Collection Timeline

16 to 16

16
My long-time friend Bill Black, who lives on Cape Cod, would often send tunes to my wife Sandy that he had composed in her honour. Bill's compositions greatly cheered my dear wife during her illness. She particularly liked his tune 'How Are You, Sandy', or as Bill re-named it, 'Sandy Connolly's', a jig featured <a href="https://library.bc.edu/ds/connolly/document/508" target="_self">elsewhere</a> in this collection played by yours truly. <br /><br />I know that Sandy would be proud of this tune, 'The Golden Flower' (a translation of her full name, 'Chrysandra'), which Bill composed after she left us to go to her eternal reward. As soon as I heard it, I knew that I wanted it to be the first tune in this collection. I was moved to tears by Bill's gift. <br /><br />The other gift associated with Bill's composition is this hauntingly beautiful performance of 'The Golden Flower' by our special friends Hilary and Duncan Cumming on violin and piano. Hilary and Duncan played at our wedding at Saint Anne's Church in Lowell, Massachusetts. I somehow feel that their playing of Bill Black's gift has eased Sandy's journey to the Land of Peace where she will have pain no more. She is watching over all of us. Thank you Bill, Hilary, and Duncan.
I believe it is important to feature master fiddle player Julia Clifford and her son Billy playing the first dance tune in this collection. It was the first reel that they recorded for me that night in Tralee over fifty years ago, when Julia invited me to record herself and Billy playing tunes she thought I might not have. When they played a tune I admitted to never having heard, she would ask me in surprise, 'You don't have it, do you?' <br /><br />As I look back now, I realise that it was an act of musical generosity to a young musician, which perhaps contained within it the inspiration not only for this project, but also for how I, throughout my life as a musician and teacher, have been driven and encouraged to do my utmost in passing along to others this incredible and astonishing oral and aural tradition. For that I say, 'Thank you, Julia; thank you, Billy'. Little did you both realise fifty years ago when you made that tape for me how much influence your music would have on today's musicians and students alike.
<p dir="ltr"><span>'The Planting Stick' is a variant of the venerable jig 'Bryan O'Lynn', a tune I first learned from my grandmother, Elizabeth Collins (n&eacute;e Rochford). A number of versions of 'Bryan O'Lynn' are to be found in this collection. The tune appears in Patrick W. Joyce's collection </span><em>Ancient Irish Music</em><span> as 'The Planting Stick'. However, the first time I heard the version which Maeve Donnelly plays for us on this track was on a cassette tape recorded in New York in the 1950s, played by an unknown fiddle player. Paddy Canny from Tulla in County Clare was in the company in New York that same evening, and he played yet another version of 'Bryan O'Lynn'. </span></p> <div><span>&nbsp;</span></div>
And now to confuse things even more or, as they say at home in Ireland, 'to throw more turf on the fire', my brother Martin Connolly here plays 'Magpie in the Tree', which is yet another version of the classic jig 'Bryan O'Lynn'. Martin, a great accordion player and the maker of the 'Kincora' accordion, told me that the County Kerry fiddle player Johnny Cronin played this jig for him over the phone. Johnny was in New York and Martin was in John's sister's house near Killarney.
Dr. Tomás Ó Canainn wrote this tune and recorded it with his daughter Nuala to honour and celebrate the twenty-first birthday of their musical friend Johnny McCarthy. Their recording was named Béal na Trá and was issued in 1982 on the Outlet label. In keeping with Tomás' being a piper, the tune on this track is played on the pipes by my good friend from New York, Jerry O'Sullivan.
Fiddle player, accordionist, and composer Eddie Kelly played this tune for me and asked, 'Is it any good, S&eacute;amus?' I recorded Eddie playing it in a session on the street at an All-Ireland Fleadh Cheoil around 1990. The title somehow suggests that it is a composition of Eddie Kelly, but I'm not certain. I am honoured to have Manus McGuire associated with this collection, and here he gives us his interpretation of this grand jig.
Composed by the legendary Scottish fiddle player Niel Gow in 1799, this tune's title is apparently a reaction to the temporary prohibition of distillation in Scotland due to the failure of that year's barley crop. Played on this recording by master musician Monsignor Charles Coen, it first came to my attention when Ciar&aacute;n Mac Math&uacute;na, the well-known broadcaster on Radio &Eacute;ireann, featured it on his <em>Ceolta Tire</em> programme. He had recorded it from Paddy Neil, a concertina player from near Newport, County Tipperary. Paddy's version, in particular the second part, is different from what is usually played. Thanks to Monsignor Coen for learning and recording it for me, and to Nicky McAuliffe from County Kerry for the tune information.
Jimmy Neary was a fiddle player from County Mayo who lived in Chicago. Johnny McGreevy, another fiddle player from Chicago and a hero of mine, gave me this tune in 1972 when I was on my first visit to that city, on the first ever Comhaltas Ceolt&oacute;ir&iacute; &Eacute;ireann concert tour of North America. The tune is played here by my friends Jimmy Noonan from Cleveland, Ohio, who now lives in Boston, and Dan Gurney from New York State, two musicians who do much for traditional Irish music through their teaching and performing. Jimmy is on the faculty of the Boston College Irish Studies Program where he teaches flute and whistle. Dan, who plays the accordion, graduated from Harvard University with a degree in music.
Ciar&aacute;n Mac Math&uacute;na from Radio &Eacute;ireann recorded this tune from concertina player Mrs. Ryan from Ballinaclough, Nenagh, County Tipperary. Although this tune is played as a slide, the area around North Tipperary and Limerick is particularly well-known for its polka music. Monsignor Charles Coen lilts the tune using his mother's words to it on the first track, then plays the tune on the concertina on the following track. <br /><br />'My poor father is minding sheep <br />Me sisters and brothers are fast asleep <br />I've been out in the hay all night <br />Get up and let me in!'
I am joined on this track by my friends Kathleen Lawrie from Birmingham, England, and Kevin McElroy from Freeport, Maine. Kevin played banjo and Kathleen played piano. I first heard this tune played by musicians from Ballinakill, County Galway on an old 78 RPM recording. <p>(More on Kathleen on the tunes <a href="https://library.bc.edu/ds/connolly/document/582" target="_self"> 'Kathleen Lawrie's'</a> and <a href="https://library.bc.edu/ds/connolly/document/426" target="_self">'The Fiddler Around the Faerie Tree'</a>.)</p>
Fiddle player Gear&oacute;id &Oacute; Laidhigh and flute player John Darcy recorded this tune, a composition of Mr. &Oacute; Laidhigh's, for Ciar&aacute;n Mac Math&uacute;na. Ciar&aacute;n traveled throughout Ireland recording musicians and singers, and later presented them on his weekly radio programmes, <em>Ceolta Tire</em> and <em>A Job of Journeywork</em>. On this recording, the tune is played on fiddle by my dear friend, colleague, and musical collaborator Laurel Martin.
This reel first came to my attention when it was played by a group of wonderful young musicians from Dublin. Their band, known as The Castle C&eacute;il&iacute; Band, made a big name for themselves in the 1960s and were much admired throughout Ireland for their rhythm, phrasing, and selection of tunes. James Keane and his brother Se&aacute;n &ndash; the fiddle player with The Chieftains &ndash; were central to the success and popularity of the band, so who better than accordionist James Keane from Dublin and New York to play this tune for us?
This hornpipe as played on this recording comes to us courtesy of fiddle player Liz Knowles. The original sources for the tune, Denis Murphy and Charlie Mulvihill (fiddle and accordion, respectively), recorded it for Ciar&aacute;n Mac Math&uacute;na's <em>American Journeywork</em> programme in 1963. I gave this recording to Liz and she graciously played Denis's and Charlie's version for this project. A different version may be found in Captain Francis O'Neill's <em>1001 Gems</em> collection of music.
Tom Morrison from Dunmore in County Galway recorded this polka in the early 1920s. Catherine McEvoy, originally from Birmingham, England, and now living in County Meath, delights us with her recording of this same tune: two great flute players at work with the same tune almost one hundred years apart.
A fine fiddle player from County Clare was Martin Woods. I had the honour of playing with him often in the early 1960s. Both of us were members of a c&eacute;il&iacute; band known as The Lough Derg. That was so long ago! Martin Woods had fine old tunes which he loved playing for me. <br /><br />Johnny McCarthy, the accordion player and great hurler from County Clare, recorded this tune on his CD <em>Solo Run</em>. Thanks, Johnny, for all those solo runs on the playing pitch and for your mighty accordion music. Thanks also to Laura Byrne, flutist; Donna Long, pianist; and Billy McComiskey on accordion for their excellent rendition of this reel.
Rita Gallagher from County Donegal recorded this song for me in her own inimitable style over twenty years ago at an All-Ireland Fleadh Cheoil. I have loved the song and Rita's masterful interpretation of it.
The name Rowsome is ubiquitous in the world of Irish music. Down through the years I have had the honour of playing music with the piping master Leo Rowsome and with his children, Leon, Liam, and Helena. Fiddle player Liam Rowsome composed this tune in the key of A major. It is recorded here by fiddle player Brendan Bulger, All-Ireland fiddle champion from Boston. Brendan chose to play it in a different key. He told me he had fun doing so. Well done, Brendan.
'Come to the Fair' was a very popular waltz/song played by The Kilfenora C&eacute;il&iacute; Band in the 1960s. I have always enjoyed listening to the band's singer Mary Higgins performing the song on a recording made at a c&eacute;il&iacute; in Ennis in 1960. The recording of all of the tunes and songs played on that night was given to me to learn when I was invited to join The Kilfenora and embark on my first 'big' tour of England. What a thrill and an honour for me! The tune is performed here on this track by Tara Lynch (daughter of Jerry Lynch, the accordionist with the band in the 1950s) and myself. The track was enhanced by the musicianship of Gabriel Donohue on piano and keyboards.
Throughout its illustrious career, the celebrated Kilfenora C&eacute;il&iacute; Band from north County Clare has had various band members with the surnames Lynch and Ward, including P.J. Lynch, Tom Ward, and Jimmy Ward. This composition by the extraordinary Tommy Peoples &ndash; who was himself a member of that great band &ndash; gives well-deserved honour to the Lynch and Ward families for their great contributions to Irish music.
