jig from Gráinne Hambly. Jenny Pippin is from O’Neill’s “Music of Ireland,” 1903.
www.theresehoney.net

A little bit of this and that…

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In this edition: Damien McCarron of Mile High Celtic Radio, Karen Victoria Smith, Dan Coleman, Celtic Twist and Moxie!

Mile High Celtic Hour : You ultimate guide to Irish and Celtic music.

Got the feeling that you need to update you Celtic music collection? Work schedules and classes can sometimes take you away from what’s going on with the ‘scene’. Well worry no more.

Mile High Celtic Hour is guaranteed to put you ahead of things Celtic. This is a show based in North America, featuring a playlist  that is diverse. You get to hear bands from all over the world and get to sample their best songs plus video via livestream.

Damien McCarron grew up in Howth outside Dublin and was immersed with  Irish music and tradition. As a musician, he shared stage with amazing musicians  in the  field including members of Solas. This is a very exciting time for Irish music and the rest of  the Celtic world. Damien is definitely in the right track and the right time, with the right crowd

Damien talking between music. .

Here is the page where you can watch and listen to his show:

http://www.livestream.com/tradiovdenver

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Celtic Twist Autumn Renovations in Scotland.

Celtic Twist

The website of the duo Celtic Twist is updated! I met Phil Holland and Dave Palmley over a year ago and I have enjoyed their albums. They are doing  interesting things with their diverse musical backgrounds by mixing them up with Celtic style.

They moved to Scotland  from Italy around two months ago and Phil is taking her time drinking the sight of the beautiful Scottish landscape. This is where she grew up and Scottish music makes a huge part of her musical influences.

Dave Palmley’s pop rock influence creates a radio friendly balance for Celtic Twist. He likes experimenting with various instrument including the synths. Have you heard of a harp tune using the effects pedal?

If you are looking for something interesting on the web, do drop by their website: http://hollandandpalmley.wix.com/celtictwist and say hi.

Notes:

This piece was originally inspired by the native north American people and their loss of land and cultural identity, but it is really in homage to all people of all races and creeds wherever they may be in the world, past, present and future, who suffer the indignities of invasion and oppression.
Phil: Celtic harps, Violins, Voices and Piano.
Dave: Guitars, Voices and percussion.
This will be on our forthcoming album, to be released later this year.
More news to follow.
http://hollandandpalmley.blogspot.com/

Notes:

Dedicated to a dream come true,moving back home to the west coast of Scotland.This meditative and hypnotic piece of music is entirely written, arranged and performed by Celtic Twist (Phil Holland and Dave Palmley).We wanted to share with all our followers this beautiful place and its magical atmosphere.

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Dark Dealings Book Interview via Rock On Radio

Having a great time at the Draft House

Yes our musical culture has a literary friend in the form of Karen Victoria Smith. She wrote the book Dark Dealings which talks pretty much about Irish mythology, Wall Street  vampires, shape- shifters and what they like to listen to in their ipod. You might think I am kidding about that last bit but I am serious. There are a lot of r references to Irish music in the novel and I think she is doing an amazing job pushing the culture and mixing it with the hip, the supernatural and how the money world works. I had to reread the book after it is done because I can’t part easily with the characters. They stay with you like long lost friends.

My friend Christi and I had a blast listening to her interview via Rock on Radio hosted by Dan Coleman and the gang. It was a wacky show and Danny asked a lot of interesting questions about the book. There’s a chat room where listeners can interact with the hosts.  We also met Karen’s best pal Deedee who also happens to be part of an indie rock band Strumberry Pie. The internet made this world a better and smaller place. Christi’s in Michigan and I am in the Philippines. And we all had a blast!

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Introducing Moxie

Moxie

Genre:  Irish Contemporary Music / Jazz / New Age Bluegrass / Folk

Members : Cillian Doheny Tenor Banjo / Nylon & Steel String Guitar / Mandola

Jos Kelly Button Accordian / Keyboard

Darren Roche Button Accordian / Nylon String Guitar

Ted Kelly Tenor Banjo / Tenor Guitar / Mandolin

Paddy Hazelton Percussion

Hometown:   Limerick / Sligo

What Lies Behind the Wall has notes tapping with suspense at the beginning of the track. It is like watching a flower bloom in hyper speed. Like all remarkable Irish bands playing traditional music, Moxie offers fresh approach to a tradition that has been around and is determined to stay.

