Irish music was already dominant in the life Andrew Finn Magill while growing up and spending every summer at the Swannanoa Gathering Folk Arts Workshops. He learned to play the fiddle with the help from some of the finest folk musicians in the world.
By age 16, he already accomplished the following:
-As a two-time finalist at the All-Ireland Championships.
-He has toured France with the popular Celtic music & dance revue, Celtic Dances( under the musical direction of Liz Knowles & Kieran O’Hare).
-Produced a Fulbright-MtvU- funded concept album, Mau a Malawi( about those affected by AIDS with Malawian Afro-vibes artist Peter Mawanga).
I am currently enjoying his first in the series of concept albums. This one is called Roots. Why the title Roots? Well, I noticed that it is perhaps the most Traditional Irish I got my hands on this year. The tracks are familiar and they are rendered in a way they are supposed to-with emphasis on the style of music itself.
I once had this conversation with a friend while listening to traditional tunes. I just got my hands on a bodhran courtesy of my friend in England. So I was trying to learn my ear and these are songs from Lunasa, Chieftains and other bands who are into hardcore trad music. This is also the time when exploring the technical aspect of the music can be an enjoyable experience. And this love for traditional music gave way to many blog posts in this site.
?So what’s the story behind Roots? According to his press release:
Roots is the first disc in a concept album series which charts Magill’s musical progression in Irish music, featuring the tunes and players that defined his earliest years playing the fiddle: John Doyle, Cillian Vallely (Lúnasa), Sean Earnest (The Yanks), Duncan Wickel and Vincent Fogarty (The Red Wellies). Recorded in three studios on two continents, the music is ‘pure drop’ Irish with sparse instrumentation and innovative arrangements.
From the lively set of reels that opens the album, the listener is treated to brilliant and respectful renditions of much-loved jigs, hornpipes & reels, as well as some rarely-heard gems such as a beautiful setting of the set dance, “The Blackbird” the slow air, “Roisin Dubh,” and Carolan’s “Maurice O’Connor’s Third Air.” The album ends with a rolling, powerhouse set of reels sure to get any Irish music fan’s blood pumping.
In fall 2016, Magill will release Branches, the sequel to Roots, which integrates Finn’s traditional Irish musical foundations with his many other influences in ten original compositions.
Looking forward to the release Branches and that will showcase how flexible and colorful Traditional Irish music has grown through the years.
Roots the album has ten tunes featuring jigs, reels and hornpipes. I love his precision and perfect pitch. The album features John Doyle, Cillian Vallely & Colin Farrell of Lúnasa, among others. There’s also Duncan Wickel whose work I am familiar with. It also features the 10-string bouzouki of Vincent Forgarty. Now DAGAD fanatics will hear the strumming of Sean Ernest.
So what track is closest to my heart? It’s got to be The Green Fields of Glentown as part of the medley in the 10th track. If you meet someone asking about Traditional tunes then let him or her listen to this CD as it will ‘teach’ everything there is to know about the music. And hopefully it will influence younger audience to learn the style for future musical generations to come.
I really enjoy Roots. I take it with me when I ride the bike. I listen to it when I am stressed and I want to keep focused. But most of all I just listen to it for its musical richness. And it should be part of your growing collection.
Flow is a follow-up to their highly acclaimed debut album Bold. And they satisfy music fans once again!
I have the habit of bringing my huge speakers outside while chilling in my hammock. This happens every morning because I work at night.On most days the music consist of Spotify playlist-the current stuff, whither its chilled or lively tunes. There are days when I like playing Celtic music because it is good to listen to when it rains.
So I pumped up the copy of Flow which is the newest album by Canadian trio Nua. I got a positive reaction from people who happened to be nearby when they heard the tracks off the album. My cousin who was in the kitchen remarked that the music makes her want to dance, without being intrusive or noisy. She has a point. The trio have always maintained a minimal approach in their sound while maintaining that positive and uplifting style. Flow is not an exception. The tracks all go together and they have this fresh, clean and golden feeling in them.
Why golden? The music reminds me of the outdoors. It’s like sunrise against your face when you wake up in the morning. James M Law has really established his emotional style of fiddling underneath the controlled delivery. Graeme McGillivray has a kind of playing style where his guitar sounds whispy, almost transparent. Jacob McCauley(who is my bodhran hero) has maintained that expressive mastery of the instrument that talks to you. If percussion can speak, then that has got to be the way he plays.
