Moya Brennan – Vocals, Harp, Keyboards
Paul Byrne – Drums, Bodhran, Timpani, Tubular Bells, Percussion
Fionan De Barra – Guitars, Bouzouki, Keyboards, Vocals
Cormac De Barra – Harp, Vocals
Éamonn Galldubh – Uilleann Pipes, Whistles, Flute
Yoshinobi Izumi – Electric Bass
Sam Jackson – Piano, Keyboards
Sinéad Madden – Fiddle, Vocals
Frances Mitchell – Keyboards
Additional musicians
Máire Breatnach – Viola, Fiddle
Anthony Drennan – Electric and Acoustic Guitars, Dobro
Úna Ní Chanainn – Cello
Tim Jarvis – Keyboards
Aisling and Paul Jarvis – Vocals on Oíche Chiúin
I can understand why some people get allergic to Christmas songs. It’s because these artists come up with the same old thing. And people get tired of it. I mean, I imagine those vocal acrobats that can make any reindeer suffer vertigo. Give me a break! This season is all about Christmas songs-of a different kind. And I think no better December it is than to celebrate it with An Irish Christmas by Moya Brennan.
I love the way the Carol of the Bells was arrange to give that ‘suspense’ and haunting feel. Then the song explodes into choir and percussion-plus of course, Moya Brennan’s amazing harp. Some tracks are in Gaelic so it works for me. My favorite is Gabriel’s Message. It’s a track covered by such diverse artists as Sting but none had the impact as this arrangement of Moya Brennan has. This tune has a long history that goes all the way back to the Basque. Read the full history here: http://en.wikipedia.org/wiki/Gabriel’s_Message
The reason something like this works again and again is due to the style. Celtic music styles will never go old. Because it is already old. Go figure 😉
This Christmas doesn’t promise us happiness. Personally, I am dealing with few tragedies myself and I know some of you are too.But music is there to keep me afloat. I love this and will play this every year!
Something exciting is happening in the trad/folk scene when these seven members of Skipper’s Alley released their self-titled EP this year. The EP has four tracks all possessing diverse arrangement yet cohesive in a sense that you know it is their sound. Ta Me Mo Shuidhe brings back the glory of Skara Brae and The Bothy Band. Rockin’ the Boat jumps at you with its grace as precision. Jim Coleman’s is another charmer with its awesome break between explosive choruses of trad instrument and the quieter uilleann pipes/fiddle ‘talk’ in between.
Wild Bill Jones is is a poignant ballad with beautiful vocals by John Flynn and Eoghan Ó Ceannabháin singing vocal harmony. I admire the play of shadows between the quiet and the rousing use of instruments. There is a current that runs through all the four tracks representing the band’s youth and excitement for playing music. There is also something magical about Skipper’s Alley as a band. You can sense it in the first track with that sparkling harp intro. You can feel the affection of their music wrapping around you in the sound of the uilleann pipes. The banjo gives their sound a kind of organic feel. The fiddle adds that skipping energy especially during jigs and reels. I like the otherworldly rhythm of the bodhrán, an instrument that is both modern and ancient. All instruments are recorded with that lush approach in this EP
These amazing young musicians made a great start with this this music. It is something that traditional or non traditional fans will really enjoy. There is that rock n roll energy on top of their folk beauty. Have a pint, enjoy the tunes and feel the love of music!
Alex Navar (Braia) – Uilleann Pipes, Tin e Low Whistle
Bruno Maia (Braia/ Ex- Tuatha de Danann (Vocal,Guitar, Flute, Banjo, Bouzouki and mandolin)
Daiana Mazza (Transfônica Orkestra) -Violin
Edgard Brito (Tuatha de Danann and Braia) -Keys
Diniz (Band Nevermind Tribute to Nirvana) – Guitar and Vocal
Khadhu (Band Cartoon) – Vocal, Baixo, Violão, Cítara and Esraj
Rodrigo Abreu (Tuatha de Danann) – Drums
Ever wonder what I do when I am not reviewing albums? I get in touch with musicians who appeared in this site and talk about musical things. The plus side of being a music blogger is that you get to be friends with a lot of artistic people and they are always willing to help out in promoting other artists. One of those is Jp Kallio of Sliotar. He told me about musician Bruno Maia from Brazil. Bruno has been involved with other Celtic bands like Braia and Tuatha de Danann. His current project is called Kernunna.
The seven members are from Minas Gerais Brazil. The music of Kernunna is Celtic metal in the vein of Tuatha De Dannad and Irish counterpart Cruacan. What differentiates them from the other metal bands is the use of mainstream rock vocals.Yes not the low doomy singing like that of the late Peter Steele. Think of what happens when Megadeth goes Celtic/folk. The music can also be described as Continental Celtic with world/ethnic influences on top of the high energy metal delivery.