Their sound is vibrant and the arrangements are intricate. This is traditional music with a cool twist. Sophisticated style blends with rustic simplicity making them one of a kind Irish band. In Elixir’s Walts, they took advantage to pauses and trance like melodies to create a dramatic effect that blends organic percussion with luminous instrumental delivery. This is the music of a butterfly’s wings flapping in a near flight.

Bug and Bear’s further showcase the hypnotic capacity of the banjo and guitar especially when it is given to the right hands. There are three tracks available for sampling in the band’s site http://breakingtunes.com/moxie. I am sure what’s on the site is just the tip of the iceberg.

Band bio: Formed in late 2011 as part of the annual folk festival, Sligo Live, Moxie are a Sligo and Limerick based band that formed through years of musical friendships from playing together at certain festivals around Ireland. The band incorporates Irish music with other genres such as folk, rock and new age bluegrass. A vibrant new band playing an exciting mix of traditional based compositions with richly developed layers of fantastic harmony. The band includes JPTrio members, Ted Kelly (banjo, tenor guitar, vocals), Jos Kelly (button accordion, keyboard, vocals), Paddy Hazleton (percussion, vocals) and Limerick based musicians, accordion and melodeon powerhouse Darren Roche and virtuoso banjo & guitar player Cillian Doheny.

More here:

http://www.myspace.com/moxiemuso

https://twitter.com/#!/Moxiemuso

https://www.facebook.com/Moxiemuso?ref=tn_tnmn

Contemporary Celtic Rock, Jazz, and Instrumental Music

/ mrbaxteria2008 / 1 Comment

In this edition: Sahara, Declan Sinnott and Dave Hum

A great weekend to all you readers of this page. We have great albums worth listening and I will tell you what I like about them. Enjoy and listen to the music samples.

Sahara: A New Beginning

Genre: Original Contemporary Celtic Rock Jazz Eclectic

Members: Dave Long vocals, guitar keyboards & sequencing

Trish Long vocals, sax, flute, flageolet, recorder keyboards & sequencing

Release date: October 2012

Sample track:

Fans of Bruce Hornsby, Van Morrison and Marc Cohn will certainly welcome Sahara’s A New Beginning with open arms. The duo of Trish and Dave long incorporate a broader spectrum of musical styles. There are hints of smooth jazz, pop rock and Celtic. In terms of instrumental delivery, I’d say hands down to both of them. Their years performing on stage and recording  the way they want their albums to sound, ripened and made their music intoxicating like fine wine. It is the confidence brought about by the test of time, elements and LIFE that we all go through. There are certainly events that shake us rendering us incapable of moving. But it is the call of artistic desire that always brings us into a sense of purpose. This optimistic thought is present all over the album’s 10 tracks.

Sweetness, pain, laughter: these are emotions that surround A New Beginning. There are other atmospheric surprises like The Promise which possesses a definitive Celtic sound. The vocal layering and melody lean into Clannad and Loreena McKennitt. Other titles like Right the Wrongs and A New Beginning are songs that anyone who has gone through tough times can relate to.

The Sweetest Thing, track four, delivers the “get into the Irish pub” kind of sentiment. It has that relaxed atmosphere of being with someone you loved through the years. It says that you don’t have to hide anything because you can be who you are with the right person.

Let’s Unite affirms the belief that we can all get through our differences if we  realize our similarities. I reflected on this and also remember all the natural disasters like earthquakes, famine, disease and poverty. We aren’t invincible. So why should we fight each other when nature is already fighting us and diminishing our numbers? Must we also contribute to the pain? The song has that Irish marching beat.

It Could be True is an example of someone continuing to “court”  a beloved through the years in the relationship. I think it is telling us that winning someone’s heart doesn’t stop after marriage. It continues and there is never a morning when you wake up with a sense of wonderment and challenge to continue loving against all odds. The nice sound of the recorder glides throughout like a nightingale.

