My new solo record is out! A New Shade of Green is across the board, truly. Think traditional Irish music + Foo Fighters + Genesis + Incubus + Iron Maiden + a dash of Bill Withers. Yep, all over the place, but it all comes together in this project and manages to make sense. The goal was to make a record that was still “one of my records,” but pose some big challenges along the way. I hope you dig it as much as I do. -Brian
Brian FITZY Fitzgerald is a wonder. He does both- playing a challenging instrument and also singing tunes that require vocal acrobats. He also does remix tweaking and manning the gears in a recording studio. People react to his playing with amazement. It is a music that has that haunting quality to be pop yet groovy enough to make it accessible to fans of Hip Hop and Jazz. The free-spirited energy of his music is reflected in his stage persona.
I really enjoyed this interview with Brian. It’s one of those rare moments that I let an artist decide what font color to choose in the article layout.
A New Shade of Green is a combination of traditional Irish sounds and urban funk. What are you trying to accomplish musically by releasing this recording?
My goal is always to try to do something different, and I really enjoy the concept of ‘mash-ups’ — as long as they make sense. The idea of “make it your own” was instilled in me at a pretty young age, so that’s what I set out to do.
Have you met musicians who are into Celtic music around PA?
Actually, a tremendous number. I spent the better part of a year touring in the US, and overseas to Ireland, with a band called Ceann. At many of the festivals we played, I heard quite a few groups blend in progressive rock and hip hop elements. Music, art…culture; a total melting pot.
Why the electric violin?
I hear that one a lot; usually preceded by “what is that thing,” haha. My background and formal training is of course centered on the traditional acoustic violin, but I started experimenting with pickups early on. The further I went, the more I realized the technical limitations of that setup, like feedback, and made the switch. I still perform and record with an acoustic violin often, but the majority of the time I stick with the electric. Just a lot more control over what ultimately reaches the ears of the audience.
The song writing process, I want to know how you create each song.
It’s always different for me. Sometimes I’ll start with lyrics or the head (the recognizable main melody) and construct around that, then go back in with a knife, rearrange all of it and re-record everything. Perhaps more often than that, I’ll start with a rhythm section groove and build upwards. Groove and feel is everything to me. I prefer density to sparsity in a mix, when it’s warranted, so I usually reach a point where I listen and think about what’s “missing.” As a multi-instrumentalist, I’m able to plug most things in on my own, be it a Fender Rhodes, Hammond B4, a 20-piece string section, or horn stabs. I love the writing process, and the production work that’s entwined is just icing on the cake for me.
Are you a night person or a day person.
Night, all the way. I perform mainly at night, so my day doesn’t end until around 5am. “Morning” starts around 12 noon. Doing 280+ dates a year forces that I stay nocturnal, but it’s useful when I’m not performing as well. The better part of my “day” can be spent working with little interruption while the rest of the world sleeps.
Note your greatest musical influences.
I credit Jean-Luc Ponty and Philly jazz violin legend John Blake for planting the bug to “get out of the box.” I got to sit in with Blake’s quartet in front of my school only a year after I started violin, around 9 years old. That was a huge defining moment. My mother played Ponty for me starting at a very early age, way before I started violin. I got a healthy education of George Benson, Yes, The Police, Al Jarreau, Genesis, EWF, Huey Lewis etc. from them, too. As a teenager I got heavy into Rage Against The Machine, Led Zep, Foo Fighters.. I have an equal love of raw rock, huge production with horn sections, and thick 13 chords.
Engineer,producer and musician. How do you reconcile these facets and how is it like being 1, 2 and 3?
Usually very frustrating, haha. It’s been a real learning experience to learn to step back from what I’m doing and axe something I love if it doesn’t really work. Another really big problem is my obsessive perfectionism. I have a hard time knowing when to say “it’s done.” I’ve done 100 takes of the same bar before, all of them solid and usable, but couldn’t stop going back in. On REDEFINITION and New Shade, I set somewhat ridiculous time constraints to force completion. REDEF’ was written, recorded, and out of post production in 36 hours over 3 days. A New Shade of Green was about a week from start to finish. I function better under pressure, but if I can bring in another pair of ears I can alleviate a lot of the stress that goes with that pressure.
