Interview

Author Craig Weatherhill- For The Love of Cornwall(Interview)

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Me at the Men Scrifa. The mid 6th century AD inscription can be clearly seen: RIALOBRANI CVNOVALI FILI ('Royal Raven, son of Worthy/Valiant Hound'). Chun Castle (300 BC) and Chun Quoit (3,500 BC) stand on the hill on the skyline just to the right of the stone. All three sites feature in my novels 'The Lyonesse Stone' (with its recently published translation into Cornish, 'Jowal Lethesow'), and 'The Tinners' Way'. -Craig

Hopes for Cornwall – to see  it able to break free of rule from London. Decisions about Cornwall should be made from within Cornwall, by Cornish people who know their own land and its problems better than any one. Some people might think this is a “parochial” attitude but they couldn’t be more wrong. We have a global outlook. For all too long we’ve been brainwashed into this “Cornwall is too remote” way of thinking. Remote? From where?…oh, from London.  

 

I love the spontaneity of this interview with author and Cornish public figure Craig Weatherhill. He has released fiction and non fiction books about Cornwall. We have exchanged messages over the course of time about music and most of all his love for the Melloron which you will get to hear later in this interview. As part of the ongoing story about Cornwall I am glad for getting the time to talk to one of the most interesting minds of this age.

For his works you can visit the Craig Weatherhill Amazon Page  

 

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I am planning to cover Cornwall this week. I am interested in what you do in preserving and promoting Cornwall’s rich legacy.


Where do I start…..?I set out decades ago to record and survey archaeological sites, with detailed, accurate scale drawings that recorded exactly what was there to be preserved. Back in 1974 no one had ever done this. I surveyed over 300 sites before professional bodies were formed to carry on with the work.

Cornish legend and mythology was also a close study, as were place-names, right down to field names – all this linked with the archaeology as there’s direct relevance.Then, I realised that no one had written comprehensive field guides to the best sites and monuments in Cornwall and Scilly, so I wrote Belerion and Cornovia (1981 & 1985), which remained in print until well after 2000. A new version of Cornovia, combining both the earlier books, came out 3 years ago.

I tried to promote the legends, and make people more aware of them, by writing the trilogy of novels (The Lyonesse Stone, Seat of Storms and The Tinners’ Way), which incorporate many of them.
Now, I’m looking at events in Cornish history that have never been fully, or truthfully, told.

Wow this is great! Ok so concerning Cornwall’s rich history and legacy, what can you say about the film, Mists of Avalon? It’s set in Cornwall right?


I’ve never seen “Mists of Avalon”. I think I remember reading the book many years ago.
And going back to your books, for those who only heard of them now, can you expound a bit on what they’re about? (The Lyonesse Stone, Seat of Storms and The Tinners’ Way)

The trilogy involves a modern family in the worlds of ancient Cornish legend. Their direct ancestor was the sole survivor of the flood that drowned the lost land of Lyonesse, said to have linked Land’s End with the Isles of Scilly, which is “why them”.
The first is about a sorcerer from legend, the Lord of Pengersek, and his mare (a demon in horse-shape) who is after a family heirloom which can give him true immortality, as he has lived for centuries dependent upon an artificial elixir.
The second has two more villains from the past, a storm-raising witch and a rapacious lawyer. In the battle to stop their schemes, the people of the sea become involved, with tragic results, but higher beings, such as the god Lugh and the goddess Epona, also lend a hand.
The third is an allegory on what Cornwall faces today with far too much external interference, and harks on Cornwall’s war with England in 1549, and brings in some of the villains from that war, as well as Cornwall’s very own sea monster (yes – we have one!).
All set in West Cornwall & Scilly. Most locations are real ones, and the books also bring in some real historical characters in cameo roles.
Have started a novel running a modern mystery-thriller alongside the story of the Spanish raid on Mount’s Bay in 1595. To be called “The Amezola Log”.
These days, I’m semi-retired, freeing up more time to spend with the horses, writing and music. In July I finally bought a mellotron, having wanted one for decades, and this features on Cornish band Skwardya’s new song “Gras dhe Nev” (Thank Heaven), written by Matthew Clarke.It adds a mix of strings and choir behind the song.
Speaking of Matthew Clarke whom I talked to in my last article, what are the things that you are involved with in the Cornish movement. I am keeping a close look at Kernow Celtic league and every one is taking interest in Cornwall’s Celtic heritage.

I advise the Signage Panel (bilingual signs), mostly on historic names. I’m still a member of the language group Agan Tavas. I’m also active with Save Penwith Moors against the desecration of our ancient landscape by the quangoes Natural “England” and “English” Heritage. I continue to research and write about Cornwall and its heritage.
I know you are passionate about your mellotron. Tell me more about this instrument. How did you fall for this one?

I could never afford a mellotron in the past. They were hugely expensive and hefty with it. The Mark II used by the Moody Blues weighed 350lbs, and the single manual M400 was still 150lbs. Then, last year, the Mellotron company developed the first digital model by sampling all 100 sound choices from the original mellotron tape archive, so the sounds are identical to the big analogue models, even to the 8-second note limit. This looks like the top section of an M400 but weighs only 33lbs.