Johnny McGreevy from Chicago played this reel for me in 1972. I have given it this title because it reminds me of 'Tansey's Reel', a tune recorded by the Sligo fiddle player Paddy Killoran. My good friends Jimmy Noonan and Dan Gurney recorded this version at my home in Maine. Thanks, lads. Well done: great swing!
According to Nicky McAuliffe, Michael Coleman and James 'Lad' O'Beirne, master fiddle players from County Sligo, recorded this reel on a 78 RPM recording machine in Mr. O'Beirne's home on November 5, 1941. I have not had the opportunity to hear that old recording, but Brendan Bulger's playing on this track reminds me of the lilt and swing of yet another County Sligo man's music, that of flute player Eugene Preston, from whom I learned the tune.
I met Jack Coughlin only once, sometime in the early '60s. Jack was a lovely flute player in the lyrical and flowing style associated with East County Galway. He was living in London when I was introduced to him by my lifelong friend, master musician Joe Burke. Joe also gave me this reel and told me that it was a favourite of Jack Coughlin's. My nephew Damien Connolly plays the tune on this track on his two row button accordion. It is interesting to note that he begins the tune on what might at first seem to the listener to be its second part, or as we say in Ireland 'the turn of the tune'. When one listens to the wonderful double CD recording of master musician Eddie Moloney, a neighbour of Jack Coughlin's, one hears Eddie play on flute this same reel with the parts reversed. One could ask the question then, which is the first part of the tune, and which is the second part? My answer would be that, delightfully, the parts work beautifully when played either way. <br /><br />Incidentally, Sean Moloney, in his notes on the CD recording of his father's music, tells us that Eddie learned many tunes, including the one featured here, from Tommy Whelan. A flute player, Tommy was a member of the Ballinakill Traditional Players and a composer of many fine tunes. In all probability then, these masters from the past, Jack Coughlin, Eddie Moloney, and Tommy Whelan, played this tune often. This amazing flute tradition from in and around Ballinakill, County Galway made its way across the Atlantic Ocean, brought to America by two other masters from East Galway, Mike Rafferty and Jack Coen. Both these gentlemen were awarded National Heritage Fellowships for their contributions to the living arts and culture of the United States. What an amazing life's journey in the name of music. Enjoy the tune and decide for yourself which part you would prefer to begin the tune on!
Another tune from the repertoire of fiddle master Johnny McGreevy. It is played on this recording by the talented flute player Shannon Heaton, who at one time lived in Chicago but now resides in Boston. Thanks, Shannon, for taking the time to travel up to Maine to record for this project. Lovely playing.
Johnny McGreevy had an amazing repertoire of Irish music. He kept so many tunes circulating in his native city, and he was always generous in passing them along. The prolific composer, fiddle player, and pianist Josephine Keegan graciously recorded this tune for the collection, and I was delighted when she also included it on her 2011 recording, <em>A Few Tunes, Now and Then</em>, where she named it in Johnny's honour.
Dan Sullivan's Shamrock Band from Boston recorded this tune in 1929 on a 78 RPM record. I came to befriend the band's banjo player, Neil Nolan, back in the '70s, and we had many good times playing music. Neil played his instrument left-handed and was a very confident musician, as can be heard on some of the band&rsquo;s recordings. Uilleann piper Jerry O'Sullivan recorded the hornpipe for this collection.
A version of this tune can be found in <em>The Roche Collection</em>, but I first heard it played by Eddie Moloney from Ballinakill, County Galway. Eddie, Tommy Mulhaire, and his son Brendan were among those who travelled on a number of occasions in the 1960s with Mulhaire's C&eacute;il&iacute; Band to perform in different towns around County Kerry. These performances were part of a series of concerts and music weekends organised by Diarmuid &Oacute; Cath&aacute;in, who was later to become president of Comhaltas Ceolt&oacute;ir&iacute; &Eacute;ireann. I was thrilled when Joanie Madden, daughter of yet another Galway musician, Joe Madden, recorded the tune for me. Thanks, Joanie &ndash; keep up the great work that you and Cherish the Ladies do. We cherish you! Sl&aacute;inte to you all!
This tune is also known as 'Tom Fitzgerald's'. A version may also be found in O'Neill's <em>Waifs and Strays of Gaelic Melody</em>. Thanks to Johnny McGreevy, who introduced this tune to me, and thanks to one of America's wonderful young musicians, Tina Lech, for playing it for this project.
The fiddle playing of Mrs. Ellen Galvin, who was born in the 1880s, certainly did sound as though it were from an earlier time in history. I remember seeing her perform in a concert in West Clare in the late 1950s. I was enthralled with her music then, and I still am. The tune transcribed here was recorded and collected from Mrs. Galvin, and a copy of the tape was passed along to me by accordion master Tony MacMahon. Thanks, Tony! My friends Barbara MacDonald Magone and Kevin McElroy helped out on the recording you are about to hear. <p>We shall hear Barbara play some of her own compositions (<a href="https://library.bc.edu/ds/connolly/document/617" target="_self">&lsquo;Ashcraft-Fraser House&rsquo;</a>, <a href="https://library.bc.edu/ds/connolly/document/630" target="_self">&lsquo;The Reel Bus&rsquo;</a>, and <a href="https://library.bc.edu/ds/connolly/document/649" target="_self">&lsquo;A Riverview Cabin&rsquo;</a>) as we venture through this collection.</p>
Rose Murphy, a sister of accordionist Peter 'P.J.' Conlon, recorded this reel for fiddle player Paddy Ryan from County Roscommon. Kevin Burke, my good friend and wonderful fiddle player, plays the tune on this recording with his lovely swing and lift. Thank you, Kevin.
Another tune recorded by Dan Sullivan and his band, it is played on this recording by Billy McComiskey (accordion), Laura Byrne (flute), and Donna Long (piano). Their relaxed style brings out the beauty of the melody.
David Curry was born in 1899 in Belfast, where he worked as a conductor, arranger, and broadcaster. He also played violin. I have always enjoyed listening to his music, which included his own arrangements of traditional melodies. I recorded some of these tunes from the radio when I was young, which allowed me an opportunity to learn them. One such tune is the hornpipe featured here, played and arranged in a two-part version for piano by the inimitable Barbara MacDonald Magone. By presenting tunes associated with Mr. Curry, I pay my sincere homage to him in the hope that his name and musical works are never forgotten.
Matt Cranitch, the well-known fiddle player and scholar from County Cork, came to visit Sandy and me in Maine a few years ago. Matt loves to play polkas, so I composed this three-part tune for him. I play it here with my friends Kevin McElroy on bodhr&aacute;n, Barbara MacDonald Magone on the piano and, on the fiddle, Meghan Mette, who at the time of recording was a young and enthusiastic sixteen-year-old.
Boston accordionist Billy Caples played this tune for me in the late 1970s. Billy was a well-known musician who played in the dance halls around Boston. When not performing, Billy spent his time teaching music. The tune is played on this recording by my nephew Damien Connolly, who now lives in Connecticut.
Kevin McElroy, Barbara MacDonald Magone, and I came together to record this tune, which we learned from the cassette tape of fiddle player Mrs. Ellen Galvin that was given to me by Tony MacMahon. A version of this tune was recorded by the great Sligo fiddle master, James Morrison.
During those trips Mulhaire's C&eacute;il&iacute; Band made to Lixnaw and other towns in County Kerry in the 1960s (see <a href="https://library.bc.edu/ds/connolly/document/460" target="_self">'Tart ar an &Oacute;l'</a>), ballad singer Josephine McNamara was another artist who made the long journey &ndash; in her case from County Leitrim &ndash; to perform in Diarmuid &Oacute; Cathain's concert series. She was always a special favourite at these events. Coming as she does from the musical McNamara family it is no surprise that she was All-Ireland champion singer for a number of consecutive years. Josephine left Ireland in the 1960s, and I was delighted to meet her in New Haven, Connecticut, thirty years later. She sang this song for me for this collection, a song we both first heard many years ago on an old 78 RPM record.
I met Tom Turkington, a fiddle player from Cookstown, County Tyrone, only once. It was at the beginning of the 1960s at a County Clare Fleadh Cheoil, when he performed at a celebrity concert with his son David on the piano. Musicians love talking about and trying one another's instruments, and on that occasion Tom played a number of tunes &ndash; none of which I knew at the time &ndash; on my fiddle. This experience reinforced a fascination I have always had with regional styles of music.<br /><br />Knowing the close connection the music of Northern Ireland has with Scottish music and the music of Cape Breton Island, I asked Kimberley Fraser, the great young fiddle player from Cape Breton, to give her interpretation of this and some of the other tunes that Tom Turkington played that night. Kimberley's remarkable blending of her own Cape Breton style with a Northern Ireland fiddle style on these recordings produces powerful, driving, and rhythmic music much in the spirit of the way Tom Turkington himself played. Thanks, Kimberley, for your splendid fiddle playing.
Roberta (Bobbie) Lawrie comes from the musical Lawrie family from Birmingham, England. On one occasion when I was visiting her home, Bobbie recorded some of her compositions for me. At that time, nobody in her household knew that she was composing tunes on her whistle. I'm glad that I had the opportunity to capture some of these tunes on tape. Catherine McEvoy was delighted to learn and play this tune for this collection. As mentioned <a href="https://library.bc.edu/ds/connolly/document/553" target="_self">elsewhere</a>, Catherine also grew up in Birmingham.
