In this edition: The Indulgers, Blyde Lasses, Cillian Doheny and pictures of the day…
We had a hard week. My heart goes to those who suffered the terrible force of hurricane Sandy. As much as I love Nature, these are one of those times when nature can be scary. It is a horrible situation but as long as we remain steadfast in our devotion to one another, then we will get through this. Ive had moments in my life when I thought all hope is gone. But when I think about the love of friends and family members, everything becomes bearable again.
There is an ongoing drive to help the people of New York. Please check out Beal Bocht:
The Beal Bocht offers music, poetry, comedy, theatre and art exhibits ,making it the premiere place for to showcase both Irish and local artistic talents while enjoying great drinks and food.
Genre Irish/Celtic/Americana/Rock
Members Damien McCarron – Vocals, Guitar
Mike Nile – Vocals, Guitars, Mandolin, Harmonica and Electronic Bagpipe
Renee Fine – Fiddle/Violin
Aaron Haywood – Bass
Frannie (Cheech) Mannone – Drums
Guesting on occasion:
Neale Heywood – Guitar
Ryan Bunnell – Guitar
Hometown Boulder/Golden
Record label Celtic Club Records
General manager www.shamrocker.com
Influences Waterboys, Horslips, Thin Lizzy, Christy Moore, Irish Trad., Paul Brady, Spirit, Fleetwood Mac, Beatles and many more.
Current Location Boulder/Golden, Colorado
The The Indulgers
Good melodies, rockin’ beats, sing-along lyrics: these are the things that make up a good album that you can listen to again and again. My introduction to The Indulgers was rather nontraditional. I only know them after catching a radio show called Mile High Celtic Hour hosted by front man Damien McCarron. He moved to Colorado from Dublin.
I became a regular listener of the radio show and there is something about his speaking voice that’s great to hear. It is not just his Irish accent but his voice quality. I was not wrong when I heard their various tracks. I should also mention that apart from the front man’s vocal appeal, all the guys in the band are well-heeled musicians who are master of their own instruments. You can feel the passion as it electrifies every instrument in their songs.
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Blyde Lasses
Check out this duo from Aberdeen UK. Great fiddling tunes there that’s fresh and crisp. The Lasses Set is truly inspiring. I love the balance between energetic performance and emphasis on grace. The recording is also amazing because it lets you listen to the surface of sound. You can almost hear the way the bow grinds against the stings. Their vocals are also lush and expressive. I hope to hear more from them. It’s been a while that this site featured fiddlers. This could be the start eh?
Cillian Doheny is answering my interview questions in between touring with Moxie. I treat this as a pre feature write-up about his music. He does play the banjo way beyond his years. This man is hard-working being with so many projects in such a short period. So this is an introduction to his music and many more to come.
Also in this edition: Lori Watson and Rule Of Three and Kernowpods
Calum Stewart and the cover art of the new album.
Between working with the London Philharmonic orchestra, recording for the next “Lord of the Rings” film, “Hobbit Movie” and completing being part of Jamie Smith’s Mabon’s Windblown, Calum Stewart took the time to talk to us about his career and how it all started.
Greetings! It is a lovely the month of October Celtic music followers. Our guest for this week is flutist Calum Stewart. He made a lot of collaboration with other bands. The new album Wooden Flute and Fiddle is out in the market! It is a collaboration with fiddler Lauren McColl and other musicians. If you don’t have a copy of the album yet, I want to tell you it is an amazing thing to have as part of your traditional music collection. Like what I mentioned in my last article about the album: This is an album that every traditional music listeners will want in his or her collection. This is due to the huge effort that the two and the rest of the session musicians placed on this album. There are slow and fast tunes. Expect variety in instruments and grand artistry that only musicians of their caliber can provide. And even if you are not really into Scottish or Irish trad music, you will still warm up to this one for its melodic and relaxing merit. Love it love it!
All musicians started with something that they consider memorable. I helped him trace back on how it all started-with the release of his debut album Earlywood.
Can you tell us a little background as to why is the debut album Early Wood?