Can you give me a good link for a video of a mellotron video of yours on youtube ?

Google ‘youtube cweatherhills channel’, and you’ll find one of me playing mine.
At this point , how is Cornwall doing in terms of Literature, Music and Economy?

"Just to show that I can relax now and again. 12-bar auto-harp"-Craig

"Just to show that I can relax now and again. 12-bar auto-harp"-Craig


> Literature. Cornwall is doing well, with writers like Alan Kent in particular. One great development is the production of translations of novels into Cornish (e.g. my The Lyonesse Stone > Jowal Lethesow), or bilingually published (Alan Kents’ The Cult of Relics/Devocyon dhe Greryow. Nor is Cornwall short of poets.
Music – Again, Cornwall is vibrant with music, with any number of groups (Skwardya, Hanterhir, Bagas Degol etc.), solo artists (e.g. Sue Aston, violinist), dance groups, choirs, and the available styles cover a broad spectrum, too.
Economy – Not well at all. The lowest incomes and the highest domestic overheads in the UK. For decades, London has taken around £300 million p.a. more from Cornwall than it gives back. Young Cornish people can’t afford to buy houses in their own land as 2nd homes have artificially inflated house privcs overall, and rents are extortionate. Cornish schoolkids get a fraction of central Govt. grants per annum than their counterparts in the Home Counties. Unemployment is high, and yet big firms and corporations (incl. Cornwall Council) prefer to recruit from outside Cornwall.

Are you currently involved in the music scene and festivals around?


As yet, I don’t perform music to live audiences, preferring to compose and play on my own (much as I write). However, if I improve and get more confident, live performances might yet happen.
I am interested in the Agan Tavas movement. Can you expound on this too?

Agan Tavas (“Our Language”) – a Cornish language society founded about 25 years ago, and with an emphais on the traditional language rather than very modern reconstructed versions). It researches, publishes, holds events, and social gatherings called Yeth an Weryn (language of the people). I was Chairman for 4 years before handing over to the current Chairman, Ray Chubb.
What are your hopes for your nation and what can we all do to make it come true?

Hopes for Cornwall – to see it able to break free of rule from London. Decisions about Cornwall should be made from within Cornwall, by Cornish people who know their own land and its problems better than any one. Some people might think this is a “parochial” attitude but they couldn’t be more wrong. We have a global outlook. For all too long we’ve been brainwashed into this “Cornwall is too remote” way of thinking. Remote? From where?…oh, from London. Who needs London? When you look at our geographical position, we’re perfectly placed for direct global trading. Far better placed than London is. Perhaps, with autonomy, Cornwall and the other Celtic nations could form a loose federation that allows each their independence, but also allows for solidarity when the need arises. Much as Europe was supposed to be but, hopefully, we’ll learn from the reasons why Europe never achieved that.
What can we do to make it happen? – Cut loose from the mainstream political parties who have serially failed us all, and get behind the pro-Celtic ones. In Cornwall, that means Mebyon Kernow which has just won a landslide by-election in one of Cornwall’s largest wards (geographically). In turn, MK has to be ready to develop and embrace some really high hopes but, with increasing public support, that will come. Plaid Cymru and the SNP both grew from very humble, and oft-ridiculed beginnings: now look at them! MK can do likewise.

I see a lot of things happening and right now. I am looking at Campaign Kernow and the commonwealth games. There are great talents from all around . If we talk about music can you point me to the right direction(for people who are seriously in need of music that represents Cornwall). For example.. this is a good one right?

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http://www.kesson.com/index.php
Kesson – Cornish Music Portal
www.kesson.com

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Looking at their list of artists, I’d say that’s a great place to start. Matthew Clarke (Skwardya), Philip Knight and Sue Aston are also FB friends. A further, amazing musician is Medwyn Goodall, a composer and multi-instrumentlist who has produced a couple of dozen albums. You can find him and Sue on YouTube. Phil just sent a link for his new album – I’ll share it to you.

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Oh yes! I am a fan of his music(Medwyn Goodall). And of course those people you mentioned. Can I see Phil’s link?

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Years ago (1991), my first novel was also the first to be promoted by a film trailer. We needed the right music for it, so I asked Medwyn if I could use ‘Nine Maidens’ from his Druid album. He laughed and said that the piece had been inspired by my book ‘Belerion’! How about that for full circle?
The equally admiring society You and Medwyn.I am listening to Philip Knight’s youtube sampler.This is amazing because this is in Cornish Terrific voice too.

Yes, he’s a fine singer. He only put that link up last night!
Whenever I see Justin Hayward (Moody Blues), who has a place at Lelant, he says: “Any more books?”, and I answer with: “Any more records?” (He’s another mad horseman, so you can see how we met up).

I love Moody Blues( I might sound like a phony but the artists you mentioned are familiar to me)…wow Phil’s music really makes me smile. So much variety to it. These and other artists we discussed will be linked to the interview .

It seems that we have a terrific music scene in Cornwall these days.