Weirdest/funniest experience on the road.
Played a 2-night run in Virginia a couple summers back shortly after stink bugs infested the state. We had to use wet/dry vacs to suck them off the walls..by the hundreds. It was like an indoor camping trip. I’m sure there have been other times to top the oddness of that one, but man..
I also did a gig opening up for Snoop Dogg. Literally 30 seconds before he’s supposed to be on stage, the backstage loading doors of the venue open and he comes jettin through. There’s a dude standing there off to the side holding his mic..he had been there for a while. Snoop grabs it, runs out on stage, rocks the joint, finishes up and runs back off handing the mic back to the dude like a baton in a relay race. Right back out the door he came in and that was that. I laughed pretty hard.
Memorable experience?
Working with John Paul Jones and the Foo Fighters for a week…wow. Walking down a hallway with Stevie Wonder. People paying to see me perform. What purpose does art have without an audience? Hard to beat that!
Calan bring together the remarkable talents of 5 young musicians giving a fresh and vibrant sound to traditional Welsh music. With a contemporary and lively approach they breathe new life into the old traditions through their sparkling melodies, foot tapping tunes and spirited and energetic performances of Welsh step dancing. They blast their way through some of the old favourite reels, jigs and hornpipes with fast paced and uplifting arrangements before melting into some of the most beautiful and haunting songs. -The Calan Website.
Calan. I like the name. It possesses that pagan sound which calls to mind dragons, druids and the beauty of the Welsh mythology. It is also a term associated with Welsh feasts as in Calan Mai (1st day of May) which is the equivalent of Gaelic Beltane.
Patrick Rimes plays for this band. He has mastered the fiddle, bagpipes, pibgorn, whistle and trombone . Calan approach the Welsh traditional music scene with freshness, vigor and a fashion sense.
Like the power of the fire-breathing dragon, these guys swoop down to the scene with such intensity and hypnotic grace. I saw several videos of their performance and they always leave the audience with jaw dropping impression. Calan have joined the ranks of top Celtic players all over the world and Wales is once again at the center stage of the music scene. Like any knight haunting for the mythical dragon, I got help from their manager Huw Williams who helped me get in touch with Patrick Rimes. Now we will know Calan at this point and I am sure people who read this will want to know and listen more to this band.
Patrick Rimes – fiddle, bagpipes, pibgorn, whistle, trombone
Angharad Siân Jenkins – fiddle
Bethan Rhiannon – main vocal, accordion and step dancing
Alaw Ebrill Jones – harps
Llinos Eleri Jones – harp, triple harp
Sam Humphries – guitar
Alex Moller – percussion, drums
Promo band picture
What were the challenges faced in making a sophomore album?
It wasn’t exactly the usual affair of “2nd album syndrome” where you
have to cobble something together dead quick – Sain records were
obviously keen for us to release it sooner rather than later but we’d
had plenty of time since ‘bling’ so the majority of the tracks were a
part of the regular set.
Bling was highly successful and it received a lot of praises. Has this experience made you guys feel that it was a tough condition trying to live out to the debut’s success?
I don’t think we felt too much pressure from others – but for
ourselves we wanted to create something that demonstrated how much
we’ve developed since then. Bling came out when we were still surviving
on the cute factor to some extent, and I think it reflects that – quite
rough in places and full of fun. We’ve grown up a bit now (but not too
much!) and needed something that we could look back on in 20 years time
and hopefully not cringe too much!
The pibgorn in Wales
I describe your music as vibrant and stylishly appealing. Are you guys aware that you are contributing something fresh to the traditional scene?
It’s great to be able to take Welsh traditional music to English
festivals maybe 20 minutes drive from the border and play this stuff to
people who’ve never heard anything like it before. We’re always in
search of that ‘Welsh sound’, to which the harp contributes an awful
lot, but the tunes are really distinctive. Bizarrely, it seems that
Wales itself is the least keen appreciate its own music – people are
just so determined to listen to crap all the time.