Kathleen Lawrie, Bobbie's sister, recorded this reel for me when she visited me in Limerick in the early '70s. When Kathleen and her husband Tommy Boyle visited Sandy and me in Maine just a few years ago, I played the tune for her on the fiddle and asked her if she had any idea where it came from. To my surprise, she told me that she had never heard it before, so to remind her I played that old tape back to her. <p>We all had a big laugh when Kathleen discovered herself playing the reel on her accordion! That was my way of reminding her that she did indeed know the tune. I was thrilled to have Kathleen perform it with me for this collection, even though she had not played the piano for thirty-five years. She practiced for two days on a piano we borrowed from Kevin McElroy and his wife Kate Butler in order to give us this performance. I was delighted to have a chance to play with her, and I am happy to say that she has returned to the music and once again plays her beloved piano.</p>
The Pride of Erin C&eacute;il&iacute; Band, led by All-Ireland fiddle champion Sean Nugent, was held in high esteem throughout Ireland. Sean, from Lack in County Fermanagh, was a vibrant, energetic, and fun-loving man who adored the music. On a recording issued by Outlet Records in 1977, he and the band played this great march. The lyrics of this song, sung by Sean's daughter Rosemary in her County Fermanagh accent, give us a clear picture of the Magherafelt May Fair: <br /><br />'I am a nice wee bouncing girl, <br />And my age it is scarce sixteen, <br />And when I'm dressed all in my best <br />Sure I look like any queen... <br /><br />On the first of May I will make my way, <br />To the Magherafelt May Fair...<br /><br /> My mother cautioned me going out <br />Do not stay long in town <br />For if you do, your father and I, <br />On you we will surely frown.<br /> Be sure to shun bad company <br />And of young men beware,<br /> How nice you be, don't make too free <br />At the Magherafelt May Fair!' <br /><br />Listening to those All-Ireland champion band members play along with Rosemary's singing, one can sense the exuberance and pride that they felt playing their music. For this collection, the march is played by Sean Nugent's son Larry on the flute, accompanied by Pat Broaders on the bouzouki.
On the <a href="https://library.bc.edu/ds/connolly/document/582" target="_self">aforementioned occasion</a> some forty years ago, Kathleen Lawrie played 'The Fiddler Around the Faerie Tree' for me as a set dance. Kathleen had learned the tune from dancing master Brendan de Glin from Derry. A shorter version of this tune may be found in O'Neill's collection <em>The Dance Music of Ireland, 1001 Gems</em> as a hornpipe called 'The Mullingar Races'. I am delighted that Kathleen agreed to record it again for this collection.
I am delighted to feature the fiddle playing of composer Larry Redican, who lived in New York City. This music comes to us from a recording he made for his friend Roger Casey, an Irish dancer from New York. Both of these gentleman would get together and Larry would play his fiddle as Roger danced and practiced his steps. Roger is now an Irish dance adjudicator, and during the years that I played for the feiseanna, Roger kindly gave me the recordings that he had of Larry Redican. It seems likely that Larry composed this tune, as I have never heard anybody else play it.
I learned this tune from accordionist Keith Corrigan. Keith had a wonderful repertoire of fine old Irish and Qu&eacute;becois tunes. On one memorable visit to his home in Valcartier, north of Qu&eacute;bec City ('God's Country', as he called it), we played music long into the night and on that occasion Keith played this waltz for me. I recently found my recording of it on a microcassette and asked Damien Connolly to learn and record it for this collection. Thanks, Damien.
Jimmy Hogan from Liscannor in County Clare loved to play his whistle and batter out the County Clare set dances on the floor. Jimmy was an icon in Boston and he was loved by everyone who met him. This tune from north County Clare was one of his favourites. It is recorded here for us by Josephine Keegan from County Armagh.
'The Wheels of the World' is known to musicians as the title of both a reel and a jig. The two tunes are not related musically, and both are unrelated to the tune presented here. I learned 'The Old Wheels of the World' from pianist Eleanor Kane Neary when I visited Chicago in 1972. It is played on this track by fiddle player Larry Redican, slightly differently from the way I heard Eleanor playing it.
John Egan from County Sligo lived in Dublin, and he had a distinctive West of Ireland style of playing the flute. He and his musical colleagues formed a music club in that city, made up mostly of fiddle and flute players. John Egan's repertoire was much admired and he was most generous in passing these tunes to some of the younger musicians who played alongside him.<br /><br />The reel played on this recording is named for him. It is played by flutist Kevin Crawford. Kevin had spent a few hours recording tunes for me in the home of my brother Martin and his wife Pauline in Ennis, County Clare. The tea was made, and we all sat down to listen to the recordings Kevin had just completed. Somehow, unfortunately, the digital recorder had been unplugged before the tracks could be saved (the electric kettle of course had needed to be plugged in and the water boiled!) with the sad result that every tune that Kevin had recorded was erased. I was so upset at the time, but the wonderful person that Kevin is just said, 'What harm, we'll do them again', and he did! Thanks, Kevin, for being so gracious and understanding.<br /><br /> <p>P.S. It has come to our attention that the composer of this reel is Sligo flute player James Murray.</p>
I recorded this tune with another nephew, Karl Connolly, playing piano, on the same day as Kevin Crawford's <a href="https://library.bc.edu/ds/connolly/document/585" target="_self">unfortunate experience</a>. I first heard the tune in the 1950s played by the Tulla C&eacute;il&iacute; Band from County Clare. A version of this tune with the above title may be found in <em>O'Neill's 1001</em> collection. At the very least, it is a close relative!
My brother Martin learned this version of <a href="https://library.bc.edu/ds/connolly/document/464" target="_self">'The Victor's Return'</a> from fiddle player Johnny Cronin from County Kerry. When Martin asked Johnny for the tune's title, Johnny told Martin to call it 'any auld thing at all'! Martin was reluctant to play the tune for me as he had not played for many months. He felt that he might not be able to get through it. When he did agree and got going he was loving the tune so much I couldn't get him to stop. I hope you never stop playing, Martin!
I loved the times that I visited with John Doherty, the fiddle master from County Donegal. Playing music with him was an inspiration. Hearing his stories and listening to him play made me ask myself why I even bothered to play the fiddle. Mr. Doherty was so encouraging and generous with his music, and I treasure the tapes that he made for me. The highland played here by Paddy Glackin was recorded by piper and producer Peter Browne from Raidi&oacute; Teilif&iacute;s &Eacute;ireann during a visit that Sandy and I made to the Dublin studios. Thanks, boys. John Doherty would be proud of your rendition.
The royal welcome Sandy and I received when we visited the home of Geraldine Cotter outside Ennis, with the turf fire burning, really made us picture ourselves one day moving back to Ireland. As we set up our recording equipment, we happened to record (as they say in Ireland, 'accidentally on purpose') Geraldine's playing of what she called 'The Clare Reel'. As it is printed in the <em>O'Neill's 1001</em> collection, this tune is named 'The Scolding Wife'. I was delighted to hear it again. It was in 1974 that I first heard it played by Tipperary accordionist Paddy O'Brien. Paddy and I had considered recording it for our <em>The Banks of the Shannon</em> record that we made back then.
Here is another tune from the playing of Tom Turkington of County Tyrone. I searched for its name, and I asked a number of reliable sources for a title, but I have come up empty-handed. So, what better name than 'Tom Turkington's in A Major'? <a href="https://library.bc.edu/ds/connolly/document/581" target="_self">Tom's playing that night</a>, many years ago, has kept the tune alive, as does Kimberley Fraser's playing here, on fiddle and piano. Thanks, Tom and Kimberley.
This tune is named for a winding part of the road leading into Lisdoonvarna, County Clare. Try pedalling a bicycle up or down those hills! This single jig was very popular with The Kilfenora C&eacute;il&iacute; Band during my tenure with them. It is performed on this track by Geraldine Cotter on the whistle. Thanks for the memories, Geraldine. As they say in County Clare, 'keep the fire down, and keep pedalling'.
Peadar O'Loughlin's name seems to be eternally present in the world of Irish music. His music brought much joy to the Connolly household when I was growing up in County Clare. It was such a heartwarming pleasure to have him visit the home of Geraldine Cotter the afternoon that he and Geraldine recorded 'Bridie's Joy' for Sandy and me. Years earlier, on an LP record issued by Ceirn&iacute;n&iacute; Cladaigh, he and piper Ronan Browne played this same reel. A great tune that's worth hearing again.
I will be forever grateful to M&aacute;ire O'Keeffe, the County Kerry-style fiddle player, for her enthusiastic response when I told her about the project I was about to undertake. M&aacute;ire's reaction was loud and clear: she said to me, 'Come on over here to Kinvara in County Galway and I will give you some tunes!' I could ask for no more encouraging invitation. Sandy and I arrived late in the night, having had to phone M&aacute;ire and her husband Pat for help when we got a puncture in one of our tires a few miles away from their home. Pat came to the rescue and brought us back to their house where we were made most welcome. After a delicious dinner and all that goes along with it, the music started, and the first tune we recorded was this slide. M&aacute;ire learned it from Toim&iacute;n O'Connor, an old fiddle player from the mountains in Kerry.
Another tune from the playing of M&aacute;ire O'Keeffe. Ned and Dan O'Connor, two musicians from the Scartaglen area of Sliabh Luachra, were often heard playing this slide.
This next tune comes from the playing of another fiddle player from County Kerry, the great master Paddy Cronin. When Paddy lived in Boston he always had his fiddle on the dining room table next to one of O'Neill's collections of music. Most every time that he walked past the table he would play a tune or look through 'the bible', as he called it, for new tunes to play.<br /><br />This tune can be found as 'Larry Lynch's' in <em>O'Neill's Music of Ireland</em> and 'Lincoln's' in <em>Ryan's Mammoth Collection</em>. The wonderful fiddle duet here by Liz and Yvonne Kane would very much please the ear of Paddy Cronin, and would most certainly bring a smile to his face.
In 1956, Robbie McMahon from Spancilhill in County Clare composed this song about the All-Ireland Fleadh Cheoil held in Ennis that year. When it is sung today, it is a wonderful piece of musical history, as it is also a litany of the names of musicians who are no longer with us. It was these people, during a time when it was not popular to play Irish music, who kept the music alive for all of us to enjoy today. Listen and see how many names you can recognise. They are enshrined for all time in this song, as is the memory of Robbie McMahon himself.
Here, we hear one of Sean Nugent's many fine compositions, played by his son, Larry. Sean named it for his sister, Minnie.