Where can readers find your books? Electronic copies?
Most of my books can be found on Amazon. Just put my name into the search box and they should appear. I don’t think there are any electronic copies. Just disappearing to search YouTube for that(Mellotron ) link. Back soon.Found it and shared it.
Ok, loading…Glorious!
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You even get a couple of shots of what’s going on inside the ‘tron.

Wow…a lot to be learned from this instrument..
.. those are tape strips.. analogue sound extravaganza!

I’m still learning what mine’s capable of doing after 4 months with it. Yes – the analogue originals literally put heads on tapes when you pressed the keys, so the violins, flutes, choirs etc are the real thing, not an electronic imitation but, because the ‘tron’s a machine, it lends something of its own, hence the ethereal quality of the sounds. My digital M4000D is 24-bit sampled from the original mellotron tape archive.
That guy really took the cake with his demonstration.
You should upload a video of your playing when you are already confident .

I’ve got one. Want it? Sure!OK – one of my own (Drehafva’n Loor (Moonrise), and a Yes song.The word sounds and looks beautiful in CornishSent those two plus a demo of 16 violins and custom choir.======================================================
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The music has that impressionistic feel. Goosebumps! this is amazing stuff. You play so well.

Still a self-taught learner with a long way to go. But this amazing instrument will help that along.
I listened to all three(the others were uploaded in facebook so they can’t be embedded here) and I can say it has a powerful way of setting the mood I feel like I have just eaten a lot of chocolate hahahaha. Do you have a youtube version of these videos? I am afraid wordpress might have a hard time embedding them if they are not from youtube.
I’ve only put Drehafva’n Loor on YouTube. If you search youtube cweatherhill’s channel, you’ll find it there.
Ok great! Now I am writing another article about Cornwall and this is prior to your interview , which will be within this week.I will send you the draft for final approval before publishing it.
Fantastic – look forward to seeing it!
Thanks and take care. Enjoy the rest of the day over there.

Many thanks. Enjoy your day, too (although I expect it’s about bed time there – I’m downing my morning mug of coffee here. It helps to get my heart started).
It is only 3pm here. around 6 to 7 hour difference between us.
Less than I thought.

Yeah. And I know that Cornwall is considered as the land of light.

It’s 0745 here, just getting light (being winter). Very mild for the time of year, though. I was driving around yesterday with my car windows wide open!We’d expect around 8 or 9C around now (in fact, the last 2 Novembers were way colder than that). It’s actually around 14 or 15C and it was all sun yesterday after a stormy night.
I see. That’s really cold for our standards (in the tropics) of normal temperature. But I like the cold.
On the moors

On the moors


Doesn’t often get above 24C here even in summer. We have sea on 3 and a hal sides of us, and the warm Gulf Stream current to help out. We’re about level with Newfoundland, which is probably frozen solid by now – but they (and New York to the south) are stuck with the cold Labrador current.
Interesting how geography can really bring out the best in a place and the people there. 
Looks like another sunny day today but tomorrow we have one of our Atlantic storms brewing up. 70mph winds.
Well better keep yourself warm over there. here it is rainy as well. the first today in weeks.
Batten down the hatches for tomorrow. Anything I need to go out for, I’d better do it today. Talk again soon.
Ok. Blessed be.

Ha benegys re bo dhis ynwedh.
Slainte!

Robert Doyle: Life in Shadows Takes the Light (Interview)

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I made the decision to not use any other instrumentation at the beginning. There is a sound you can only get when you play solo and this is what I was after. In the past, especially when I worked as an electronic music producer, I was using arrangements full of different layers with various instruments but for this album I wanted to work with only guitar and voice.

Robert Doyle’s guitar takes a bigger shape in “Life in Shadows’ making it seems like you are inside its body. You can feel this when you listen using headsets. This recording is able to capture every nuance in the tracks making it an intimate and almost a spiritual experience. His mellow voice is the perfect partner to his solo guitar – spare,  minimalist approach-no other instruments, just the two. The cover also expresses that simplicity being black and white, uncluttered by other designs. Taking this recording home is like taking a friend with you for a quiet night over coffee talking about life’s realizations and woes.

I suggest you listen to this in different situations and settings until you find that atmosphere that works. I found mine in the workplace during break at 5 AM(since I work at night) with hushed voices and a big table in front. Next time I will bring this recording while riding home or by the beach. I might get another ‘flavour’ out of it. In the bedroom all alone, I find it speaking to me in ways I have never known before. Every recording takes a different character depending on the situations you are exposed to while listening to it.

Life in Shadows is elegance and honesty in one. Robert’s way of playing is getting  to be addictive.He adds depth to his vocals. He has a way of expression, going from a breathy crooning state one moment to a passionate rendition but never losing that nice warm baritone.  Here he opens up to CMF about this albums and all things musical.

For the complete information on the album tracks, please see this link: http://www.robertdoyle.net/album.html

How long did it take you to record Life in Shadows?

The album was recorded over seven months. There were five recording sessions in JMR Studios and three in the D1 Recordings studio here in Dublin. The sessions were usually quite short, around four hours each, and I spent about a month getting ready for each of them. I worked with an engineer on the sessions in JMR and recorded the D1 sessions myself. In general I prefer to work with an engineer but for some of the sessions I wanted to work alone.
The album was mixed and mastered over two days in Suite Studios and Summit Studios in Dublin

I love how this record combines spare arrangement, good acoustics and a balanced emphasis on vocal and instrumental music. One can simply close his eyes and imagine you playing in this white room because of its amazing clarity.Was this intentional?