Renovating my Igloo is groovy. Fans of Talking Heads can relate to the 80’s New Wave style. Another tribute to being with someone through thick and thin and also the idea that nothing is constant but change. But love the a unifying and constant force.

Is it only Me has a rocking feel. Both vocal and instrumental arrangement set the example of musical excellence. Rainy Day At Shady Creek explores the world of Jazz and Bluegrass. It sounds like traditional Irish music gone crazy. I love it though. Such a nice ending for this album that needs repeated listens.

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Declan Sinnott: I love the noise it makes

Genre: Folk Rock

Players:

Declan Sinnott: Lead vocals, guitars and various instruments

Owen O’Brien: Keyboards, piano.

Release date: September 2012

Sun Shine In is the carrier single off this new album by former member of Horslips (before they became official) and Moving Hearts. He is associated with both sisters Mary and Frances Black. He currently plays and tours with Christy Moore. “ I love the noise it makes “( a quote he loved from John Lennon when asked whether in music it is the lyrics or the melody he prefers ) was released on 7 September 2012 in Ireland and on 10 and 11 September in the UK and USA respectively.

There are twelve tracks. They are on the easy folk rock style that’s catchy and groovy. Everything in this album sticks together. The sonic quality is amazing, partly through the efforts of Tim Martin and Ian Cooper courtesy of Metropolis Studios. The album has a nice packaging imitating the cardboard style CD. The liner notes are informative and excellent especially in terms of visuals. There are photos of Declan with co-songwriter Owen O’Brien in the studio. The consoles he uses for recording will make a record junkie drool. In one photo, there is a room filled with ethnic instruments (African), synthesizers, assorted guitars and drums.

This album feels like a bunch of hay stacked and tightened in great detail. Craftsmanship and art are combine creating a collection of songs that is timeless and also at home with today’s folk rock top 40. His voice is just the right combination of time tested roughness and whiskey smoothness that goes down easily. Sun Shine is bound to stay in your head for  along time with its melody and easy breezy delivery.

Other tracks like Blood Rushing Through These Veins, I See the World From Here, Corrina, Corrina, Broken Glass and Circle Round the Sun beg for covers due to their amazing sentiments, and heartfelt lyrics. Other tracks like Me and My Dark Companion and Ocean are bluesy and finely executed that they will spawn more covers and jams in years to come. One sweet surprise is the ambient track called Orbit found at the end of the album. It is actually a remake of a traditional tune. I think it is an awesome way to close such excellent album. I like the fact that I won I love the noise it makes and yeah I love it…I love the music it makes!

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Celtic and Bluegrass 5 String banjo Album 2

Genre   Instrumental – Celtic – Bluegrass – Old Time – Traditional – Original – Banjo Music

Banjo – Guitar – Mandolin – Bass – Harmonica – Keyboards – Percussion – Programming-All by Dave Hum.

Released Date: August 2011

Sample track:

Album two is a progress to album one of Dave Hum’s top notch banjo playing. I haven’t met anyone who plays like a deity. Expect tracks combining Irish, Bluegrass and Celtic music. Album 2 is composed of 21 tracks. Other artists would have released this as a double album. But you see folks, Dave Hum doesn’t boast his talents through promotion. He relies so much on the word of the mouth and social networking to showcase his craft.

He does everything here. But the star instrument is the banjo. It would be unfair not to mention his expertise in the guitar, bass, mandolin, keyboards, harmonica and percussion. Cluck the Old Hen is a track that has been around in youtube and never gets old. Check out his wild harmonica intro in this track. This is good bluegrass music. Other tracks really hardcore trad music because these are titles that are not familiar to me. He plays them all like he has known them all his life. One fine example is Nashville Blues which is track 15 in this album.

Everything in this collection has the polished sheen of expensive and worn pair of shoes. You could never go wrong picking up this album. I think it is the best banjo album I have heard in years.  His artwork has also flourished. It shows bolder and deeper colors. The Irish Traveller has come  a long way and is trying to explore new territories. Dave Hum has a wizard’s fingers and a chemist’s intelligence in merging and breaking apart the mystery of tunes. His playing is innovative yet rooted deeply in the past. Album 2 of Celtic and Bluegrass 5 String Banjo is a must have and it plays well in any season.