“Earlywood” is my first solo album, and reflects my home tradition of the north of Scotland, with many tunes from Morayshire. There are also several compositions, which sit side by side the older repertoire, all arranged for Wooden Flute, Fiddle and Piano: my main interest has always been finding strong repertoire, interesting arrangements and powerful sounds, in acoustic settings. The title “Earlywood” refers to the inner growth circles inside trees. The “Earlywood” stage is the time when the tree grows the most… “Latewood” is the other time, and perhaps when the tree takes stock, during winter. Earlywood seemed a good title, because it was my first solo recording.
Since recording “Earlywood” and touring with my trio, I’ve had the opportunity to continue work with Lauren MacColl (Fiddle), with whom I’m releasing a new album with now (featuring Eamon Doorley of Danu, and Andy May). ( Go to www.laurenmaccoll.co.uk/shop )
I’ve also been working closely and touring with Breton guitarist Heikki Bourgault; we released our first duo album last year, with plans for a second one in 2013 (visit www.calumheikki.com for details).
Jamie Smith’s MABON has released Windblown. What can we expect from your musical contribution in this album?
I am featured as a guest on several of the tracks of their new album “Windblown”. Although I can’t play as a core member of JSM and Mánran now, because of my own project commitments, I really enjoy working with them when the occasion arises, guesting on recordings or sometimes at concerts / festivals. We are all very good friends and keep in touch about our own separate projects, and enjoy meeting when our projects cross paths, playing at the same festival!
Early promo pic of Jamie Smith’s Mabon
You are known to play hide and seek between time zones with multiple natures: you are in demand as a musician! How’s the experience of working with different artists and how this shaped your artistry?
Working and collaborating with different artists from different genres is really important, enabling one to have a more open perspective. I’ve had the opportunity to work with some really inspiring people and they’ve really shaped my approach. However I also think it’s good to concentrate and develop one’s own musicality, ones own musical journey. Whilst you may encounter many influences along the way, fundamentally you must find your own voice.
Your musical development was traditional since you are originally from the North of Scotland and brought up with the traditional music of your native Morayshire. How do people in your hometown respond to your international success?
I always really look forward to playing on home turf, and it’s great to catch up with those musicians whom I played with when I was growing up. I try and “re-charge my batteries” when I’m back in Moray, usually remembering old tunes, learning some new ones or writing some, and most importantly remembering why I enjoy playing music in the first place! I still have family in my home village, although I don’t live there anymore – so I really enjoy going back there.
I realized that although your name is synonymous with the wooden flute, you are also and expert in playing the uilleann pipes and whistle. What are the other instruments that you play?
I concentrate on the Wooden Flute although I do play Uilleann pipes too, and really enjoy the different voice this instrument has. However the Wooden Flute takes up almost all of my concentration. Although there are different qualities in the pipes and the whistle, and sometimes they are useful – the Wooden Flute is really my musical voice, so I prefer to concentrate on this. I have a very special old flute, which I use for all my musical projects – its a Rudall Carte & co, made in the 1930’s. Its made from cocus wood, and has been with me in every musical situation since I found her! I use wooden headjoints by Tobias Mancke with her. In addition I own a brilliant Wooden Flute by Peter Worrell which is based closely on my original. As I don’t like owning many flutes and changing flutes, I take my Rudall Carte & co. with me, wherever I go!
Ewen Henderson at Clickimin Centre.
What is the recording process in making an album?
Every recording I’ve been involved with has been different. Although usually after the initial concept or inspiration, there follows a period of collecting / writing / arranging, before either rehearsals or concerts and then recording. Sometimes it’s possible to play music for a long time in concerts, developing ideas before the studio, but sometimes the music takes shape in the studio – there are no rules!
After a big performance, how do you chill?
Usually, there is a lot of work to be done after a performance. I always try and meet the audience personally, making contact after the concert. Often there are interviews to do, CD signings and meetings – so it can be quite busy! After all this is over, and my flute is put away… I usually hang out with my band and quench my thirst.
What are other projects that you are working on?
This summer I’ve been working with the London Philharmonic orchestra, recording for the next “Lord of the Rings” film, “Hobbit Movie”. As well as that, I’ve recorded with fiddler Lauren MacColl, joined by Eamon Doorley (Danu / Julie Fowlis), and Andy May – this is available via: http://www.laurenmaccoll.co.uk/shop .