Another of Sean Nugent's compositions is the slow air appropriately titled 'A Longing for Peace'. How happy Sean would be were he with us today, to know that the struggle is almost over and we now have peace again in 'Dear Old Ireland'. The tune is beautifully played with emotion by Larry Nugent, Sean's son. It can also be heard on Larry's fine recording <em>Traditional Irish Music on Flute and Tinwhistle</em>, on the Shanachie label.
As the howling winds from the Atlantic Ocean blew into Kinvara Harbour, M&aacute;ire O'Keeffe continued to play her fiddle into the night without interruption (see <a href="https://library.bc.edu/ds/connolly/document/698" target="_self">'Maurice O'Keeffe's'</a>). The tune that she plays here was learned from the playing of Julia Clifford and her husband John.
The unique musical heritage of County Kerry has had a profound impact on the survival of traditional music. Paddy Cronin from Sliabh Luachra gave the above title to a reel more commonly known as 'Miss Johnson's'. It is played here by uilleann piper Jerry O'Sullivan of New York.
A thirteen-arched bridge spans the majestic River Shannon as it flows through my hometown of Killaloe, County Clare. On the opposite side of the bridge is Ballina, County Tipperary. As a child I had fun saying, 'I can stand in Killaloe and Ballina at the same time'. I composed this tune in remembrance of my father, Michael 'Mick' Connolly, who, when working as the skipper of a tugboat named the <em>St. Patrick</em>, piloted it underneath the largest of the arches. The young fiddle player Kelsey Lutz, from Ann Arbor, Michigan, was sixteen years old when she recorded the tune for this project. Irish music will forever remain vibrant when young people play our music as Kelsey does.
At a county Fleadh Cheoil in Tulla, County Clare, in the late 1950s, I recorded fiddle player Paddy Canny and accordionist Mattie Ryan playing this tune in a duet competition. Here, Kevin Crawford joins me in playing this single jig.
Nicky McAuliffe is an expert on the history and names of Irish music, as well as being proficient on many instruments and a noted teacher. Nicky and his wife Ann, herself a teacher and champion on a number of instruments, recorded this version of 'Maude Miller' for me in their home in County Kerry. We first heard it played by master accordionist Joe Burke in the early 1960s.
The first time that I saw Gr&aacute;inne Murphy was when her mother and father, Joan and Dan, brought her to a music session in Watertown, Massachusetts. Gr&aacute;inne did not have a fiddle with her then because she was just a little baby in a basket! One could see that day that Gr&aacute;inne was excited and charmed by the music. Those of us there that afternoon somehow knew that she would become a musician of note, and that she did. She is a fine fiddle player who has recorded a solo CD which was given a number of excellent reviews, and she has been a member of the renowned group Cherish the Ladies. The tune on this track is performed by Gr&aacute;inne herself and is one of her own compositions.
Accordion player Brendan McCann lived near Hartford in the state of Connecticut. He had many fine tunes in his repertoire, including this hornpipe which he first heard in his hometown of Moate, County Westmeath, many years ago. I was thrilled when Brendan sent it to me on a cassette tape. It is played here by Damien, my nephew, who also lives in Connecticut.
All-Ireland champion harpist and singer P&aacute;draig&iacute;n Caesar attended Boston College as a Fulbright Scholar, and we became great friends. When Sandy and I lived in Groton, Massachusetts, 'Paudi', as we called her, visited us on a number of occasions, and traveled with us to Philadelphia and other places of note in the northeast region of the National Park Service. Despite her busy academic schedule at Boston College, she found time to study fiddle and whistle. I marveled at her enthusiasm and at the huge amount of time she put in to practicing her music at home during Boston's long, snowy winter season. So much dedication, so much talent. P&aacute;draig&iacute;n sings to her own harp accompaniment on this track. The English translation of the lyrics is provided by Dr. Philip O'Leary, Boston College.
Here, Larry Redican introduces and then plays a reel he composed to memorialise his friend, the Dublin fiddle player Frank O'Higgins. Ballykinler, in County Down in the North of Ireland, was an army base used as an internment camp during the War of Independence in 1919.
If ever you get a chance to visit The Clare Glens you will not be disappointed. They are a beautiful wooded area, very picturesque, with walkways on both sides of the Clare River. The Glens are very close to Newport, County Tipperary, and are only seven or eight miles from where I grew up. There are a number of swimming areas and a waterfall. Standing under the falls with the cold mountain water flowing over you is most invigorating. <br /><br />Not having a name for this polka, I thought, why not call it 'The Clare Glens'? I was honoured to get the opportunity to play it on my fiddle with Monsignor Charlie Coen on concertina. The tune originally came to us from another recording that Ciar&aacute;n Mac Math&uacute;na made of concertina player Paddy Neil from around that same area of Newport, County Tipperary, a place well-known for its polkas.
Nicky McAuliffe gave me the name for this tune. It may be attributed to the eighteenth-century piper Walker 'Piper' Jackson from County Limerick. This is another of the tunes played for me fifty years ago in Tralee, County Kerry, by Julia Clifford and her son Billy Clifford (see <a href="https://library.bc.edu/ds/connolly/document/572" target="_self">'Old Torn Petticoat'</a>).
Mrs. Crotty from the town of Kilrush in County Clare played this set dance for Ciar&aacute;n Mac Math&uacute;na's radio programmes, <em>Ceolta Tire</em> and <em>A Job of Journeywork</em>. I had the honour of playing it with Mrs. Crotty in her home many years ago. As I look back on those years, now long gone, and think how privileged I was to have played music with some of the giants in Irish music, I realise that my world would not have been the same had I not met those people. I can say the same for Father Charlie Coen! Now listen as the Monsignor plays 'The Stranger'.
Concertina player John Ryan lived on Thomas Street in Dublin, just opposite the old Pipers' Club. One can only imagine the music echoing up and down the streets of that part of the city! Ciar&aacute;n Mac Math&uacute;na visited John Ryan's home and recorded this polka, one of many tunes that he brought with him from his native County Tipperary. It is played here on melodeon by my nephew Damien.
This tune, played by Damien Connolly on fiddle this time, is one of his own compositions. I'm not sure who the title refers to, but since he was born in County Clare, maybe it's himself!
The rolling hills and valleys in east County Clare, close to the river Shannon, are known for their beauty. This area is well-known too for its music. Here Damien once again plays the fiddle on another of his compositions. Yes, as I've said, I am very proud of him!
The music lives and breathes in the soul of Tara Lynch. Tara, daughter of Jerry Lynch (accordionist in the 1950s with the celebrated three-time All-Ireland champion Kilfenora C&eacute;il&iacute; Band), was born in New York. She learned her music from her father, and her style is steeped in the tradition of the old Kilfenora Band. The tune she plays on this track was part of the repertoire of the band in the 1960s and '70s, of which I was so honoured to be a member. I am also honoured to have Tara playing it for us: an unbroken link.
The amazing and distinctive fiddle music of Liz Carroll from Chicago is featured on this track. Here, she performs one of her own compositions in the creative playing style which is very much her hallmark. I am honoured that this great player so generously gave of herself and her composition for this collection. The tune named above was composed as a birthday present for Miss Chilcott. It also may be found in Liz's book,<em> Liz Carroll Collected: Original Irish Tunes</em>.
<p dir="ltr"><span>The exciting recording on this track was made by RT&Eacute; Raidi&oacute; na Gaeltachta, featuring master musicians Tony MacMahon and Steve Cooney. The first jig is associated with the piping of Brother Gildas O'Shea. The second jig of the set, 'Bryan O'Lynn', is one of a number of closely related tunes, variants of which include <a href="https://library.bc.edu/ds/connolly/document/453" target="_self">'The Planting Stick'</a> and <a href="https://library.bc.edu/ds/connolly/document/454" target="_self">'Magpie in the Tree'</a>, found elsewhere in this collection. The two tunes on this track were played together previously by Tommy Potts and Tommy Reck, and they make for a beautiful pairing. Although the first tune does not appear in sheet music form in this collection, both tunes may be found in </span><span><em>The Leo Rowsome Collection of Irish Music</em>.</span><span> Thanks to Malachy Moran, manager of Audio Services and Archive at RT&Eacute; Radio, for permission to use the recording for this project, and to Raidi&oacute; na Gaeltachta. A special 'thank you' to Steve Cooney for his generous help in tracking down the original recording, and for the great guitar playing that complemented Tony's magical performance. Tony, thanks for the music and for bringing this track to my attention.</span></p> <div><span>&nbsp;</span></div>
'Cloonlish House' was played for me years ago by its composer, Eddie Kelly. This hornpipe is played creatively and wonderfully here by Liz Carroll. <span id="docs-internal-guid-ae9627a6-30a3-3b0a-06d3-5d501d30f8e9"><span>Liz's masterful interpretation seems to slowly open the doors of Cloonlish House, inviting all of us in.</span></span>
A great old jig that I first played with the legendary Clare piper Willie Clancy. It seems appropriate that Padraic Mac Math&uacute;na, son of Ciar&aacute;n Mac Math&uacute;na, the radio and television presenter, should play it with me for this collection. Padraic spent much of his youth in Miltown Malbay where Willie Clancy lived, and Padraic's playing on the pipes is certainly a musical reflection of the nuances of Willie Clancy's music. Hospitality is at its best in the home of Padraic, his good wife Anne, and their lovely children. Sandy and I often reminisced about the evening we spent with them in Dublin, which was topped off when the man himself, Ciar&aacute;n Mac Math&uacute;na, shared a wonderful dinner with all of us.
I had no idea of the name of the fiddle player who performed this jig on a cassette tape I had of an old 78 RPM recording. However, my friend Paul Wells knew the tune and the fiddle player, whom he identified as Leizime Brusoe. Mr. Brusoe was born in 1870, of French-Canadian stock, and lived in the North Woods region of Wisconsin. He was a champion fiddle player who was recorded by the Library of Congress in the 1930s and '40s. The jig, played here for us by Jerry O'Sullivan on the uilleann pipes, will be saved for posterity thanks to Mr. Brusoe and my dear friend Jerry.