I noted how the band handle the softer side of the music. If they give so much energy in their high powered tunes (like in the case of The Seim Anew), then expect nuance and expressiveness in their instrumental/traditional based tracks. Bruno Maia also played/still plays with other bands and just a brief introduction of one of these bands:
Braia: More folk oriented sound. World and ethnic influences can also be found. Tracks evoke a sense of being transported into another time and place. Expect elegant and atmospheric delivery in their live shows. Instruments are more acoustic: uilleann pipes, mandolin, female vocals, drums flute etc. Also expect to hear reels and other Irish inspired tunes from the band.
Golden melodies and shimmering sounds: these are the things that make Réalta a joy to listen to. No frills or effects. Just straight ahead traditional tunes but with undeniable freshness. Picture the sight of flowers blooming in spring. They play tunes that’s moving yet also capable of being unobtrusive. This is exactly the main ingredient in recordings that stand the test of time. Which calls to mind the term: less is more.
This trio from Belfast are made up of Aaron O’Hagan (Uilleann pipes, Flute, Whistles, Bodhran), Conor Lamb (Uilleann pipes, Whistles) and Deirdre Galway( Guitar, Bouzouki, Concertina). Dierdre sings in that Janis Ian meets Judy Collins style. That’s the closest comparison I can give you because it is hard to categorize her voice. It sounds soft to fit folk but there’s also something kind of hippie to it. You be the judge but that’s my observation.
Fact: Celtic music is mood enhancer. Something in Patsy Tohey’s-The Exile’s Jig, reminds me of riding long distance, and that is the soundtrack. I love the bouzouki. It sounds like honey dipped with sunlight. The guitar strums are wispy. It is balanced by the round sound of the wooden flute. The uilleann pipes have this silver metallic crispness. If you are into instrumental music then Réalta should be in your priority list.
I like the way Sliabh Gael gCua (air) creates that floating sensation. We live in a generation dominated by fast tracks. It gets too much sometimes. Slow tunes are awesome. I like an album that not only shows off acrobatic sounds but also lifts one’s soul with its slow airs.
Réalta creates impeccable arrangements. The Galtee has the kind of tightness that’s comparable to a thread going through the needle. Réalta celebrates the ecstatic spirit of Irish music in its brevity and grace.
Bio:
This Belfast based musical trio bring with them the intricate melodies and driving rhythms that make Irish music so loved throughout the world. While Conor and Aaron pursue the melody on dual uilleann pipes, whistles and flute, Deirdre explores the harmony and rhythms within the tunes through a dynamic accompaniment on guitar.
These three young musicians take a lively yet respectful approach to traditional music and have already established themselves on the Irish music scene. Between them, they have performed with a variety of established bands including Craobh Rua and Killultagh. Their experience includes venues and festivals such as The Smithsonian Folklife Festival (Washington), Festival Interceltico Accidente (Asturias), Alkmaar Irish Music Festival and Mulligan’s (The Netherlands), Randers Ugen (Denmark), Le Bono Folk Festival (Brittany), Tok Trad Festival (France), Girvan Folk Festival and Moniaive Folk Festival (Scotland), The Open House Festival (Belfast) and The William Kennedy Piping Festival (Armagh).
How are you? I am just enjoying the peaceful Easter Saturday tuning in to CRC FMbased in Castlebar, Ireland. My big thank you to Denis Charlton for playing my request. The song is called In a Lifetime by Bono and Clannad. Life is beautiful when there are sweet tunes around. Music makes the world go round. And where there is music, magic happens. My big thanks to my friend Damien McCarron for recommending the station to me. You know he has recommended a LOT to me and they contribute to my ideas.
Lúnasa
I wrote an essay about Lunasa in Expats Post earlier today. It’s one of the online magazine where I act as a music contributor. Here’s a little excerpt: My first introduction to the fabulous music of Lúnasa was through their second album Otherworld. The marriage of deep, tempestuous colors to the serene patterns of water in the album artwork conveys the deep connection of Irish music to the spiritual world. In the tradition that spans thousands of years, the passion and love for immortality is embodied in the melodies that explains the visual symmetry of the Celtic artwork.READ MORE.
Kevin O’Donnell
Here’s the fourth teaser for the Kevin O’ Donnell album:
Making of
Kevin returned to the studio in 2012 when Maurice Lennon, of Stockton’s Wing, agreed to produce an album of Kevin’s material. Kevin and Maurice eventually settled on ten original songs for the project. Some were pulled from the drawer; while others – previously recorded by Kevin in the ‘80s and ‘90s – were retooled, rearranged, and in some cases, completely rewritten. The project inspired Maurice to write an original tune (A Letter Home) that serves as a prelude to the album.