Before starting to record I did spend a lot of time deciding on the recording techniques that would be used. This was my first time recording with the Frank Tate guitar which I’ve been playing for two years now. I wanted to try to capture the unique acoustics of that instrument in so far as possible. Also, since recording the Trasna na Slí EP in 2008 I’ve been working on my voice and hopefully that lends to the clarity on the album too.
I made the decision to not use any other instrumentation at the beginning. There is a sound you can only get when you play solo and this is what I was after. In the past, especially when I worked as an electronic music producer, I was using arrangements full of different layers with various instruments but for this album I wanted to work with only guitar and voice.

    Fingerstyle guitar, others have played it but you gave it a name and recognition in this release. Tell me more about you French-Algerian teacher Pierre Bensusan.

Fingerstyle is a very general definition for an approach to playing the guitar. There are many variations to the style but broadly speaking it is a mix of classical and flamenco technique. I’ve been influenced by many fingerstyle players over the years – Robert Johnson, James Taylor, Djelimady Tounkara and many more. Pierre Bensusan is one of the all time greatest exponents of the style and he has pushed steel-string acoustic fingerstyle guitar further musically than anyone else in the last thirty years. I’ve been lucky enough to spend time as a student of his and also worked as road manager for two of his recent Irish tours.
I think it is important though to not get too caught up in the style of guitar playing. Hopefully it’s the music which people will be listening for.

 This album has been getting good reviews from all around. I believe that music and the how the album has been artfully crafted go hand in hand.I see this combination in Life in Shadows. We can give credit to your being a music producer in the past. What have you learned so far in terms of music production? Can you give us a glimpse to this world that is seldom seen but is the biggest influence in how music is made?

When I was producing music in the past I was working solely with electronic sounds and making dancefloor records. A lot of what I learnt then wasn’t transferable to working with this style of music and I reluctantly took on the role of producer on this album.
As a producer you need to be able to stand back and listen to the music very objectively. When you’re writing, arranging and performing the music you become very close to it and it can be difficult to get that objective viewpoint from yourself. Of course if you’re a musical genius like Stevie Wonder then you can do everything yourself! For me it was more difficult.

What is the process of creating music? Do you get inspired by a particular season…the time of the day? Or the muse just comes unexpectedly?

The inspiration is from everywhere and is always there. After the initial idea the process of writing and arranging can be long and drawn out and often you might end up with something completely different to what you started with. That is definitely true for some of the music on this album. I had been working on some of it for years and then other pieces came together over a few days. The arrangements are continually changing and some of what I recorded on the album I’ve already changed.

What’s your next goal musically?

There is some music I was working on that I didn’t get finished. This was partly because I ran out of time and then also because my technique wasn’t good enough to play some of the arrangements I had written. So I have to spend some time working on technique so I’ll be ready to play this music.
I’m also looking to start work on the writing and arranging for the second album. I know this will take a long time, probably two or three years, but I’m looking forward to getting into it.

 How do you see yourself 10 years from now?

I want to still be playing the music!

 What’s on your tour schedule before this year ends?
The next concerts will be in Scotland next Spring and then hopefully there’ll be some European shows next summer. All the dates will be announced soon on www.robertdoyle.net.

 Looking back, tell me about that moment where you had this epiphany that music’s gonna be a big part of your life?
There wasn’t one moment. When I was very young there was always music being played in my house and especially a lot of reggae. Bands like Steel Pulse, Black Uhuru and of course Bob Marley & The Wailers. Hearing this music made me want to get involved and I started to play guitar when I was about 8 or 9 years old. I kept going and have never wanted to stop since.

 Are there artists you wish to collaborate in future projects? And who are they?
There are traditional and jazz players here in Dublin that I want to begin to work with. Hopefully some of these collaborations will make it on to the next album.

 Last: message to your listeners and how are they going to get their copies of Life in Shadows?
The CD is being distributed by Claddagh Records and is available on their website and from shops all over Ireland. The album is also available to download from iTunes, Amazon and eMusic. I want to thank everyone out there who has been supporting me and this music and hopefully they’ll be able to come to see one of the next shows.

Lantern Centre, Dublin

Lantern Centre, Dublin

Orlaith McAuliffe’s Lightning Fingers(Interview)

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I have no idea where I’ll be 10 years from now! But I hope that I’ll be successful in both my music and in my medical career! I’d love to release some of my music one day and maybe even form a band! I also love the idea of working with children… so maybe pediatrics is the way forward!!! Wherever I am, I know I’ll be taking the trad with me!

The Irish traditional music scene is bursting with young talents.  Because of cultural expansion brought about by the Internet-and also aggressive promotions by record labels, Celtic music in general has  minions of  followers ready to break the barriers that pop and rock have put up. Thus there is this big new world out there, where traditional music is a thriving market with its own torch bearer’s the so- called ‘rock stars’ of traditional Irish music.