You play different instruments with the band. One of them is the pibgorn which I find fascinating. How did you master this instrument.
The pibgorn was a 10th birthday present, which I nagged my mum into
getting for me after seeing acts like Crasdant and Pibau Bach – I
paraded it round school the next day and could only make a horrific
whining sound! As an enthusiastic member of the schools recorder
ensemble, it was only really the breath control that was a problem
(fingering patterns are almost identical), and that’s always a constant
battle. Trombone playing certainly helps, but I really wish I could
circular breathe like Crasdant’s Stephen Rees.
How smoothly did the recording of Jonah go and why the title?
Since we’d been playing most of the stuff live for about a year, some
tracks went down very easily indeed, however it wouldn’t be a proper
fortnight of recording without the panic meetings and hasty preparation
of extra numbers in the studio lounge! Me and Alex the drummer also
spent several nights sleeping in the studio, which was pretty rock ‘n
roll – comfiest place I’d recommend is Dafydd’s (the boss) office!
After we’d finished recording and listened back, the song Jonah stuck
out as one of the flagship tracks and seemed an obvious choice for an
album name. We still had a longwinded discussion over a pizza and came
up with some very naff alternatives, but I’m pleased we made the right
choice!
Dave Rooney is working on a new album called Entertainer. I own two of his albums and listening to each is always a great musical experience. He is a fine musician who is rooted in the folk and Irish tradition but never losing that pop sensibility. If you like The Waterboys, Wet Wet Wet and Luka Bloom, then I don’t see why ou won’t pick up releases from this talented artist. Here’s our little conversation:
What’s the title of the new album?
The new album is called the Entertainer. I’ve folkafied and re-recorded previous tracks and written 6 new ones for this one I’m really happy with it, sounding very contemporary Irish. All the songs are woven in to the the story line, looking forward to getting on the road. What can listeners expect from this album?
It’s pretty much a life work for me. Introspective,and a big story line based on a character I met in Temple Bar.That’s where I got the idea for the musical. So a few of the songs are about him,with all the songs based on his life.
Are you working with the same guys whom you worked with in your previous album?
Same studio, Sharon Hussey fiddle player, {this is my home} new drummer, accordion player, pipe player ,double bass player,so on…I’m going back to the acoustic more contemporary out of Ireland sound
That sounds amazing! How do you maintain your amazing singing style and how to you keep being up to your toes during tours.
A lot of people ask me that, how do you find time what with a family and all.
The singing comes naturally, simply because I gig 10-12 shows a week, So I’m singing in my sleep. With regards to tours, I love traveling, gigging in different places and I think once your doing what you love it creates and energy and a zest that gives you the ability to stay on top of it.
Thank you Dave. I will be posting this little interview soon and I hope to get a preview of at least one of the songs to let it build anticipation.
As soon as I have a mastered copy, you’ll have it.
thanks a mill Baxter!!!
Dave Rooney performs his new single ‘She’s Not Here’ Live at the Candlelight Sessions in Buskers Bar, Temple Bar, Dublin. 05/04/11
“Since we are now a band based in Germany, Scotland and Ireland, a lot of travel is involved in live gigs and it feels like a long distance relationship. So the title reflects that, but it also reflects about how we feel about the new band members. “
The history of knowing this band came from a conversation I had with my friend Tim. He gave me the link to the track called Rain. The name of the album is Long Distance Love. There’s something about the track and the title of the album that made me look for the band online and learn more. They struck a personal chord inside. I think they did the same to countless listeners out there who might have found something to connect. Be it the personal messages of the songs or the well researched s background of each track that makes you take the band seriously. A week ago, Jimmy gave me a copy of their album In Colour (their debut album) . Now I have two Cara albums. One I got from the band courtesy of band member/bodhran player Rolf Wagels. He was teaching bodhran over the weekend when he got my interview.