Easter Lily -by John Breen http://www.youtube.com/watch?v=QjwR88_So7I is a perfect track today. The song has that warmness and down to Earth appeal that becomes a great tune to sing along with. Here’s the background:
Easter Lily recorded by John Breen and written by Brendan Phelan whose credits also include the hit Ballad’ Dublin in my Tears. This song is written about James Connolly’s wife Lillie Connolly who was originally from County Wicklow Ireland the same county as John Breen himself. James Connolly was a leader during the 1916 rising, having joined his workers army (the Citizen army) with the IRA to strike a blow for Irish independence and Socialism. James was murdered by the Brittish army for his part in the Easter Rising. He is an Iconic figure in Irish republicanism and indeed socialism globally. Lillie was from the Beautiful village in the east of County called Rathnew. James Connolly and Lillie nee Reynolds had seven children together, one of whom died tragically in a House fire. John Breen performs this with Steven Collins backing him on mandolin, banjo, vocals and bass guitar in what is their first recording together. The beginning of many more recordings to come…watch this space. https://www.facebook.com/JohnBreen2u https://www.facebook.com/JohnBreen2u?…
Also in this edition: Eve Mctelenn, The Whistling Tree and Will Tun & The Wasters.
From Dublin Ireland to California, Patrick D’Arcy maintained the soul of the uilleann pipes and other wind instruments …making one realize that it is innate passion , not geography that keeps the spirit of the music alive.
Patrick D’Arcy
This week’s featured artist is the smooth man of the uilleann pipes, Patrick D’Arcy. I was literally captivated by his album Wallop the Spot that I had to get his ideas into cyber print for everyone’s pleasure. The album cover shows the charismatic musician grinning away from the camera to his left. The immaculate instrument is poised ready to be played. Oxford Dictionaries define Wallop as : to strike or hit very hard(verb) or a heavy blow or punch (noun). The title speaks for the album. I think the notes are given more volume and mass with the absence of other instruments. You can literally feel as if each note is being punched out of the instrument. He made the pipes very intimate giving a lot of angles to be appreciated including the drones. I enjoyed this conversation with Patrick and I hope you do as well.
The uilleann pipes became a star instrument in your hands. What kind of techniques have you developed so far after years of playing?
Thank you Baxter! I don’t think I do anything unusual as far as technique on the instrument goes. I use traditional techniques I’ve picked up over they years from other players and teachers by attending schools like The Willie Clancy Summer School in Clare, Ireland, and also by attending Tionól all over the US. These techniques would include cuts, rolls, triplets, crans and various other finger manipulations to trick the reed into believing that it’s supposed to be playing music and not standing dead in a marsh in California somewhere. Where these techniques are placed in relation to the beat would effect greatly the feel of the tune being played. Also the tempo at which the tune is played. I enjoy a less hurried pace to the music, trying to find feeling in tunes rather than just the thump on the floor.
You are very active in terms of networking with other musicians and creating piping sessions all over California. Has there been a dramatic change in terms of audience attendance now that it is so easy to network with listeners all over the web?
Not that I’ve noticed. When I began it was just before the onslaught of the internet anyway, the early 90’s, so I’ve always been able to email with other like-minded psycho’s. There was a great message board called The Uilleann Pipes Information List where everyone with access to a computer from complete beginners to pipemakers could share thought’s, ideas and opinions and gather information. I suppose people don’t seem as far away as they used to. Nowadays everything is available online. Every rare bit of footage and recording is there to be found and downloaded. It’s overwhelming really the amount of material there is out there. It is a matter of finding what you like and learning it intensely which will lead on to other musician’s and styles. Everything leads to something else.
What has been most memorable experience you had making Wallop the Spot?
Wallop The Spot album by Patrick D’Arcy
Going for taco’s with Bryan Dobbs, my producer. I like food, but he is intensely into traditional Latino food. A place close to him is a small chain called Rigo’s Taco. After a day of recording we would refuel there and return to the studio for the rest of the night. Also, the recording got me back into listening to music. I hadn’t consciously been listening to traditional music for a while apart from the CD’s I have in my car on rotation at all times. Tommy Peoples, Tommy Reck, Bobby Casey, Willie Clancy and Darach Ó Catháin.
Every time I drive they are playing.
And as I live in Los Angeles, California, that would appear to be quite a bit!
What’s your favorite track(s) off the album? And why?