I first learned about  Orlaith McAuliffe’s awesome talent when I saw her playing the Hammy Hamilton keyless ‘D’ flute. I was like wow this nineteen-year-old musician has fast fingers and strong lungs! How does she do it? So I perused the web a bit and stumbled upon  trad forum and she’s being discussed at great lengths. She’s definitely making waves. Anyone who is involved in the traditional scene has probably heard her name. How can you not? She has won competitions all over UK and Ireland. She’s one of the in-demand artists in live shows. Orlaith has carved a name upon herself way before a solo album is to be cut. Let’s find out more in this interview. She has proven to be great to talk to and also sweet. Just look at those adorable pups!This one took place when she got back to London after attending  the musical events in Ireland and winning!

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Orlaith McAuliffe playing The Mason’s Apron at Haringey Irish Centre as part of the 2010 Echoes of Erin tour organised by Comhaltas Ceoloiri Eireann.

Filmed for Comhaltas by James McDonald http://www.shanakee.org

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Hi Órlaith, how are you doing today?

I’m very well today thanks! Still a little tired from all the travelling the last couple of days, but I’m resting up now!

How does it feel to win first place in the recent competition

I’m still in shock! I was competing against brilliant players from all over Ireland, Britain, America and Japan! All the competitors who make it through to the All Ireland Fleadhs are fantastic musicians, so I feel very lucky and very happy to have been picked as the winner this time!

Tell us about your current project(s)

I’ve been away in Ireland for the last month attending brilliant Trad festivals, workshops and playing in sessions! In London I play sessions around North London and enjoy doing gigs with members of the group “Ceili Max”. At the moment I’m also preparing to start University. I’ll be studying Medicine at Imperial College London. It’s a long and challenging course but I’m looking forward to it!

Amazing! Trad music and medicine! And I saw a video of you playing at a break neck speed in TradConnect and that’s when I found out about your amazing talent. Do you get to perform now with a lot of invites?

I am invited to play regularly at sessions and at gigs around London and I really enjoy doing them! I am also invited to perform at concerts and festivals throughout the year. Most recently I performed at the Main Concert at the James Morrison Festival, held in Riverstown in Co. Sligo every summer. It’s a fantastic festival and I’ve been attending it for the past six or seven years! Tomorrow, I have been invited to play as part of a Ceili Group at the Crawley Irish Festival, alongside some other brilliant players which I’m really looking forward to!

Paddy Gavin, Shauna Cullen, Conal Mccormack and Órlaith McAuliffe.

Paddy Gavin, Shauna Cullen, Conal Mccormack and Órlaith McAuliffe.

Please,tell us about your musical training as a child. Who encouraged you to get into music specifically the flute.

My mum grew up in Killarney in Co. Kerry and learnt to play the Tin Whistle and Button Accordian with renowned teachers Nicky and Anne McAuliffe (of no relation to me!!!). She started me off on the Tin Whistle when I was 7 years old and I fell in love with the music myself listening to the wonderful Irish Trad CDs my mum had playing around the kitchen – particularly the playing of Mary Bergin springs to mind! I then joined a local Comhaltas class and began learning tunes there under the guidance of box player Joe Searson. A year or so later, I was at an All Ireland Fleadh in Listowel having qualified on the Whistle, and I came across the Flute for the first time. I picked one up and tried it – and that was it! I wanted a Flute! A couple of months later a present arrived for me from my aunt Siobhan who lives in Macroom, Co. Cork – it was my first flute, a keyless Hammy Hamilton flute. I loved it instantly and I was fortunate that I found no trouble in blowing it! I began transferring tunes I was learning on the Tin Whistle and with the help of new albums, particularly of Matt Molloy, Kevin Crawford, Seamus Tansey, Sean Ryan and Carmel Gunning, I began to teach myself the flute! Later on when I was 11 years old I joined Sinead Linane’s music classes (fiddle player, sister of Maureen Linane from the London Lasses group) and continued to pick up tunes there and at sessions across London. I joined Sinead and her Family regularly at the Sunday Night Session in The Auld Triangle in Islington and also spent many Sundays and Wednesday nights joining in the Mick Banjo O Connor and Mick Bailey sessions soaking up the pure trad!!! Now I am still teaching myself tunes and developing my own style of playing, but I attend different festivals, workshops and summer schools throughout the year across Ireland and England, to pick up tips from some of the greatest players around and to meet new friends with similar interests and involved in the trad scene!

 How do you see yourself 10 years from now?

I have no idea where I’ll be 10 years from now! But I hope that I’ll be successful in both my music and in my medical career! I’d love to release some of my music one day and maybe even form a band! I also love the idea of working with children… so maybe pediatrics is the way forward!!! Wherever I am, I know I’ll be taking the trad with me!

During your experience onstage. What’s the best advice you can give to people who are just starting and want to join competitions? And also performing in concerts?

I think the best advice I could give to anyone starting out in competitions or in stage performances, would be to enjoy what your playing and chose tunes you are confident with! I’m a nervous wreck when I’m about to perform on stage or take part in competition – but I think a little bit of nerves can be a good thing! It shows you care about what you’re playing and you want to get it right. Just get up there feeling confident and happy and enjoy the music you’re playing – that’s all that counts at the end of it all!

recorded live at Studio Slim on 13.07.11 with Colman Connolly on uilleann pipes, and Orlaith McAuliffe on whistle.