Here is another tune from the playing of Leizime Brusoe. Paul Wells provided the name 'Crystal Schottische'. I sent the tape over to S&eacute;amus and Manus McGuire, two wonderful fiddle players, who gave graciously of their time to learn and perform it for this collection. Beautifully played, lads. <br /><br />A book I have called <em>Mellie Dunham's 50 Fiddlin' Dance Tunes</em>, published by Carl Fischer in 1926, happens to include another version of this tune, called 'Old Times'. It was taken from the playing of Mellie Dunham, a fiddle player born in 1853 who lived in Norway, Maine.
The first time that I heard New England contra dance music was in 1972 in St. Louis, Missouri. It was on an LP recording of The Canterbury Country Dance orchestra from New England. Among the members of that band was Bob McQuillen, the prolific composer and long-time stalwart of the New England music scene. Bob had, at last count, over fourteen hundred tunes to his credit. The reel he plays here with his band, Old New England, was composed for my wife Sandy on May 20, 2006. Bob had met Sandy at Boston College during one of the Gaelic Roots summer schools of music, song, and dance. He had received a special award from Boston College on that occasion, an award well overdue, for his amazing contributions to the world of music. Thank you, Professor, for the tune and all your music and friendship. Bob's tunes may be found in his own published collections and manuscripts.
My friend Beth Sweeney is the librarian for the Irish Music Archives at the Burns Library of Boston College. When she finds time in her schedule, Beth likes to play music and compose. On this track she plays one of her own tunes, which she describes in this way: 'In the early 1990s I recorded a cassette tape of a few fiddle tunes I had composed, including this jig, and gave the tape to S&eacute;amus Connolly, my first teacher of Irish fiddle music. Years later, after listening to the tape again, S&eacute;amus asked me if I would record this particular jig for his collection. On this track I play both fiddle and piano. The tune is named for a dear friend of mine, Will Hardy, an award-winning designer and a great appreciator of music. The "twigginess" of the jig is a play on words, a reference to my friend Forrest, with whom I exchanged many a tune around the same time that this jig was written.'
This is another of master composer Bob McQuillen's tunes. It may be found in his seventh book of compositions. It was composed for Miss Hetty Thomae from Vermont. On this track I had the honour of playing it with Bob and his band, Old New England.
This tune is not a composition of 'Professor' Bob McQuillen, but of the master fiddle player from New Hampshire, Rodney Miller. Rodney is considered today to be the foremost exponent of the music of New England. He has traveled all over the world playing his music and passing it on through his teaching. Spending the day with Rodney at his home was an inspiration for me, and trying out the beautiful fiddles that he makes and sells was truly special. Thank you, Rodney, for the music and for the memories: you are one of my heroes.
Another song from the pen of Robbie McMahon. I first heard him sing it at a County Clare Fleadh Cheoil over fifty years ago, and it has stayed with me down through the years. Robbie sang it again for me the afternoon that I visited his home in 2009, and I was delighted to capture it on disc. Thanks again, my friend, for the joy that you have given to all of us who knew you and who loved your expressive interpretations of all those lovely songs.
Rev. John Quinn from County Leitrim sent me this tune in the 1980s. It was a copy of handwritten music from <em>The Mulvey Manuscript</em>. Stephen Grier wrote it out on the twenty-fifth of May, 1883. Father John has supplied me with many tunes from his part of the country over the last thirty years, for which I am most grateful. <br /><br />I am grateful also to the wonderful fiddle player Martin Hayes for taking time from his busy schedule to record this tune for me. Martin's playing, as always, has depth of soul, with an understanding of the tune's beauty and simplicity. Beautifully played with feeling and emotion. Up the Banner, Martin!
<span>Marie Reilly, the fiddle player from New York, played this reel at a Gaelic Roots Festival concert at Boston College, her alma mater. Thanks to Marie for bringing the tune to our attention. I did my utmost to find the tune's composer in order to give credit in the collection, but my efforts were unsuccessful. I now know that this delightful reel is a version of 'The Easy Club' composed by Jim Sutherland. The track is played here by Tara Breen and D&aacute;ire Mulhern, for whom I named the tune before I learned of its correct title. Thanks to composer Jim Sutherland for his lovely reel.</span>
Geraldine Cotter liked this tune the first time she heard me playing it. 'Let's try and record it', she said, and as I played the jig a second time she followed right along. This track is the result of our efforts. I do not have a name for this jig, but I have given it a title based on the fact that I first heard it many years ago on a 78 record.
A beautiful waltz played by its composer, Eliza Mette, from Cape Elizabeth, Maine, with Kimberley Fraser at the piano. Eliza made up this tune for her friend Summer, another young and talented musician. Eliza generously took the time (from doing her homework) to record it for this collection. When she went away to college, I missed hearing her play. I am happy to say that she is still playing her beloved fiddle and composing other tunes. Thank you, Eliza: keep playing and composing.
Sean Nugent and his Pride of Erin C&eacute;il&iacute; Band from County Fermanagh loved to play this jig. So too did Johnny McGreevy from Chicago, who played it for me in 1972 with piano player Eleanor Kane Neary. Jimmy Noonan on flute and Dan Gurney on accordion took the time in 2009 to learn it and record it for this collection. Thanks, boys: beautifully played with that great old swing! For want of a better or more current title, 'Pride of Erin' is fine in my book.
The young Cape Breton fiddle player Kimberley Fraser gives us an exciting blend of Irish and Cape Breton fiddle styles. She plays another reel from the music of County Tyrone fiddle player Tom Turkington (see <a href="https://library.bc.edu/ds/connolly/document/581" target="_self">'Tom Turkington's in C Major'</a>).
Cape Breton fiddle legend Mr. Buddy MacMaster gave this tune to our mutual friend, piano player Barbara MacDonald Magone. Barbara graciously passed it along to me when she recorded it for this collection in Portland, Maine, almost ten years ago.
The name Shand is synonymous with the traditional music of Scotland. The rock-solid rhythm and strict tempo of master accordionist and composer Sir Jimmy Shand are forever embedded in my mind. Joyous memories of Mr. Shand's music have remained with me all my life. They take me back to my youth in Killaloe, as we tuned our crackly radio to the Scottish airwaves to listen to the star of radio and television playing with his band. <br /><br />Moving further along in years, my wife Sandy and I visited Sir Jimmy's hometown of Auchtermuchty, Scotland in the hope of meeting the maestro. Deciding that an unannounced visit might be intrusive, we continued on our journey.<br /><br />This introduction to Dominick McCarthy's Irish Barndance may seem unusual; nevertheless, it seems appropriate to write about Sir Jimmy in order to write about his equally talented son Jimmy Shand Jr., accordionist, composer, and accordion tuner.&nbsp;On a recent visit to Auchtermuchty with my friends Drs. Jim and Cindy Polo, we were welcomed into the beautiful home of Jimmy Shand Jr. and his lovely wife Margaret. Jimmy had invited us, and on that trip I did not hesitate to knock on the door of the Shand residence. The kind warm hospitality that we received from Mr. and Mrs. Shand will now also be embedded in my mind. Music, stories, photographs, and holding Sir Jimmy's accordion were special treats on that occasion.&nbsp;<br /><br />And then our conversation turned to Jimmy Jr.'s music compositions. I told Jimmy that Dominick McCarthy from Clara in County Offaly had played the barndance for me over thirty years ago. Mr. Shand told me that he did not have any recollection of the tune. Upon giving Jimmy Jr. the sheet music, he began to whistle, and with a twinkle in his eye he smiled as the tune instantly came back to him. He was delighted to be reminded of this tune while saying it would be a welcome addition to his forthcoming book, <em>Jimmy Shand, Jr. Music Compositions.</em><br /><br />Unforgettable memories all around. Thank you, sir, for your composition and for the welcome that you and Margaret gave to Cindy, Jim, and myself. Jimmy, I hope you never stop playing and composing!<br /><br /><br />
The name of the legendary piper, pipemaker, composer, and teacher Leo Rowsome (1903-1970) is synonymous with the uilleann pipes. An icon of Irish traditional music, Leo devoted his entire life to the uilleann pipes and has numerous recordings to his credit. His friend Larry Redican composed this air in Leo's memory. I got it from Larry himself and had the honour of recording it with Liam O'Flynn, a former student of Leo's, on a record entitled <em>Notes From My Mind</em>. The pipes that Liam used on that recording were made by Mr. Rowsome. The air is soulfully played here by fiddle player John Daly from County Cork. More of John's own music and compositions may be heard on his CD entitled <em>John Daly</em>.
Accordionist Larry Gavin, a longtime friend, put this tune on tape for me a few years ago at his home in Tulla, County Clare. Larry is a repository of Irish music, and he raised this tune up from his deep well. Apparently the tune was played by members of the old Aughrim Slopes C&eacute;il&iacute; Band from County Galway back in the 1940s. Larry, together with East Clare fiddle player Miche&aacute;l O'Rourke and piano accompanist Charlie Lennon, recorded this version of the tune especially for me. The tune may also be heard on their own CD recording <em>Two Miles to Tulla</em>&nbsp;in a set with 'The Plains of Mayo'.
Thomas Power, fiddle player from Doonbeg, County Clare, had a repertoire of unusual old tunes. His son Michael, who lives in upstate New York, sent me a recording of his father playing this and a number of other tunes. Fiddle player Kevin Burke did a masterful job of learning this fine forgotten tune and endowing it with his magic swing. Incidentally, piper Padraic Mac Math&uacute;na suggested to me that this melody might well be related to the old song 'An tSe&aacute;n Bhean Bhocht', or 'The Poor Old Woman'. Musician and scholar Kieran O'Hare has brought to my attention the similarity between 'Thomas Power's Polka' and the song 'The Shearin's No for You' as performed by Scottish singer Ed Miller.
Multi-instrumentalist Brian Hebert from the Boston area conferred on me special recognition by composing and playing this slip jig. The chair mentioned in the tune's title is my endowed position as Sullivan Artist in Residence at The Center for Irish Programs at Boston College.