Otherwise, I’ve been guesting on recordings such as the new JSM album, and preparing new repertoire for a 2013 release with my duo.
What can fans expect to hear from the new album now that it is out?
Quite a traditional repertoire, coupled with some new offerings: based strongly on the interplay between the wooden flute and the fiddle
You are a huge influence to young people who are trying to learn traditional instruments. What can you advice them in how to make it like you
Play music that you believe in and always be yourself.
There you have it readers. Another exciting moment with Scottish musician Calum Stewart. I am looking forward to the “ Hobbits” soundtrack knowing he is part of the music. Also get your copies of the new album and drop by his website to say Hi. He is really down to earth and has an amazing sense of humor. I enjoyed this interview with Calum and it is really fun talking to artists and getting to know how they create their music. Have a great week ahead!
Sweetness! Lori Watson has a voice than can melt your heart like butter. But don’t let this sweetness fool you. This amazing musician plays music with such intensity and break neck speed. Her band is gaining a wide following all over with their fusion of traditional and contemporary style.
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Kernowpods: War an gwyns – remix
Cornwall has her own thriving community of painters, photographers, musicians and people doing their own art. One of those who help define the Cornish cultural identity is Matthew(Matthi) Clarke. He is part of Sue and Phil Aston’s circle and they are doing a LOT of diverse things with music and visuals. This is one of the songs Matt uploaded in his podcast.
Phil Aston,Dan Aston, Sue Aston, Matthi Clarke and James Perkins-An Derow.
Thanks for reading folks. More album reviews coming up very soon.
In this edition: Fraser Fifield, Carmel Gunning and Calum Stewart
Fraser Fifield, EDINBURGH, Britain (UK)
The Music of Fraser Fifield
My last edition covered music from Ireland, Wales and Brittany. Our new edition unleashes another talent from Scotland by the name of Fraser Fifield. I became familiar with his work after seeing videos of Salsa Celtica. This is the same band where Kenny Fraser of Music Scotland(who was our featured artist/interview) plays the fiddle in.
The fascinating thing about his work is his love for improvisation and fusion. His bio states this interesting info: “A Piper and Low Whistle player who improvises like a jazz musician. A Soprano Sax player playing the traditional music of his native Scotland like it had always been played on that instrument.” I think one of the most haunting track in his compositions is Softly Spoken, with its hypnotic arrangements and syncopated beats. He has other gems in his soundcloud page and I am sure you will definitely buy his albums when you hear his tracks. He has other equally wonderful tracks and your way of relating or liking them will depend on how you respond to the music upon hearing each track.
I am doing a correspondence with him which will be a structure for an upcoming featured artist/interview. I embedded few tracks of my choice but I recommend for you to click Fraser Fifield’s soundcloud channel http://soundcloud.com/fraserfifield to listen to the music continuously.
She moves between two worlds. The fast paced playing and the delicate execution of some tracks. A native of Sligo, she came from a musical family. I think she is one of those amazing artists who contribute their efforts in making sure Irish music gets national and international
Carmel Gunning
recognition. I wonderful info I uncovered about her: She runs The Carmel Gunning School of Music all year round in Sligo town and runs a festival annually in August. She has written 2 books on music and song and currently working on another. She has produced 5 CDs to date and is working on a singing album currently. Many of her past pupils, Liam Kelly of Dervish being the most well known, are top class in their field today.
With this kind of music and also a unique way of playing the whistle, I am sure she will conquer more ears. Let there be more albums from her then!
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Calum Stewart has a new album out!
Wooden Flute & Fiddle
Calum Stewart & Lauren MacColl
with Éamon Doorley and Andy May
Eoghainn Iain Alasdair
The Gordons
Alzen
Rise Ye Lazy Fellow
Stoidhle Nèill Ghobha
Crow Road Croft
Aileen’s
Tomnahurich
Boys of the ‘25
A Highland Lamentation
Now available for Pre-Order worldwide. (Please be careful to select worldwide delivery if you live outside the UK) All orders will be dispatched on 15th October, one week ahead of the official release date of 22nd October.