How is the Trad scene in London nowadays? I am sure the Brits do love the Irish homegrown style.And please tell us more about ‘ Ceili Max’, your group.

It’s brilliant – that’s why I’m not worried about losing touch with the Irish Trad scene once I start University here! There are a variety of great sessions held all across London each week and there are concerts and workshops taking place all the time too. The Return to Camden Town Festival is also a highlight of my year taking place in October each year, in the Irish Centre in Camden. They provide a fantastic selection of concerts and workshops – open to all players and lovers of Trad. ‘Ceili Max’ was set up a couple of years ago – all the musicians and dancers involved are extremely talented and I really enjoy performing with them! Any information on the group can be found on our website: http://www.ceilimax.com/
Céilí Max – London’s All-Star Ceili Band – Home
www.ceilimax.com
This ceili band is the most popular ceili band in England, based in the heart of London and offering superb music for all occassions.
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We would love to get a recording from you. So what is your message to lovers of traditional Irish music around the world?

Haha! That’s a tough question…. I hope all Trad lovers out there, like myself, will continue to enjoy and get in involved with the Trad scene. Music is a great unifier and if we all continue to spread our love of Traditional Irish Music, Song and Dance and pass on the tradition to future generations, we should keep it alive and kicking- all over the world! I love being involved in Irish music – playing, listening and meeting new friends at sessions and events all over the world. It’s a very, very small world within the Trad scene, and I love how connected everyone is within it! It’s like a Trad Family.

Dylan Cleghorn :”We’ve labeled ourselves as TEXAS CELTIC ROCK”(Interview)

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Working with my dad is a great experience. I learn something from him every day. He is an amazing songwriter and an incredible guitar player. And we really have an uncanny ability to sit down together and make music! -Dylan Cleghorn

CLEGHORN are a Texas-based Celtic Rock duo. They combine stadium rock with blues and folk influences laced with a strong Celtic brew. 23-year-old violinist Dylan Cleghorn explains the music, life on the road with dad and the state of Celtic music in the United States.

Listening to CLEGHORN is like experiencing the power of  storm dust rising with hundreds of horses racing above it. It’s an immense sonic invasion-the pulsing sound of rock driven Celtic music. The robust and pristine sound of Dylan Cleghorn’s violin is wrapped up by pop rock’s heavy sound that approaches anthemic intensity. John Cleghorn on the other hand adds his own guitar rifts, and golden melodies- a man who knows what Texas rock is.

It should be noted that both of them have come  long way since the days they spent being part of the band Needfire. It was those days when they stirred up festivals with their own brand of Celtic rock. Dylan has been noted as a Charismatic performer who even went as far as going down the stage to play with the crowd during concerts. He is a natural crowd pleaser.

Now they are back with CLEGHORN sounding better and know what they want and how they want the musical direction to be. This is a new frontier and Dylan gets to talk to us to tell us more of what’s in store .

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We have a sneak preview that is available for download .These songs are part of your upcoming CD. Tell us about the changes that happened musically for both you after Needfire.

The Needfire project was a great experiment that helped us grow in many ways – Both as songwriters and performers. And we haven’t abandoned those songs – we still include them in our current shows. But with this growth, CLEGHORN has a more refined sound. We are able to work harder and faster as a result of all we learned and we are having even more fun in the process. And personally, I think we are having more creativity now than we’ve ever had!

You and your dad are good in creating catchy Celtic influenced rock songs. How is the song writing process?

What a difficult question! We each write songs on our own, however the majority of the songs we are including with CLEGHORN have parts written from both of us. The songwriting process generally starts with my dad bringing words and a melody to me and asking me, “What kind of fiddle part would you play with this?” However, many times I also bring a fiddle riff or a song to him and say, “Dad, listen to this! What can you add to this?” There is no single process, but we certainly work as a team!

9 minutes of Woo, the first track is actually 9 minutes of bliss! What made you decide to creat this 9-minute symphonic instrumental?

Almost immediately after my dad and I arranged this piece we knew it was special. 9 Minutes of Woo had its origins in late 2005 and 2006. It’s a great story. The two of us were sitting on the couch watching Monday Night Football. My dad picked up a guitar and was fooling around with a few chords when he asked me to grab my fiddle. We soon muted the TV as magic was in the room. All of the ideas we had been working suddenly seemed to flow together perfectly! The CLEGHORN recording is the same arrangement and music/chord structure from that night. 9 Minutes of Woo is about 50/50 traditional Celtic melodies and original melodies written by myself. The guitar music and chord structure is 100% original by my dad.

Tell me about your instrumental influences. Your playing is like no other. It is rich, pristine and soaring. Tell us about the secret of your style..

I can credit my violin influences to two people.

The first is Joshua Bell. He is a modern classical violinist. Before I played violin, I played viola in the High School Orchestra. Around this time I stumbled upon Joshua Bell’s PBS special “Live from Lincoln Center..” This was my first vision of how the violin (or perhaps, the violinist) can demand attention though his performance.