Master accordionist Bobby Gardiner from Clare composed this reel. I first heard it on an LP he recorded in Ireland, produced by his fellow accordionist Dermot O'Brien: exciting and wonderful music. When I asked Bobby if he would perform it again, for this collection, he told me that he had no recollection of the tune but I certainly could put the tune in the book. I convinced him to play it for me, but for that to happen, I had to send him a copy of the tune so that he could re-learn it. On a visit to Boston College, Bobby did record it and I greatly enjoyed that session. Barbara MacDonald Magone was with us that day and she &ndash; with her stories and laughs &ndash; made it a memorable occasion.
<p>Meghan Mette was one of the musicians featured on <a href="https://library.bc.edu/ds/connolly/document/555" target="_self">'A Polka for Matt'</a>. She is the younger sister to Eliza Mette, who can be heard on <a href="https://library.bc.edu/ds/connolly/document/728" target="_self">'Summer's Waltz'</a>.</p> <p>Here Meghan plays one of her own compositions and, below, she tells us in her own words how the tune came to be. What beautiful sentiments about our music and song from such a young person. It tells us much about her soul.</p> <p>'Every summer of my life I have gone with my family down to New Hampshire to spend a week on Squam Lake. These weeks are always wonderful, but my fondest memories come from a time when I was much younger, a time when the entire family was able to join us at the lake.</p> <p>For us, as children, the lake was a sea of mysteries waiting to be discovered and fully taken advantage of on sunny days: swimming, canoeing, going to the rope swing in Sandwich Bay, or maybe a motorboat ride out to the islands, setting up camp for a picnic. However, when a rainy day came along, we were far from disappointed. Today there would be a trip to Moultonborough. We would all pile into our cars and drive through the sprinkling rain &ndash; or the downpour &ndash; to Moultonborough Country Candy Shop.</p> <p>The tired floorboards would creak as all of us children ran to collect our brown paper bags at the front of the candy bar, our mothers calling "Five dollar limit!" It is amazing, however, how much candy one can purchase for five dollars at a penny candy store. On the car ride home we would trade some candy &ndash; as long as it was an equal trade of course...</p> <p>I wrote this strathspey in honor of those memories. Although we have grown up since then and many of my cousins no longer join us at the lake, we continue to go to Moultonborough once a year, because the tradition &ndash; like the music &ndash; must be passed on, never forgotten. Tradition is what allows us to hold the past dear, while all the time making and adding new memories and creations to our lives. We can never let these traditions die.'</p>
Paddy O'Brien, the learned and beloved accordionist from County Offaly who now lives in Minneapolis, recorded 'O'Brien's Tower', one of his many compositions, for me while on a visit to the home of Sally K. Sommers Smith Wells and her husband Paul Wells. Paddy possesses a vast repertoire of music, an encyclopedic knowledge of its history, and a profound understanding of the tradition. In his published music collections, a must for scholars and enthusiasts of Irish music, Paddy has compiled hundreds and hundreds of tunes, with stories for every one. Thank you, Paddy, for your music, your encouragement, and your enormous contributions to the traditional music of Ireland.
One of America's most distinguished master musicians, North Carolina banjo player, fiddle player, and composer Tony Ellis was out on his tractor one day when he began to hear this barndance in his head. Not knowing whether he'd heard the tune somewhere before, or if it was something new, he went inside and pulled out his fiddle. <br /><br />I was not at home when he rang me, but he played the tune onto my answering machine and asked if I had ever heard it. As soon as I received his message, I returned his phone call and told him that I had never heard the tune before. <br /><br />Later, on one of his CD recordings, <em>Quaker Girl</em>, Tony recorded the tune for posterity and gave it the above title. I am very proud that my friend, the wonderful fiddle player Liz Knowles, kept Tony's interpretation and feeling in mind yet added her very own nuances, colour, and variations when she played the tune for this collection. Thanks, Liz!
Paddy Kierse, as Ciarán Mac Mathúna said on his Radio Éireann program A Job of Journeywork, was a lovely old musician. Ciarán recorded his playing of this tune on a visit to north County Clare. Mr. Kierse, from Kilnaboy, near Kilfenora, had wonderful old tunes, stories, and history from that part of the county. Monsignor Charlie Coen from New York State, formerly of Woodford, County Galway, did an excellent job playing the tune in the style of Mr. Kierse. We recorded the tune at my home in Maine. Kevin McElroy pulled out Sandy's old guitar and strummed along.
America's foremost uilleann piper, Jerry O'Sullivan, learned this and a number of other tunes from recordings of Dan Sullivan and his band that I sent to him. Jerry recorded the tunes with the engineering expertise of Gabriel Donohue, himself an amazing musician, singer, and a man of many talents. The tune here is played by Jerry as a highland but it could also be played as a reel.
Flute player Mr. Jack Coen, brother of Monsignor Charlie Coen, was visiting his daughter Kathleen in Clinton, Massachusetts. I took a trip down that same day to meet Jack and to play a few tunes with him. Many of the tunes we played that day I had learned from a reel-to-reel tape of Jack and his friend Paddy O'Brien from County Tipperary. The tape was recorded in the Bronx, New York, in the 1950s, and a copy was sent back to Ireland. That day, Jack told me that Kathleen played the piano and, if I encouraged her, she might play a tune. Kathleen did play this polka with her father and I captured it as my prize for the day. With such a family connection, it is appropriate then that Father Charlie would be our performer on this track.
Another tune from the repertoire of Mrs. Ellen Galvin. It is played on this track for all of us to enjoy by one of my heroes, Josephine Keegan. Josephine again makes full use of modern recording technology in order to be recorded playing both fiddle and piano. A beautiful blend of West Clare and Northern Ireland fiddling. I have taken the liberty of naming the tune after the home area of Mrs. Galvin in County Clare.
The reel played here by Jerry O'Sullivan is another tune from the music of Boston's Dan Sullivan's Shamrock Band. Nicky McAuliffe told me that the tune is in P.W. Joyce's collection,<em> Old Irish Folk Music and Songs</em>. Nicky, you are a walking encyclopedia!
I had a scratchy old 78 RPM recording of a band from Boston and could barely identify the tune they were playing. I believe the person playing the accordion on the track was Billy Caples, a well-known Boston accordion player and teacher. I sent it to Baltimore to Billy McComiskey. He and flutist Laura Byrne learned the tune and made this recording with Donna Long playing the piano: shades of Boston's Dudley Street dance halls in the 1950s.
The accordion master Peter 'P.J.' Conlon recorded an amazing series of 78 RPM records. He recorded this jig (under the title 'Clancy's Jig'), as did his friend Bill Sullivan, who called it 'Conlon's'. Here it is played on melodeon by my nephew Damien Connolly.
The music of Ed Haley, a fiddle player born in West Virginia in 1883, has for over twenty years given me much enjoyment and pleasure. My good friend Mr. Joe Wilson, former director of The National Council for the Traditional Arts, gave me a tape of Haley's music. He played this particular tune in a very distinctive West Virginia style, but with a definite Irish influence, incorporating ornamentation similar to that employed by the Sligo fiddle players Coleman, Killoran, and Morrison, who came to America in the early 1900s. I asked S&eacute;amus McGuire to learn and play the tune for my collection. Masterfully played, thank you, S&eacute;amus.
Accordion player, fiddle player, and all-around entertainer Frank Quinn lived in New York and recorded for a number of record companies in the 1930s. I heard this reel played by him on an old 78 RPM recording. Jimmy Noonan plays flute on this selection and is joined by Dan Gurney on accordion. Together they give us a wonderful rendition of this tune. A great afternoon of music played at my home in Maine culminated in this reel which they had only learned that day. Thanks again, lads, for all the hard work.
I first heard this hornpipe in the early 1960s, played by Mr. Kieran Kelly, a wonderful accordionist from near Athlone, County Westmeath. The tune has been recorded by a number of musicians and has been given different titles, including 'The Low Level' and 'Fly by Night'. Settings of this hornpipe in two different keys may be found in Ryan's<em> Mammoth Collection</em>, where one is named 'Best Shot'. As my friend Peter Catto of Brookline, Massachusetts, cleverly suggested, 'When you fly by night, your best shot is to not fly at a lower level!' The tune is played on this track by Boston's own fiddle player, Brendan Bulger. Brendan gives the hornpipe a bouncy lift, clearly imparting his own unique musical imprint.
Jack Coen had a storehouse of older tunes from his native East Galway. Jack learned this tune from the playing of Jim Conroy, a flute player from his part of the country who was a great musical influence. It is played here for us by the one and only Joanie Madden.
I have a tape of a wonderful evening of music in the home of the Gavin family of Balbriggan, County Dublin, which includes this hornpipe played by Jimmy Keane from Chicago. I wanted to include the tune in this collection, so I phoned Jimmy to ask about its origins. He said the tune wasn't his composition, so after some thought I phoned Brian O'Kane (a member of the All-Ireland Champion Siamsa C&eacute;il&iacute; Band in the 1960s) in Dublin to ask if he knew anything about the tune. He informed me that he indeed had written it himself, but had no name for it. Looking back now, it seems that I had made an association between the names Keane and O'Kane, and their styles of playing, which happily led me to the identity of the actual composer of this fine hornpipe. Thanks for the tune, Brian, and thanks to Gr&aacute;inne Murphy for learning and playing it here for us.
Another of Jimmy Hogan's North County Clare tunes. It is played here, as was <a href="https://library.bc.edu/ds/connolly/document/463" target="_self">'Jimmy Hogan's Number One'</a>, by Josephine Keegan on fiddle.
Recorded by Se&aacute;n Maguire, the celebrated master fiddle player, with Josephine Keegan on piano, as well as by Maeve Donnelly and Peadar O'Loughlin on their CD <em>The Thing Itself</em>. A version of this tune was given to Breand&aacute;n Breathnach by John Maguire, a whistle player from County Cavan. John Maguire was Se&aacute;n's father. Brendan Bulger's playing of the tune is heard on this track.
The 'goings on' or happy and fun times in Ballyhaunis, County Mayo, give this slip jig its name. I first heard the tune played by the talented musical Quinn family from New York. A version of the tune may be found in O'Neill's great collection of Irish music. A tune well worth playing and worth its weight in gold: on this track performed for us by Shannon Heaton.