Scottish wooden flutist Calum Stewart just released an album with Lauren McColl. It is called Wooden Flute and Fiddle. This is an album that every traditional music listeners will want in his or her collection. This is due to the huge effort that the two and the rest of the session musicians placed on this album. There are slow and fast tunes. Expect variety in instruments and grand artistry that only musicians of their caliber can provide. And even if you are not really into Scottish or Irish trad music, you will still warm up to this one for its melodic and relaxing merit. Love it love it! A track from this album was featured here: http://www.bbc.co.uk/programmes/b01mwz99
Plus our picture of the day featuring Maura O’Connell and Flashback video from Equation!
Clanú: Dee McIlroy, Niall McIlroy, Damian McIlroy and Barry Skeffington.
Great Irish music comes pouring in with Clanú.
I have no doubt that this band is going to create more great albums in years to come. I think they are in the right track with their music. It is always inspiring to have a kind of music that not only lets you look back at traditions but also makes you FEEL inside. Clanu is one of the finest examples how Irish music is flowering, taking other influences and spreading awareness to both national and international listeners. Thanks to cyberspace one can keep track of these things which would be impossible offline. The little article I did became an agreement with Dee McIlroy (singer / guitarist/ producer) for an online interview which took sometime due to the band’s rigorous touring schedule. If you are not aware yet, Dee(Dermot) runs a great company called McIlroy Guitars http://www.mcilroyguitars.co.uk It was worth the wait because they are the featured band for this week.
How do you describe your band and what’s in store for your listener this summer?
Dee McIlroy talks to CMF about Clanú
Clanú is a combination of several members of two very different Irish bands, Outta Folkus who are the Folk / Bluegrass combo (usually a 3 piece) and Torann who are a young 5 piece playing Irish Trad. Both Outta Folkus and Torann are very busy playing in venues and festivals around the country. Outta Folkus average two or three gigs a week, while Torann can fit just as many into one weekend.
Torann have just finished a stint as the “3rd class passenger folk group” in the stage musical version of The Titanic.
They will be supporting bands such as Lunasa throughout the summer months.
Outta Folkus just returned from Switzerland after a series of gigs there and have already secured gigs there for 2013.
Because two members of Torann and one member of Outta Folkus are part of the same family (father and sons), the project to create something blending the two was something that we talked about many times. Hence Clanú was formed in 2010 and we set about writing the music for the album Ancient Walls which was completed in 2011.
What’s the recording process for Ancient Walls?
Many of the tracks on the Ancient Walls album are original, either written specially for the album or selected from a back catalogue of unrecorded material. Most tracks had been chosen before we started but there were one or two which just seemed to need to be part of the project, “Slow Whiskey” is one example.
The core of the recordings were recorded over the course of a few sessions. We have recording studio at home, so that allowed us the freedom to experiment.
“Once I had the foundation of the recording, i.e. the main tune and instrumentation which was recorded live so to speak (all major parts playing together), I would then add the orchestral pieces, bass, pads etc at a later date. Some I would do myself and other pieces would be done by the other band members where necessary and then layered into the sound. So the rest of the production and mastering took six months to complete. With that in mind, I was conscious that we must be able to recreate the sound as much as possible when playing live. Because we are all multi-instrumentalists we can swap instruments to suit the individual track and we can indeed produce the album tracks exceptionally well.
Dee, What is it about Clanu that is unique from the rest of the bands cropping up these days within the musical culture?
Irish music: It’s a family thing.
There are few, if any, bands who manage to create a mix of old and new folk songs with the fast paced modern Trad that you see in the likes of Grada and Beoga. It’s like The Dubliners meet Lunasa with a bit of Planxty thrown in for good measure. The beauty of this is that we tend to please both camps. There are many people who think an evening of pure Irish Trad would be made even better with a spattering of songs, some new and some old favourites. That’s what we do.
Torann and Outta Folkus came head to head with an event last 11th of Aug, not as Clanú but individually, with all members, when they will appear at the 3rd International McIlroy Guitar gathering in Ballycastle, Co Antrim, N. Ireland.
Do you think there is a fierce competition within the Trad scene these days?