In the first few months that I started playing fiddle and Celtic music, I was given Ashley MacIsaac’s CD “Hi How are You Today?” This CD changed me completely. It opened my eyes as to how the fiddle (or perhaps, the fiddler) can rock while still maintaining it’s great tone and orchestral qualities. My fiddle style and recording process is greatly influenced by Ashley. I’ve actually had the pleasure of meeting him since, and we exchanged emails from time to time – which is a great honor for me!

I wouldn’t know how to describe it, but I feel that I’ve been able to mold my own distinct style and sound. And my original tunes seem to naturally create a unique sound by themselves. But I would not be where I am today without these two influences.

How is it like working with your father who is also your band mate?

Working with my dad is a great experience. I learn something from him every day. He is an amazing songwriter and an incredible guitar player. And we really have an uncanny ability to sit down together and make music! We played a show today and I thought to myself, “What a great blessing it is to share the stage with my dad.” When we’re on stage together everything ‘clicks’ and we both are able to let loose and have fun. Our fans respond to that and let loose with us! It’s a blast, and I think this is one of the hallmarks of CLEGHORN.

Tell us what to expect on the new CD you are both working on

We’ve labeled ourselves as TEXAS CELTIC ROCK. We have an undeniable Celtic influence. But we are also a Texas band, and with that comes an unavoidable blues and Texas country rock feel. From traditional to original, acoustic to rock, we do it all. The new CLEGHORN CD will highlight all of these influences.

What is the state of Celtic music in the United States?

The Celtic music scene is still somewhat ‘underground’ in the United States. But its presence is growing! Hopefully CLEGHORN will be a catalyst in its growth and success.

What’s the best thing about performing live/recording an album.

The two are very different. Performing live is all about having fun. We are fortunate to have a great band that supports our live shows. We rehearse to be prepared for each show. Music is our passion and when we are on stage, performing our arrangements and original songs, there is perhaps no greater feeling. Of course, without an audience there is little purpose to play live. We seek to create an intimate feel with the audience regardless of the venue. This creates an emotion that is enjoyed by all.

The studio is where we really open ourselves to creativity. Many times we will have a song all worked up before going into the studio. But sometimes we walk into the studio and let inspiration lead us. We have our instruments in our hands and we never know what product we will have at the end of the day. We’ve surprised ourselves many times with the results of our studio sessions! Recording the new CLEGHORN CD has been especially rewarding because my dad and I are the only two musicians on the recordings (the two of us performed every instrument). It has been a great opportunity to grow as multi-instrumentalists.

A friend who lives in Lyon France introduced me to your band’s link! Your fan base is growing really fast. Do you plan touring outside the United States?

CLEGHORN is a new project. We have been amazed at the quick success that we are having. We are hopeful to have many U.S. tour dates on the calendar soon. We are certainly open to perform international tours as we establish ourselves and continue to grow. We urge everyone who is a CLEGHORN fan to spread the word to friends and family. If you would like CLEGHORN to perform at a festival or event near where you live, please be vocal and contact that event’s staff! You may also send the event website and details to our booking team (booking@cleghornmusic.com) and they will look into negotiating the event!

Irish Singer Jenny Mulvey Talks About Life, Music and The Pirate Queen Grace O’ Malley!

/ mrbaxteria2008 / 10 Comments

mulveycd01Happy weekend everyone! I have another special guest today.  Her name is Jenny Mulvey and she is making rounds in the local music scene in Ireland. I met Jenny through an Irish network and from there we started exchanging little messages. Her music captivated my attention and I wrote a brief review in this blog.  I decided to go one step further by asking her questions. This correspondence giving her questions and then writing a follow up based on the initial response. Let’s hear it from this wonderful original voice.

 

How did you become a singer?

Well I suppose I was born a singer and I don’t mean that to be facetious, but like many babies I was always interested in sound. When I was little my brother’s who were closest in age to me used to ask me to shut-up especially as I might be inclined to try out a sound (a noise as far as they were concerned) in the middle of the night or very early in the morning just after I woke up.

Singing was very much part of my school life and I was involved in choirs all throughout my young life. There were lots of good singers in my school and while I was noted as having a good voice, there were many of us.

I have only started singing professionally in the last year. I had always dreamed about it but my energies went elsewhere – education, profession etc. This time two years ago, I set about making a 3 track demo and a year and half later I have a full album. I released the album in January and it is my way of spreading my name.

 

What instruments do you play other than singing?

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I play lots of instruments very poorly. When I was young I was in a marching band. I started on the recorder and after a short spell on the piano accordion, I graduated to trumpet.

As an adult, I took piano lessons at the same time as developing and directing a céilí band as a primary school teacher. So my repertoire on piano is confined to the tunes and songs that children learn.

 

How did you come up with the stories behind the songs? What’s the inspiration?

 

My songs are folk songs and they are songs that I have been listening to for many years. The Lullaby of London is a song written by Shane McGowan. All other songs on my CD Suirí are songs that have been sung for centuries in Ireland, England and Scotland. I am attracted to these songs often because of the tune, perhaps the story but most importantly the ‘movement’ of the song. This is something that usually relates to the singer so often it was because I heard someone somewhere sing it in a way that made me look it up and listen again. I really enjoy listening to songs sung in a variety of ways.