Mentioned earlier in this collection was <a href="https://library.bc.edu/ds/connolly/document/542" target="_self">The Pride of Erin C&eacute;il&iacute; Band</a> from Fermanagh, a group of wonderful people who loved to play their music. One of the band members was flute and button accordionist Se&aacute;n McCusker. Se&aacute;n has a number of fine tunes attributed to him and this tune is, I believe, one of his compositions. It is beautifully performed for us here by Damien Connolly.
I played a recording of this reel for my friend Jimmy Noonan. The identity of the player was a mystery to me, but Jimmy's astute judgment identified the musician as Patsy Hanly, the flute player from County Roscommon. Who better, then, to play this reel for my collection than Jimmy Noonan himself? Jimmy is joined by two-row button accordionist Dan Gurney. Patsy would be proud of their rendition.
Tina Lech, a former fiddle instructor at Boston College, performs this tune for all of us to hear. Tina learned the reel from a tape I gave to her of Larry Redican, the Dublin fiddle player who lived in New York. The tune's title was given to me by Nicky McAuliffe from County Kerry. Expert that he is, Nicky told me that master Cape Breton fiddle player Angus Chisholm had recorded it under the name 'The Bird's Nest'.
On that night in Ennis in the home of my brother Martin and his wife Pauline (see <a href="https://library.bc.edu/ds/connolly/document/585" target="_self">&lsquo;John Egan&rsquo;s&rsquo;</a>), I thought I had captured Kevin Crawford playing a slip jig called 'What Care I For The Minister?' However, in the confusion, commotion, and mayhem that ensued when we realised that the tape recorder had been unplugged, it turned out that the slip jig Kevin played that evening was one called 'The First Slip'. <br /><br />Featured here on this track, this melody also appears in <em>The Dance Music of Willie Clancy</em>, a collection compiled by Pat Mitchell and published in 1976. Everything turned out just fine, as it happens: 'The First Slip' is a wonderful melody, and I was able to get my friend Kathleen Guilday to play 'What Care I For the Minister?', found <a href="https://library.bc.edu/ds/connolly/document/538" target="_self">elsewhere</a> in this collection.
When we were traveling throughout America on the first Comhaltas Ceolt&oacute;ir&iacute; &Eacute;ireann tour of champion musicians, singers, and dancers in 1972, I had the great pleasure of playing this reel with fiddle player Paddy Glackin. Paddy and I played it again in the Raidi&oacute; Teilif&iacute;s &Eacute;ireann studios for this collection. Thanks to Peter Browne for his assistance in making this recording.
This tune bears the name of noted fiddle player Con Cassidy, and it may well have been played as a single jig in his native County Donegal. There was no doubt about West Limerick accordion player Donie Nolan's interpretation of it as a slide. He played it throughout Australia in 1994 when he and another group of artists, including 'M&eacute; F&eacute;in', toured that amazing continent. For this collection, Donie took the time to meet me and Sandy at Peadar's Bar in Ardagh, County Limerick, and over the humming of the fridge, he recorded Con Cassidy's slide.
The lovely fiddle music of M&aacute;ire O'Keeffe is once again heard on this track. The tune was passed down from John Lenihan to Maurice O'Keeffe, who in turn gave it to M&aacute;ire.
'The Bridge', as it was affectionately called, was home to Dinny O'Brien, concertina and fiddle player. It was also the home of accordionist Paddy O'Brien, my musical colleague in the 1960s and '70s. The bridge in question is on the road between Portroe and Nenagh, County Tipperary. As a tribute to the O'Brien family, and in particular to Paddy, I composed this reel. It is played on this track by a former student of M&aacute;ire O'Keeffe's, Tara Breen, a young fiddle player who has won the Fiddler of Dooney competition and the All-Ireland Championship. Tara's playing is a special treat. The tune is in E major, a key not commonly used in Irish music.
Traditional Irish music is on a strong footing, due in no small way to Peig and Mick Ryan from Murroe, County Limerick. At a time when the music was unpopular, Peig and her husband Mick worked diligently to promote Irish music and culture in all its forms. We have been friends forever it seems. Peig and Mick would visit my home in Killaloe, County Clare, and hearing Peig's flute playing and Mick's singing was always a delight. <br /><br />When my wife Sandy and I visited Peig a few years ago we recorded her music including this polka (with me playing along). At eighty-four years young, Peig had the same old enthusiasm and fondness for the music. Paddy Neil from near Newport, County Tipperary, recorded this polka for Ciar&aacute;n Mac Math&uacute;na over fifty years ago. I had originally named it for Mr. Neil, but I'm confident he would approve of my naming it for his friends and neighbours, Peig and Mick Ryan.
When I visited the accordion master Finbarr Dwyer at his home in County Clare, he played this jig, which he had composed when he was about ten years old. Finbarr did not think too highly of the tune: he can be heard on the recording describing it with the words in the above title. But I have no doubt that whoever hears this track will enjoy the creation of this prolific composer and extraordinary musical genius.
Back in the early 1960s, I was very friendly with Mrs. Taylor, the concertina player from West Limerick who lived in London. We exchanged many letters over the years in which music was always a topic. The well-known flute player Paddy Taylor learned 'The Limerick Jig' from his mother and recorded it for the Claddagh record company many years ago. It is played on this track, at a slower pace than Mr. Taylor's recording of it, by Nicky and Anne McAuliffe on fiddle and flute, respectively.
This hornpipe from Julia, John, and Billy Clifford is played here for us by Shannon Heaton on flute. The tune may be found on an LP that the Cliffords recorded during their years in London, England, entitled <em>The Star of Munster Trio, Music from Sliabh Luachra, Volume 2</em>.
John 'Scully' Casey, father to the great County Clare fiddle player Bobby Casey, was a well-known and respected fiddle player in his day. Bobby, in his generosity, recorded this reel for me years ago. It is played on this recording by Gr&aacute;inne Murphy.
I have known and admired the music of Eamon Flynn since 1957. Eamon, like myself, lived in Boston for many years, and we often played music together. When Eamon decided to move to the state of Vermont he began to compose some smashing tunes, including this one which he plays here on accordion. And, yes, Eamon did eventually go home to his native Mountcollins in County Limerick, where he now resides and continues to play and compose.
Another composer of fine tunes was fiddle and flute player Brendan Tonra from County Mayo, who immigrated to Boston around 1959. Brendan played this tune, one of his compositions, on a recording made in 1979 by the Boston branch of Comhaltas Ceolt&oacute;ir&iacute; &Eacute;ireann. It may be found in Brendan's own collection, <em>A Musical Voyage, with Brendan Tonra</em>, produced by his friend Helen Kisiel. My setting of this reel can be found on a 1989 recording called <em>Here and There</em>, on the Green Linnet label. The tune is played for this collection by S&eacute;amus and Manus McGuire.
I first heard this tune played as a hornpipe by Paddy O'Brien with The Lough Gowna C&eacute;il&iacute; Band in the early 1960s. In fact, the tune was originally composed as a four-part march by Gordon MacQuarrie of Cape Breton. MacQuarrie, a noted fiddle player and composer, published the tune in 1940 in his book <em>The Cape Breton Collection of Scottish Melodies</em>. <br /><br />It is fascinating to imagine the musical meetings that occurred when musicians from Ireland immigrated to America and encountered not only American-born players of Irish traditional music, but also players of Scottish music from Cape Breton. This tune is a great example of such musical cross-pollination. Perhaps Paddy O'Brien picked the tune up in America from a fiddle player, or from MacQuarrie's book, converted it to a hornpipe, and took it back to Ireland with him when he returned in the early 1960s. And now, 'The Bonnie Lass of Headlake' has travelled back and forth across the Atlantic many times; this time in fine style indeed, played by John Daly on the fiddle with Kevin Brehony at the piano.
Master fiddle player Danny Meehan from Donegal lived in London for many years. During his time there, Danny worked by day in the building trade. At night he would do what he liked best: he played his fiddle with his friends and colleagues, and in a group named Le Ch&eacute;ile. The group made two wonderful and exciting recordings. On their second CD, entitled <em>Ar&iacute;s</em>, Danny played this reel. It is masterfully played on this track by Liz Knowles, with that driving rhythmic style peculiar to County Donegal.
This track comes from the CD <em>To The Dance Floor</em>, released in 2006 by a Rhode Island-based group called The Gnomes. Among its members is Phil Edmonds, the composer of this beautiful tune. Phil and I went to the same school in Killaloe, where we learned to play the tinwhistle, and Phil's father, Eddie Edmonds, was one of my secondary school teachers. The words below are taken from the notes to their CD: <br /><br />'The Celtic Tiger is the term referring to the system of economics and way of life in Ireland for the past several years. While it has resulted in much wealth for many people (not all), the Celtic Tiger is devouring Irish Culture. Wherever money and material possessions become a priority, the quality of life decreases. Phil wrote this air, "The Celtic Lamb", hoping that Ireland, and all of us, will move towards a more sustainable and gentler lifestyle.' <br /><br />It gives me great pleasure to have another Killaloe man associated with this collection. Thanks, Phil, for the tune, and thanks to the rest of the band for their participation in this project.
Played here as a polka, this melody is a macaronic song, with Irish and English words. It is the one and only tune that fiddle player Matt Cranitch and I recorded for this collection. It came very naturally to us, since it is a famous song in our native province of Munster. The tune also appears in P.W. Joyce's collection <em>Ancient Irish Music</em>.
The art form of lilting is demonstrated here by Bobby Gardiner. My grandmother Elizabeth Collins (n&eacute;e Rochford), herself a very good lilter, told me that 'jiggers', as she called them, were commonly called upon whenever musicians were not available to play for dancers. Button accordionist Bobby Gardiner both lilts and plays with 'The Clare Swing'. Listen to him on these tracks lilting, then playing his very own tune. Barbara MacDonald Magone joins in on the piano.
Jim Corcoran is a wonderful friend who plays the fiddle and loves polkas. So does his teacher Laurel Martin, who composed this one for him. Here she plays it for all of us to hear and learn.