Flow promises to satisfy traditional music fans. The album has twelve tracks. The range of styles explored are Jazz, folk and world. There is something here for everyone. Even if you are not hard core trad/instrumental fan , you will like Flow as proven by the reaction I got from bystanders. It is hard to choose a favourite as all tracks are beautiful in their own way. But Wide Open is a good introduction to the mood of the whole album. Like I said, Flow is the sound of the outdoors, the sound singing streams and the dance of sunlight against your face. Smuggler Cove is also a favourite due to the interesting arrangement. I don’t know if Ghostrider was inspired by the film but hey, whatever floats their boat right? Law, McGillivray and McCauley have created another masterpiece that will stand the test of time. Time to grab the album and share it with everyone.
“The title The Widening Gyre appeals to us and depicts the spiral of life, widening and embracing the new. It has an innate energy. We think that idea is reflected in the album’s music,” says Mairéad.
Every Altan release is defined by craft and experience. The Widening Gyre is no exception. It just goes to prove that Altan continues to feel the excitement and growth of their music after being together for so many years. Batch mates include Clannad and the Domhnaill siblings (and you see them together in concerts and tours occasionally). Maggie’s Pancakes is the first single off The Widening Gyre which was presented on the RTE One sessions. The music is irresistible which is something that Altan have given us through the years. I have read so many positive reviews and my newsfeed is flowering with links posted by fans of the band.
At the centre of this artistic band is the fiddler extraordinaire Mairead Ni Mhaonaigh. I follow her on social media not solely for her talent but also for her advocacy. She is a staunch supporter of causes that matter in Ireland and the world. She is really outspoken with her beliefs. Traditional Irish musicians have been pigeonholed as people who are just mainly concerned with the stye of music that they’re playing – which is reasonable given the kind of discipline that goes to the mastery of the instruments. But this revelation proves that the traditional music community is constantly evolving comprising of people who are forward thinkers and visionaries. It is a great genre with great people around it.
So if you have not yet gotten your copy of The Widening Gyre by Altan, you better get one! The music will embrace you and keep you happy through troubled times.
In this edition: Nua,
Jonathan Kershaw and Eclipse
NUA
Making waves: Irish/Scottish Traditional Music, Experimental, Fusion trio from Toronto Canada.
NUA came up with an auspicious debut in a form of an EP. It gives us the taste of what this trio can offer not just today but also in future releases. These are clean, crisp tunes that sparkle with precision and showmanship. The audio quality is something get excited about. The surface sound of every instrument is captured giving us a degree of nuance and atmosphere.
The EP starts with Fizzbuzz which showcases the thunderous bodhran playing of Jacob McCauley and the invigorating strums of Graeme McGillivray on guitar. These sounds are sliced up with James M Law’s luminous playing on fiddle. That fiddle simply sparkles in all of the tracks.
The Draw is perhaps what one would call a ‘carrier single’ due to its upfront rhythm and fast paced characteristic that draws influences from Jazz, Folk and even World. Here, Jacob McCauley’s bodhran becomes emotive, giving us an impression that this percussion has finally reached its tonal height and is capable of being a lead instrument. We have to remember, Jacob plays different types of bodhrans including those custom made by Christian Hedwitschak. This is a tune that’s guaranteed to get you dancing.
Martin’s Yellow Tea Pot has that folk pop quality that waltzes on you like a sunny afternoon. We hear exquisite chord structures as well as interesting changes of rhythms. The guitar has a crunchy sound that really keeps everything together.
The Hijack is a perfect track to close the EP. It has all the elements of how ripe talents should sound like. Confidence, experimentation and cohesiveness are traits of what a good album should possess-and they are all here. If they are able to come up with a full sound in this 4 track EP, just imagine what a complete album would be like. You would be missing a huge part of your musical life if you don’t get this EP!