I like tracks 2 (The Hag with the Money, The High Part of the Road,The Girl from the Big House ), 3 (The Green Fields of America) and 12 (My Bonny Blue Eyed Lassie). I love playing airs on the pipes and particularly these two. They seem epic to me. I also like track 4, (An Buachaill Dreóite), on the C whistle. It has a nice skip to it that I like. I was very happy with how the pipes recorded, especially the B set… there’s some whack off them! We spent a lot of time getting the sound right. I wanted to reproduce an authentic sound that allowed the listener to experience the pipes in a way that the player usually only gets to enjoy, like you are inside the instrument feeling the reeds buzzing all around you.
Being Irish and now residing in the United States, do you keep a strong bond with your friends and fellow musicians in Ireland?
I like to think so. It is hard enough due to the distance but, like we were talking about earlier, the internet helps. Everyone is on Facebook so at least we get to see, silently sometimes, what each-other is up to. It is always nice to get together with people when I go home on holiday or on tour. Time can be limited but it’s an important part of those trips.
Having a tune at the Grand Ole Opry. — with Ricky Skaggs and Keith and Kristyn Getty at Grand Ole Opry.
If you were given a chance to collaborate with another musician for a side project, whom would you like to work with and why?
Wow! … Liam Howlett of The Prodigy! … I think there could be some mad music made in that collaboration 🙂 I have so much admiration for other traditional Irish musician’s that I would be reluctant to impose my musicianship on them! I’d love to get a good trad band together though. It’s very hard thing to do in Los Angeles as there aren’t that many players and they’re all doing their own thing. Having said that though we do have a nice couple of sessions each week that I enjoy. Particularly the one at Timmy Nolan’s in Toluca Lake, my regular Tuesday night session. It is so important for publican’s to be enthusiastic about the music. The owner there is and takes very good care of us. It makes the atmosphere better and the music too! I love it when traditional musician’s from other cultures get together and come up with a hi-bred. Like Spillane, Irvine, Whelan and Parov did with Eastwind or Caoimhin O’Raghallaigh does with Swedish music. Liam O’FLynn also did it with Carlos Nuñez and the Galician tradition. I think Indian music would be a great combination with Irish music, maybe because of the drone commonality? I have had a the great pleasure of playing with Vikash and Prabash Maharaj from Varanasi, India. They are a father and son duo on sarod and tabla. They are consummate musicians – it would be very interesting to record something with them. I also like playing with bluegrass musicians and have had the privilege of playing with some of the best in Nashville like Ricky Skaggs, Ron Block, Andy Leftwich and Ross Holmes. It just grooves in a different way that can be interesting sometimes.
Pat that’s really a good idea…collaboration keeps creativity flowing! So what will we see you doing in the next few months?
I have a Christmas tour coming up with modern hymn writers Keith & Kristyn Getty http://www.gettymusic.com – It begins the end of November and runs until just before Christmas. There are rehearsals between now and that beginning. I am promoting my CD “Wallop The Spot” like crazy and it’s going very well. If you are a radio show host or write album reviews please contact me!
The official website of modern hymn writers Keith and Kristyn Getty www.gettymusic.com
In January I will be reassessing what to do next. Possibly a house concert/folk club tour? Any venues interested please contact me also.
Please complete this sentence: Music is………………………………………………………..
…what I am. All my life I’ve been eaten up with it… I’m just happy it’s not a disease… or is it!?!!? I wonder if there’s a generic medicine I can take to help cure it 😉
Parting words to your readers and fans?
Thanks for all the support! It is always so nice to meet people when I am out playing that know of my music. Please come up and say hello when I am in your town. And spread the word! <subtle hint>You know Christmas is coming up 😉 </subtle hint>
Patrick is performing all over California. If you have the time please visit his sites below and also buy Wallop the Spot as a step in getting to know the uilleann pipes.
Featured video: Will Tun & The Wasters live @ the Baz Bunker, Norwich.
Ok these guys are crazy! I mean crazy as in fun and amazing. A big thank you to Will Tun and The Wasters for sending me the link to their live video via twitter. It made my morning. Yes yes yes good spirits.
***
Post Halloween Amusement: JACK O LANTERN STORY by Eve Mctelenn – jack à la lanterne
Those who frequent the Celtic Harp Facebook page aren’t strangers to Eve Mctelenn’s music. This one is a fine example on how story telling and music can enchant and inspire. Yes this is done in French but it doesn’t matter if you don’t understand. Just Listen…and listen..and you will love the sounds and the music. I am serious.
***
Featured site: The Whistling Tree
This is a new site devoted to those who want to learn and share the music of the tin whistle. The creator of this page is concentrating more on twitter feeds for now. But with more members, things will definitely change. Better hit the ‘like’ button 😀
Celtic Music Fan 