Ireland is a country rich in art, literature and music. What do you think you do in your own way to spread that Irish identity? l_b13dfeb977b7494cad6005eb1b25809c

Well, I think that developing an identity is a two way process. By hearing of other cultures and learning from them it gives you a greater interest in your own. Likewise, by exploring your own culture, you are often much more interested in the culture of another person. I think that Irish Identity and any identity should be about exploring accepting and nurturing diversity. I think that the kind of cultural dialogue that happens through art, literature and music has much potential in breaking down barriers created by racism and elitism.

What’s the latest news that your fans can expect for this month and beyond?

I am performing in a show called “The legend of Gráinne Mhaol”. This is a dance based show about a woman who lived in the 16th Century in Ireland. (Gráinne Mhaol – Grace O Malley) She was the wife of a chieftain but more of a chieftain herself. She was as comfortable on the Sea as she was on land and led many battles and robberies with armies of hundreds on the Atlantic ocean. She fascinated the English at the time because of her amazing leadership qualities (not usual for women of her period). She fought and charmed Elizabeth I of England.

The show is similar in nature to that of Riverdance except that there is a story running throughout. I am singing a number of songs in this show. It is running every Wednesday night for July and August in Westport, a beautiful town in Co. Mayo in the west of Ireland. There are a host of wonderful musicians and dancers performing also including Cora Smyth, Brian Cunningham (Fuaim Ui Chuinneagáin) and Jame Kilbane. I will also be performing at Féile Iorras 09 (The Erris Arts Festival) amongst many other local functions throughout Mayo and Galway throughout the summer (July & August)

 Grace O’ Malley ! Now that’s a notable person in history. What is your personal impression of her?
She is a funny one. I am reading a biography of her at the moment and I have realized that you would have to be living in her time to really know what you would think of her. She certainly made her mark on history – more so on British records. Irish records rarely recorded activities of women but folklore has kept her alive and it is obvious that she had a major impact on the west of Ireland. I wonder though that if I was living in a village somewhere in Ireland and one of her various battles brought the English to my village and caused my family to be wiped out, I don’t know if I would be very fond of her. Her motives included power and the maintenance of the family name and again living in her time, I might begrudge her that. Also she had power over many men and led very large armies. Maybe if I was a woman in that time, I might not have been so impressed. On the other hand anybody could not have failed to be impressed by her and hence she has left a mark on history and folklore and overall she had a lot of support.

 

Any band/singers that you’ve been listening to lately? Tell us something about your record collection.

I’ve been listening to the wonderful Eddi Reader. I also had the good fortune to meet with a man called Tom Hanway, a banjo player (bluegrass style) and we swapped CDs and I have been listening to him. Galway based band Mórga and The Great Danes have also captured my imagination along with the CD Dual by Julie Fowlis and Muireann Nic Amhlaigh.

The Grace O'Malley Performers.

The Grace O'Malley Performers.

Studio or live performance? Which one is better for you?

Live performance is always better for me. There is an energy and movement than cannot be captured in the studio. Many of my friends that aren’t particularly taken by folk/traditional music listened to my CD and enjoyed it. However after coming to my gigs they were really enthusiastic about my music. Many mentioned that I was much better live than on CD. Part of me didn’t know how to take this – as I had put so much work into the CD. I really enjoy working in the studio – exploring sounds, trying out new things. However, the adrenalin makes a live performance.

Do you think the music business has improved greatly ..let’s say in the last 10 years? What do you think is better now and what is bad? Or vice versa?

The music business is so new for me (I have only ventured into it in the last few years) so it is very hard to comment.

Irish music is very popular worldwide. It has charmed many countries including the Philippines. What can you give as an advice to your fellow artists who are trying to get the music heard out there?

Gosh, I could do with a lot of advice for myself! I am working very hard to get my music and sound out there. I suppose that in recent months I have come to the realization that there is only so much I can do in a day. I do something every day to spread my music and hopefully every so often, I’ll gain a new fan because without fans it’s very hard to continue.

You have a terrific voice. Tell me how do you take care of it?

I lost my voice in my twenties when I was a teacher. I was teaching choir in my school as well as teaching a class. ( I was a primary school teacher). I had to go to speech therapy for a while and realized that for some years prior to that point, I had gone away from my natural voice and was mimicking other sounds. So I started all over again and it was for that reason that I started getting lessons. I now try and sing from the lower part of my chest cavity, I take great care not to shout too much (very hard in a busy pub) I like caffeine rich drinks – tea, coffee and coke and I usually have a class of water with them as caffeine is not good for the vocal chords. I do not use cough lozenges (These are also bad for the vocal chords) .Unfortunately I am an asthmatic and I frequently get coughs. This is hard on your vocal chords, and this is one area where I am not careful enough!!

What do you do to relax after a gig?
I usually talk to the people who have been good enough to come to my gig and would like to catch up with me afterwards but as soon as I can I hit the bed! One of my favourite activities is taking my parent’s dog ‘Jake’ for a walk. This is how I relax best!