About NUA:
NUA is an innovative new trad trio, bringing a fresh and unique sound to traditional music, creating their own distinctive flavour with both original and traditional compositions from Ireland and Scotland. Based in Toronto, Canada, NUA consists of three award-winning members: fiddle player James M Law, guitarist Graeme McGillivray and bodhrán player Jacob McCauley. The interaction between the three
e is what really makes the music shine, whether it be their soaring melodies or tasteful grooves. The trio is also well known for their exciting incorporation of odd time signatures and polyrhythms, which give the music an electrifying lift and spontaneity.
Each member adds their own distinctive sound and influence to the music. Although they are a trio with a sole melody player, the brilliant multi-tasking of each member is demonstrated countless times with perhaps a guitar-driven flat-picked melody, rhythmic fiddle playing, or melodic bodhrán playing to add to the mix. The ability for each member to take on multiple roles is one of the staples of NUA. This adds to a thrilling live experience, and a “you just don’t know what’s coming next” approach!
NUA released their first EP on November 12th 2012 and they are currently beginning work on their full-length debut album to be released in 2013.
If you are ready for something seductive, atmospheric and emotionally charged Celtic fusion music, then you better give Jonathan Kershaw a listen. Everything he does points to Renaissance music in the vein of Dead can Dance. There are also Celtic folk and Viking influences embellished with subtle atmospherics. The guitars are gentle and the female vocals are mysterious. There are other instruments like the cello.This album kept me up all night while I did my usual blogging and it has that quality of being un intrusive but at the same time with the right volume, creates a full-house of soundtracky experience.
Band personals:
Jonathan Kershaw – guitars, percussion
Laura Fauvel – vocals, some flute
Karina McGrath – vocals
Chris Jones – other instrumentation
In the words of Jonathan Kershaw:
The sound of this album was (in it’s inception) clearly supposed to be sat firmly in the traditions of Celtic folk music. Evident in the rich, flowing guitar lines intertwined with flute and violin, ringing pedal sounds and the sometimes rather ominous bodhrans.
However, somewhere along the line, the link was clearly stretched beyond its traditional boundaries. Jonathan’s love of music from outside this area becomes apparent with strange colourings from elements of classical, baroque music and dare I even say it, hard rock!
As a result, the album maintains a curious, ethereal feel of mysticism throughout as it moves through pieces in a variety of emotions:
Album Details
Artist: Jonathan Kershaw From the dark, pounding introduction of “The Demeter” and “Crossing the Third Sea” to the sensual stories and thoughts of “Never Love an Angel”, “Sandwalkers” and “Clocks & Mirrors” (with vocals courtesy of guest vocalists Laura Fauvel and Karina McGrath); the light, joyful melodies of “Lotus Corset” and the jig-like “The Green Man” to the comedy of “Rat Run” or “The Alchemist’s Penny” and the ever- increasing power of the centre piece “Andrasta”.
New album “Bizarre Tales” available now!
Celtic folk – Traditional – Acoustic rock
They are singer/songwriters originally from Edinburgh, Scotland but currently live in CT, USA . They call themselves Eclipse:twin sisters Nell and Trish and their brother Matt Wilkie.
The strong vocal harmonies and percussive arrangements make this holiday album a joy to have. It has an almost African, Mid-Eastern and Reggae vibe to it. There are modern and traditional tracks. Oh Christmas Now is traditional but this is the first time I’ve heard of this one.It seems the artists behind Eclipse have this thing for the obscure. They also have this characteristic of delivering strong and crisp vocal mixes.
There are four official members but a total of eleven people contributed their talents in creating this album. The mixing is amazing because you can even hear the surface sound of every instrument. That is how crystal clear It’s Christmas Now ! is. I am really choosy when it comes to holiday albums because I like my music loud. And I like to bring it anywhere too. And I am a total show off!
I like a holiday album that doesn’t sound ‘like Christmas’. You know what I mean? It has to be something that you can play for all seasons and doesn’t sound out of place. It’s Christmas Now! is one example of an album that can be at home in any part of the year. And yes, listening to this one makes you feel warm and cozy.
Trivia: According to the band, they were particularly proud of “ Christmas in our Hearts “, (track 6), which they wrote for their family back in Edinburgh and their arrangement of “Auld Land Syne” (track 12)
Plus: Nova Scotia singer/songwriter Layne Greene for our EP review, Lady of the Woods: New Single from Jamie Smith’s Mabon album Windblown and Cormac O Caoimh
Corrina Hewat is our featured artist this week. She is a mom, a harp teacher, and a good friend to the harp community. She is promoting her project the Harp Village . “We have The Duplets, Maire Ni Chathasaigh and me and David the whole weekend, so it is a lovely mix of music and company!! The more people who come along, the better, so all publicity is great.”