1. How did Cara came to be? What made you guys sit down and form a band?
Rolf: We had been friends for years, and met through sessions and festivals in Germany. We always said: We should do something together, but it took until 2003 until it happened. After Claus and Sandra had left due to family commitments, we looked for two new members. I knew Ryan Murphy from a festival in Ireland, that I attend to teach Bodhran and Cara had played a gig there as well, so the other members knew him too. So we asked him and he was delighted. Jeana we found through another band we are friends with: Beoga! It was difficult to find somebody that plays piano, a melody instrument and is a strong singer, so we are glad Beoga recommended Jeana.
2. I love the liner notes because there are song commentaries . There’s also a bit of history lesson there. Do you guys make it a point to describe the origin of each song?
Rolf: Yes, the liner notes are important to us. Every song, every tune has a story and we all like to explore the story behind it and then share it with our audience. Also in live shows, we often tell the stories behind the songs and tunes and the audience seems to like that as well.
3.The mood of the whole album is uplifting…even the saddest songs like Rain makes you smile. Are you guys into upbeat tracks or it’s a concept exclusive to Long Distance Love.
Rolf: Well, we are all upbeat people for a start, but we also like sad songs, and songs with murder and tragic. If you look at Sweet Williams Ghost, it’s all about a ghost and the tragedy behind it, and an previous recordings we had songs like “Sailor Boy” where the main character dies as well. But we are not depressive and like the craic 🙂
4.Why the title Long Distance Love?
Rolf: Since we are now a band based in Germany, Scotland and Ireland, a lot of travel is involved in live gigs and it feels like a long distance relationship. So the title reflects that, but it also reflects about how we feel about the new band members.
5. How do you gather materials for recording? Do you research and gather materials before bringing the experiences inside the recording studio or is everything random?
Rolf: Yes, everything is researched and tested before we go into the studio. We try to play a few sets live, to see how they feel, but sometimes things just happen in the studio and if we like that, we keep it. Since we are all so far away from each other, the recording time is precious and you need to be prepared. On the other hand, Juergen Treyz, our guitar player, owns the studio and he does the producing.
6. How do you guys record your songs? What’s the recording studio like, the atmosphere of the place and also the recording gear you use. I can’t help but notice the great deal of sound engineering you do in your works…there must be something there that we , your listeners would be interested knowing about.
Rolf: Juergen Treyz, our guitar player, also has his own studio, the artes recording studio. This is where it’s all happening, Juergen is a well known producer for acoustic music in Germany and he has a lot of experience. If you want to know more details about the equipment used, let me know, I will forward your email to Juergen.
7.What brought Irish/Scottish music into your life?
Rolf: Well, everybody has her/his own story. Gudrun came to the music through her brother who played Irish music, I was on a school orchestra trip to Ireland when I first got in touch with Irish music. Juergen studied guitar, and played Breton music before playing Irish music. Ryan grew up with the music in his homeland Ireland and won 7 all Ireland titles on the pipes. Jeana grew up on the Orkney Islands and studied for a BA (Hons) in Scottish Music at the prestigious Royal Scottish Academy of Music and Drama and won the BBC Radio 2 Young Folk Award 2008 with her singing partner Siobhan Miller.
8.What are the things that await the band this 2012?
Rolf: We are gathering material for a new album, but I can’t give you an exact date for a release, we are touring a lot, including gigs in Germany, Holland and Italy, and hopefully head to the States and Canada in the second half of the year.
So stay tuned 🙂
P.S. Thanks to Nancie who decided to drop the CD of Long Distance Love inside a bag of a friend as a Christmas gift…and found its way to me. The joy of sharing through music. May the long distance friendship that we share grow into a closer one through the years.