There is little or no competition within the Trad scene other than when it’s an actual competition like the All Ireland Fleadh http://www.fleadhcheoil.ie/ .
There is a tradition within Irish music that you teach the music to the next generation and this keeps the culture alive. So it’s not a case of keeping your music to yourself but spreading it as far and wide as possible, even if that means that there is less work for musicians. But we don’t look at it that way, we simply try to be the best we can and maybe offer something a little different or special.
What are the bands that were supportive of your works(recording and getting the word out there) and what are the bands that have influenced you musically?
There are certainly many bands and musicians who have influenced us over the years, such as Planxty, The Bothy Band, Boys of the Lough and more recently Gráda, Sharon Shannon, Beoga, the list goes on.
When it comes to support for getting albums recorded and distributed, while there may be a little arts funding for the few, the vast majority of musicians dig deep into their own pockets to produce their albums. I started my own label called Stubborn Ass Music. The idea was to make studio, production and mastering time available ourselves and friends (or friends of friends) who would not in any normal circumstances be able to afford to get an album to market. So far I have produced 5 albums (not all folk / trad), the latest was An Turas by the Glengormley school of traditional music, of which all the members of Clanú have taught at.
There was an incredible amount of work put into all these albums and all in our spare time as we’re not professional musicians. But hopefully the work put in is reflected in the quality of the Ancient Walls album as well as the others.
On performing live, what are the things artists should consider especially when it is a big crowd as opposed to intimate gatherings?
Clanú are a four piece band spanning two generations and the influences of each generation comes through in their music. From the fast paced modern Trad of Damian and Niall to the even faster contemporary folk and bluegrass sound (or greengrass as we call it) of Dee and Barry. With the wide range of instruments they play, they manage to produce a sound which enthrals crowds around the country and beyond. Add to this the song-writing and tune-writing capabilities that all the members possess and you have a unique yet familiar trad / folk sound that will have you dancing, singing or crying and sometimes all at the same time.
When performing in front of large crowds it’s more than likely that all the sound, lighting, running times, etc have all been arranged, so it’s best to just relax and enjoy. The main thing to remember is “Never turn up late”. You won’t make any friends with the organizers, crew or other musicians on the bill.
What’s your message to people who have just stumbled upon Clanu?
I would say to all those who hear our music, I hope you enjoy it as mush as we did making it. Support live music by buying the CD, downloading it or streaming it on Spotify or similar. And please spread the word. We hope we can come play in your town sometime, wherever in the world you are.
And thank you Baxter for inviting us to take part in this questionnaire.
Dee, thank you so much for talking the time to talk to CMF and also for sharing your ideas that will benefit musicians of all genres. Friends, don’t forget to check out the music of Clanu and also get yourself a copy of their new album Ancient Walls.
Here are links to their videos:
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Our picture of the day: Maura O’Connell
Maura O’Connell
She has a big Celtic voice that resonates through your soul. This picture tells us how this this Irish artist sees life and uses that inspiration to heal our hearts.
Yes this is Cara Dillon and gang in the age of grunge music and fashion. Who would have thought that years later individual members wouldlead successful solo careers…and continue to inspire us with their great music. It is great to look back and marvel at how Irish music has evolved and influenced the younger generation.
Cara Dillon and Seth Lakeman, two of the leading acts in the UK and Irish folk scene, were both formerly members of Equation, a folk supergroup signed to Warner label Blanco y Negro in 1995 by Geoff Travis. They recorded one album, Return To Me, which was shelved by the record company just before its release (but was released by Rough Trade Records after Travis bought the masters), but the lead single, He Loves Me, got a release in 1996 with a full promotional video. The video became available on Ebay recently and with a stroke of luck I had the winning bid. Here it is in all its glory. Seth appears to be a bit of a spare part, but Cara is glowing in all her youth and mid nineties fashion! Enjoy…
Plus: The Stride Set, Brian Femming and the late Maeve Binchy
Learning of an instrument as a journey, rather than a destination..
286 pages with illustrated examples and also audio materials accompanying this book should be a joy to those trying to learn the tin whistle.