Corrina Hewat has an eclectic sound. She walks between the world of traditional and avant-garde music. Listening to her album My Favorite Place her project bands including BACHUÉ give me a glimpse to her wide influences. Her music captures the Celtic sense of atmosphere and space while her refined style made her recordings at home with the urban world.
You have a huge catalog or recordings now. Do you have recordings you wish you could have improved? I am not saying they need improvement because your recordings sound polished but personally what do you think ?
All my recordings are purely ‘snapshots’ of where I was then. All the recordings are affected by where they were recorded, who was playing, how I was/we were at the time. I only ever set out to capture moments of time, and I believe that is what they all are. Every single one of them I would change and every single one of them I would keep the same as well. I don’t tend to listen to myself too much, and it only ever comes up on shuffle in the car mostly, so I can press ‘skip’ and move on. Or sometimes I listen and say ‘woah, what the heck was I thinking?!!’. Or ‘ooh that is a surprising bit’ or ‘wish I had done that instead’ or all sorts. Anyway, it’s all past stuff, so I don’t really have time to think about what I would have done better. I could have done it all better. And I will always think that.
So far, how is the experience working with BACHUÉ. Is there another BACHUÉ project in the making ?
I loved Bachue very much. It was a good fun thing and a happy thing. But it got swamped with all the other stuff that was going on, so it took a back seat for a while. I am going to do a duo gig with David Milligan in September at the Harp Village (28th – 30th September in Cromarty, The Black Isle in the Highlands of Scotland http://www.cromartyartstrust.org.uk/the-harp-village-2010.asp) and that will be the first time in ages we actually have done a gig together in such an intimate format. I’m looking forward to it. We play well together!!
You also teach harp. Does teaching come first and being an artist second?
Being an artist/musician comes first. Not that teaching comes second, but at the moment for me, I still want to write music, play and perform music, and if I can fit in teaching as well, then I do. I took on the Royal Conservatoire of Scotland’s Principal Scottish Harp Tutor job last year, and I have the help and support of Heather Downie. If I didn’t have that secondary support, then I couldn’t have said yes to it. I believe I need to continue to work towards being an inspired, creative musician and writer and strive to better myself and my work. My students will then have a happy, sharing, generous, inspired teacher. I have very few private pupils, due to my time constraints and time away touring or teaching workshops/week-long schools.
How has motherhood shaped your music and what is different now compared to when you were starting being a recording artist?
Motherhood changed me completely. Life is a joy, not a struggle now. (I used to think it was all so hard. And had a heap of crap I was carrying on my shoulders which I needed to unburden myself of, to move on.) And I lived a very ‘messy’ lifestyle but now there is no need for all that. The joy is in me and around me. Music is a joy – although finding time for it is slightly complicated sometimes. But I love being a mother so much. It ‘completed’ things for me which I didn’t realise needed completing! And I still believe my life, the traveling, the ‘being all consumed by music when in the middle of writing it’, and all that goes with being a musician, is still worth it, as I am a more fulfilled person. And if I am happy then I am a better mum.
What are the things you want to introduce to the harp scene? What is your grand vision?
I wanted to introduce a more relaxed approach to harp, and a more relaxed and creative approach to arranging. I found when I started playing that there were very few arrangements out there I even liked! Boring chordal movements, same patterns over and over again, as if that was all the harp could do! So pretty much as soon as I started learning the harp, (around the age of 12 or 13) I started writing music on the harp, arranging traditional tunes, putting mad sets together, learning music off tapes (remember them??!). I had a great teacher to start me off – Christine Martin (who is the book publisher Taigh Na Teud) – she gave me the basics, introduced me to the Clarsach Society (who I eventually hired a harp from for many years), and introduced me to the work of Savourna Stevenson. That gave me the impetus to keep writing and playing and trying to make more of the instrument. I have had amazing teachers, although sporadic. Christine for a year, then yearly weekend courses until I went to the RSAMD (now called the RCS) where i had Sanchia Pielou for a year. Then Maire Ni Chathasaigh when I was doing the jazz degree course. These three teachers gave me so much input and I thank them for it. I was a ‘wayward’ child, and they steered me well. Sileas also gave me inspiration as they were doing fun things with the harp in trad music.