A few months ago I got acquainted with Ryan McGiver. We exchanged a little of conversation and I commented on how wonderful the album artworks are. Then I got to listen to the whole album and it literally blew me away. His music is very visual, atmospheric and beautiful. In his debut album Trouble in Mind, he is backed by seasoned Irish musicians. According the blurb:
“Ryan McGiver’s debut album, ‘Troubled in Mind’, is a Indie-folk record of imaginative musical interpretations of old Appalachian ballads. Co-produced by Shahzad Ismaily (Bonnie ‘Prince’ Billy, Marc Ribot), the collaboration results in a spiritual, often meditative music, with a haunting quality that draws from sources as diverse as Buell Kazee, Washington Phillips and Randy Newman.”
The album includes guest appearances by an all-star cast of musicians including Jolie Holland, Doug Wieselman (Martha Wainwright, Antony and the Johnsons), Susan McKeown, Cillian Vallely (Lunasa), Stephanie Coleman (Uncle Earl), Jason Sypher, Cleek Schrey, Eamon O’ Leary, Cassandra Jenkins, Nick Reeb (King Wilkie), Jefferson Hamer, Pádraig Rynne, Patrick Mangan, Clara Kennedy, Matty Mancuso, Will Orzo and Howard Arn. Two beautiful horn and string arrangements were composed by Dana Lyn as well.
I did a little interview with him . It is now out in itunes. The physical release of the album is available on amazon.
1.Your album Troubled in Mind is a sonic blanket of somber beauty and Appalachian musings.Have you already made up your mind if this is going to be on a label or are you going the indie route?
Indie all the way. I had some offers from labels, but the way the music industry is these days, I decided to try my hand at a self-release. The whole process has been, as with any debut, a great learning experience.
2. You work with big names in the traditional music scene. How did you get these guys together?
The album is a collective of many musicians I’ve worked with over the past decade: some from my native Catskills; others I played music with while living in Ireland; another I met while working in Central Virginia; but most are musicians I know from my time spent in Manhattan – many I consider to be close friends.
3. The ballads here are hypnotic. What’s the concept behind this album?
I wanted to create a sort of sonic soundscape of my mind and surroundings through the lens of traditional song. And to create a record that – in part- represents the beauty, desolation and sadness of growing up in Schoharie County, NY.
I’m drawn to music that is meditative and melancholic, whether traditional or contemporary in form. There’s something about a sad song that makes me happy. And I love music that is rich in texture, subtle layers and has lots of space. Points where you can insert your imagination and fill in the blanks. I always return to art – whether music, poetry, film – whatever it may be – that has space and allows my mind, ideas to grow.
The songs come from all over – Texas gospel, Old-time, Irish/English ballads, even a Randy Newman cover for good measure. “I Wouldn’t Mind Dying”, comes from a Washington Philips record that I got at a garage sale when I fifteen; “Farewell Dearest Nancy” comes from a Mick Haley cassette tape I wore out (who doesn’t love Moving Hearts?), “The Dying Soldier” came from a dear friend, Paul Strother, a clawhammer banjo player I labor with in the summers back home; “Tazewell Girl” was written by my uncle, Neil Driscoll – one of my big influences in music. Others songs came directly from pages in local libraries, one specifically, “I’m Troubled, I’m Troubled”, from a collection called ‘Folk Songs of the Catskills’. All have been important to me for various reasons over the years and I wanted to find interesting ways of recreating and retelling some of the more common ones.
4. You worked on the recording of this album for 13 months! A lot of effort must have been placed on each track. How was the whole experience?
While working on ‘Singing In the Dark’ with the great Irish singer, Susan McKeown, I had the opportunity to collaborate with Shahzad Ismaily – a wonderful multi-instrumentalist and composer. We became fast friends and he agreed to co-produce the album after I had been working on it for several months. Honestly, I wasn’t very familiar with his music outside of our studio sessions, but felt overwhelmingly drawn to his personality and musical contributions in a studio setting. And the way we could make each other roar with laughter! Ismaily is an extraordinary talent. And an inspiration to work with.
The album took over a year to complete, because as you could imagine, there were many schedules to coordinate. Including my own, in and out of tours. I worked on it as if I was building a stone wall: slow and steady, taking moments to reflect and breathe – often standing back to take a look at the greater whole while working. I made the album for myself, so was under no time constraints.
Celtic Music Fan 