I have a brief background in the recorder and it isn’t hard for me to understand the notation as well as terms that Stephen Ducke used in this book. I should tell you that even though you don’t have a musical background and have just picked up the instrument, this book is straightforward and free of any cumbersome words that might hamper the learner.
It will also give you a complete understanding why Irish music sounds that way. Learning through this book will reward you in twofold: playing the tin whistle and understanding Irish Celtic music. The rest is up to you to find out. I cached up with Steve and popped him few questions: .
I see that you are managing 9 blogs all and all. How do you find the energy to teach and blog at the same time??!!
The author: Stephen Ducke
Actually, my Blogger blogs are mostly collections of videos, and Irish traditional news stories found online (with links to the original articles) It’s a way for myself to keep abreast of the news, and there does seem to be a readership too. My principal site is Tradschool, and this is all my own work: In the blog I regularly post tune recordings on flute and whistle, band profiles and other information. There’s also a news section that I update when I can, although less so in summer for example, when there are more gigs and workshops and I’m not often at home…
You play other instruments apart from the whistle:concertina, uilleann pipes, fiddle, flute, guitar and bodhran. Man, do you even sleep? What are the challenges of playing the tin whistle for beginners?
I play the flute and whistle, and am lucky to have some colleagues who participate in sending me recordings for the website, so I am able to post concertina and fiddle tunes also, and sometimes uilleann pipes.
Please tell us more about this e-book tutorial that you are selling on your site right now.
The tutorial came from my teaching of flute and whistle, in Ireland but especially over the past 10 years in France. Many of the questions my French students have about the music and the instrument were not the type of question I was used to answering in Ireland – technical questions about the music, style and interpretation, for example. As a teacher, I feel a responsibility to at least try to answer the student’s questions, and this called for a lot of reflection on my part, and a closer examination of the music than I was used to; I realized how many things I had been taking for granted as an Irish player.
The tutorial’s format will be familiar to anyone who has taken my workshops – I adapt what I like to call a “layered” approach to playing the music, beginning with the rhythm and adding each new element little by little. I believe that, as an orally-transmitted folk music, Irish traditional music is necessarily based on a simple system, and to properly appreciate and play this music, an understanding of the system is necessary.
I feel that this tutorial is different in that I try to bring the student to an understanding of the musical style, not so he can imitate the recordings provided, but so that he can go o to interpret new tunes and form his own style and repertoire. Where I feel many other tutorials miss out is that they provide repertoire, and descriptions of ornamentation, but very little explanation of how it all goes together. I try to examine the logic behind the music, so the student can feel confident in his understanding of the style, and confident enough to make his own choices in style or interpretation.
If I am in my 60s, do you think it is too late to master the instrument?
It depends what you mean by “master” – at 37, I’ve been playing the whistle almost 30 years and don’t feel I’ve mastered it yet; however the journey to where I am today has been immensely rewarding and gratifying. At sixty, it’s definitely not too late to start, and it’s not too late to take pleasure in playing this wonderful music. I prefer to look at the learning of an instrument as a journey, rather than a destination…
Video of the day: Beginner Bodhrán: FREE Lesson No.1 of 2 from OAIM.ie with Brian Fleming
It is nice to be enlightened from various sources. Even though you are not going to be a serious musician, looking at these tutorials can enhance your appreciation of the music. I think that knowledge and esthetics go together. You can’t enjoy something you don’t understand right?
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Today in pictures: The Stride Set
Meabh O’Hare (fiddle) Jani Lang (fiddle) Patricia Clark (fiddle) Michael McCague (bouzouki) Josie Harrington (guitar/vocals) Kevin Jones (drums)
An undated handout image provided by Christine Green Authors’ Agent in London, Irish novelist and playwright Maeve Binchy passed away after a short illness at the age of 72 on 30 July 2012. Photo credit: EPA/Liam White
Her book Circle of Friends introduced everyone to Ireland in the 50s. I like the fluidity of her prose. She can be subtle but also funny. Books like Tara Road, The Lilac Bus, The Glass Lake among others, stayed with me and I can still remember how the characters are. I think all Irish people have the gift whither it is musical, visual or literary. Their passion speaks in volumes and it can me be contagious. She will always stay in our hearts.
Celtic Music Fan 