My grand vision?? I want to inspire folk with my music. Inspire them emotionally, move them. Write music which people can live with and enjoy. Move them like I have been moved by others music.
A live clip of the Unusual Suspects at The Old Fruitmarket, Glasgow, 29 January 2011 as part of the Celtic Connections Festival. Featuring the tunes “Sandy Broon’s” & “Bogle’s Majority”.
Line-up:
Corrina Hewat (harp/vocal)
Ewan Robertson (guitar/vocal)
Eilidh Shaw (fiddle)
Anna Massie (fiddle)
Catriona Macdonald (fiddle)
Patsy Reid (fiddle)
Mairearad Green (accordion/ pipes)
Calum MacCrimmon (pipes/ whistle)
Donal Brown (pipes/flute)
Rick Taylor (trombone)
Nigel Hitchcock (saxophone)
Ryan Quigley (trumpet)
Colin Steele (trumpet)
Dave Milligan (piano)
Tom Lyne (bass)
Alyn Cosker (drums)
Donald Hay (percussion)
Here’s a clip of Scottish harp player Corrina Hewat playing a jig she wrote for Martyn Bennett. This is from Corrina’s online Scottish harp (clarsach) course at ayepod.net. Check it out at http://www.ayepod.net/webcasts/teaching/teaching.htm
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Lady of the Woods: New Single from Jamie Smith’s Mabon.
Ok I have heard the entire song and I like it! It is catchy, well crafted and the vocal harmonies are amazing. First time I heard a vocal track from the band that is known to perform great instrumental tunes. If you haven’t yet have a listen here and also download the track for FREE: http://www.jamiesmithsmabon.com/windblown/
If you are a band I’d suggest you get a photographer this band has. The pictures do an amazing way to promote the music!
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Nova Scotia singer/songwriter Layne Greene with Live!EP
Tea buddies: Layne Greene-Vocals/Guitar Alexander MacNeil-Guitar Artwork by The Celtic Music Fan.
Carving the modern Nova Scotia with the stories of people and places.
Genre: Folk
Released August 30, 2012
Personnel: Layne Greene-Vocals/Guitar Alex MacNeil-Guitar Shawn Bisson-Mixing/Engineer Andy Cunningham- Photography/crew
Knox Presbyterian Church located in Blue Mountain, Nova Scotia
Recording a crisp clear album impromptu takes a lot of skill to achieve. But singer/songwriter Layne Greene has been mixing and arranging music for years. So the live EP was conceived out of the desire to come up with songs that he recorded and arranged in the past but wanted a different take on them. This Business Administration major from St. Francis Xavier University(now in his sophomore year) juggles between making music and seeing himself producing them in the future. He even jokes that :” If worse comes to worse, I can work a crappy, well
paying, desk job”. Well I am sure it won’t come to that because he makes excellent songs that are well crafted.
One of the songs here called Working Man is dedicated to his grandfather who is a carpenter and builder of musical instruments. There are other songs that are biographical in nature. His lyrics show an introspective and philosophical nature. Although he admits that he isn’t much of a lyrics guy. He is more prone to think of songs like cathedrals with their intricate structures and designs.
Alexander MacNeil is a jazz musician who is also working with Layne on another recording. He adds his distinctive guitar style to this project. He also did the backing vocals in Iron Town. He has his own jazz Trio and Quartet. You can tell that these two made a great tandem in this EP.
One of the things that I really appreciate about this EP is the atmospheric beauty of all the tracks. I asked Layne if they used studio reverb and he said no. Everything in this project- especially the acoustic density -is through the interior of the Knox Presbyterian Church located in Blue Mountain, Nova Scotia, Canada. Engineering/mixing credit goes to Shawn Bisson who flawlessly captured the soul of the venue with such exquisite attention to detail.
I recent;y got acquainted with this wonderful artist who just released his album A New Season for Love. I am impressed with his vocal quality. I love it and his music is really worth your ears after a long day’s work.
Celtic Music Fan 