I have known Ted and Bridget McGraw of Rochester, New York, since the 1980s. I have great memories of playing with Ted in The Village Coachhouse, in Brookline, Massachusetts, a veritable musical institution that was owned by the Varian family of Cork. Here Ted recounts how he came to have a tune written for him and Bridgie by Jimmy Shand, Jr., renowned Scottish accordionist, composer, and accordion tuner: 'We were in Scotland in '86 heading out of Auchtermuchty looking for Jimmy Shand's house when I spotted Jimmy Jr. standing by his gate across the road. He was instantly recognizable from his record jackets. His famous father was adjudicating somewhere up the country so Jimmy Jr. graciously invited us in for a chat. When I saw his shop I immediately asked if he could convert an old Hohner Club Morino to Irish tuning. The bargain was made and even at that time, it was difficult to match the quality of 'Artiste' reeds, so about a year later the box came back to me in Rochester with the tune enclosed, dated Oct. '87. The tone quality of the box, by the way, was beautiful!' The jig is played here for us by Josephine Keegan on fiddle and piano.
I remember listening to Frank Claudy playing his whistle in the room next to mine at Gavin's Golden Hill Resort in East Durham in the Catskill Mountains of New York during a week of Irish music, song, and dance. The reel on this track, a composition of Frank's, caught my attention. Frank kindly recorded it for me for this collection. He named it for Patrick McComiskey (a son of Billy and Annie McComiskey) and his bride-to-be, Lisa Farrell.
This reel was composed by S&eacute;amus McGuire in honour of Chestnut Hill, Massachusetts, the location of Boston College. S&eacute;amus was invited to teach and perform at the Boston College Gaelic Roots Festival. He plays his tune here with his brother Manus McGuire on fiddle and Garry O'Briain on mandocello and piano. S&eacute;amus, Manus, and Garry were also part of the teaching staff at the University's Gaelic Roots Festival.
Barbara MacDonald Magone is the composer of this happy reel. She plays it for us in her own beautiful style. Barbara is admired by musicians for her solo piano playing and her sensitivity when performing with others. She composed 'Ashcraft-Fraser House' for Sally Ashcraft and Alasdair Fraser, the great ambassador of Scottish fiddle music, when they bought their first home in California.
Catherine McEvoy composed this jig. I named it 'Catherine's Classroom' after reading her story of how the tune came about. In her own words: 'I have a wooden cabin at the back of the house that I use for teaching in, and for musical purposes. I was on my own one evening waiting for pupils to come, and playing a few tunes, and it just came to me. I called it "The Cabin Jig" just to give it a name when I wrote it down, hoping to come up with something better. Unfortunately, it's not a very exciting story, and I never did get round to re-naming it.'
This grand old jig appears in <em>O'Neill's 1001</em>. I first heard the legendary Joe Burke play this tune with the lovely surprise variation in the second part. Thanks to Holland Raper for learning the tune and playing it on her fiddle. She is a former student of Mick Gavin of Meelick, County Clare, and Detroit, and, at the time of writing, a student at Berklee College of Music in Boston.
The town of Portumna in County Galway was a port of call for my father, Mick Connolly, when he worked on the River Shannon. During school holidays I often sailed with my Dad up and down the river and I always looked forward to docking in Portumna after the twenty-five mile trip on Lough Derg. <br /><br />The bridge spanning the Shannon at Portumna always held a fascination for me, particularly when it was raised to let larger boats sail underneath. I loved to swim in the clear waters of the Shannon, and diving from the high bridge of Portumna was always a test of nerves and possibly a way of being a 'show off'. During one of my crazy show-off dives I twisted my back and though I lived to tell the tale, I carry a souvenir of that dive to this day! <br /><br />I wonder if my good friend, accordionist and composer Martin Mulhaire, ever jumped or swam near the bridge. However, I do know that he composed this grand reel, which is masterfully played here by Liz Carroll on her fiddle.
The long version of the reel 'Lord Gordon', which the great Michael Coleman recorded in the 1930s, contains a number of parts which are attributed to that master County Sligo fiddle player. Another version, with two parts, was recorded on a 78 by musicians from the Ballinakill area of County Galway. Here, Monsignor Charlie Coen gives us still another two-part setting of the tune, which he has given the clever title 'Lord Gordon's Father', surmising that the origins of Michael Coleman's masterpiece lie in an older, simpler setting of the tune, perhaps somewhat like this one.
A two-part version of 'Flee as a Bird' is another tune which I recorded from Julia Clifford and her son Billy in the early 1960s. It can be heard <a href="https://library.bc.edu/ds/connolly/document/443" target="_self">elsewhere</a> in the collection. Here, a longer setting of the tune, which can be found in <em>Ryan's Mammoth Collection</em>, is performed by the wonderfully talented Kimberley Fraser from Cape Breton, Nova Scotia, Canada. Kimberley spent a few days with Sandy and me in our home in Maine, and we had lots of laughs and great music.
The rock-solid accordion music of Dan Gurney is heard on this track. When I asked Dan if he composed any music he was very humble as he answered, 'I did but it's not much good'. I'm sure that those who listen to this track will love your tune, Dan, and sing your praises. It's a lovely composition and you play it beautifully. Thanks for being so gracious.
Maeve Donnelly plays a composition of master composer Mrs. Matilda Murdoch, the queen of New Brunswick fiddle playing. Matilda has numerous compositions to her credit and she takes great pleasure in passing the tunes along to musicians eager to learn them. Matilda was delighted to hear the musical confluence that resulted when Maeve played this New Brunswick tune in her wonderful Irish fiddle style.
Paddy O'Brien from County Offaly made this tune for Sarah Kelly, the daughter of his friend and musical cohort, fiddle player James Kelly. All who attended Sarah's wedding had a wonderful day. Paddy, in his own unique style, performs it on this track.
Turlough O'Carolan's eighteenth-century compositions have attracted the attention of musicians all over the world. His music occupies a unique and permanent place in the repertoire of Irish traditional music. I learned this tune from the guitar playing of my friend Anisa Angarola. We played it together on Anisa's CD <em>Birdwatcher Hill</em>, and that track appears here. The tune can be found as number 174 in Donal O'Sullivan's magisterial collection <em>Carolan: The Life, Times and Music of an Irish Harper, Volume 1</em>.
Peggy Monaghan was Sean Nugent's sister, and he honoured her with this fine reel. It is played here by his son Larry Nugent. Thanks, Larry, for the tunes!
This is another tune that was given to me by accordionist Larry Gavin, who lives in Tulla, in east County Clare. A version of this slip jig may be found in <em>Ryan's Mammoth Collection</em>. It is played here in fine style by the talented Gr&aacute;inne Murphy.
Spancilhill in east County Clare gives its name to this song which I first heard around 1958, sung by Robbie McMahon, who was himself from that very same neighbourhood. Robbie gave us his updated rendition during a wonderful afternoon of singing in his home a few years ago, after Mrs. Maura McMahon, in her usual manner of hospitality, served us a fine Irish meal. Robbie told my friends and me that Michael Considine from Spancilhill wrote the song. Mr. Considine was born around 1850 and immigrated to America as a young man. His intent was to bring his sweetheart to America when he had saved enough money for her passage, but, suffering from poor health, he somehow knew that his dream would never materialise. He passed away around 1873 in California, but the song found its way back to County Clare and was popularised by Robbie's singing of it.
This tune is a composition of master fiddle player Jimmy McHugh, the 1957 Tyrone-born Senior All-Ireland fiddle champion. I remember well witnessing Jimmy's performance in the Senior Fiddle Competition in Dungarvan, County Waterford, and watching him holding the Michael Coleman Perpetual Cup when he was awarded first prize. It was the first All-Ireland Fleadh Cheoil I ever attended. Jimmy's son Benny McHugh, a fiddle player who lives in Glasgow, graciously recorded a number of his father's compositions, including the one heard here. Not having a name for it, I decided on the above title, 'Jimmy McHugh's'. Sounds good to me.
One of the young musicians featured in this collection and for whom I have much admiration is Eric Eid-Reiner. In his own words he tells us about his composition's title: 'This tune has nothing to do with hunting, despite what one might logically guess. I wrote this reel while waiting a long time for a taxi from a company with 'fox' and 'field' in its name. I observed several taxis from that company pass right by before mine finally arrived.' Since writing this tune in 2007, Eric has slightly revised the melody, which can be found in his book of original tunes and heard on a 2014 CD by The Moving Violations. The band members on that recording are Van Kaynor and Ron Grosslein on fiddles, Eric Eid-Reiner on piano, and Chuck Corman on bass.
Flute player Shannon Heaton wrote 'Top of the Bow' for her friends Emerald and Eden, two fiddle-playing sisters. They had their fiddles out in the car, learning a tune on the way to a gig. However, after realizing that their playing had left little marks in the car's ceiling, they decided that it's best to use just the very tip-top of the fiddle bow when playing in the car...
Growing up in Ireland, and while practicing my fiddle in the home of my grandmother, <span>Elizabeth Collins (n&eacute;e Rochford)</span>, I drank many's the mug of black tea. I remember her tea being very strong and having to drink it without milk. I questioned my granny as to why she made it so strong. Her response to me was that it was 'no good unless you could trot a mouse on it'. Food for thought I suppose. <br /><br />My good friend, the wonderful musician Josephine Keegan, composed this lovely tune. She plays it here for us on fiddle to her own piano accompaniment. Josephine did make some tea for Sandy and me when we visited her home in County Armagh and she did have milk! Josephine's composition may also be found in <em>The Keegan Tunes, Cuid a Tr&aacute; (Book 3)</em>.
Broadcaster and collector Ciar&aacute;n Mac Math&uacute;na recorded this tune from John Ryan, the concertina player from County Tipperary, who lived on Thomas Street in Dublin City, across the street from the headquarters of the old Pipers' Club. The tune is played here by my nephew Damien Connolly on melodeon.
This tune was played for me by Johnny McGreevy in 1972 on my first visit to Chicago. It may be found in <em>Ryan's Mammoth Collection</em> and in <em>O'Neill's Music of Ireland</em>. My gratitude to Tina Lech for her interpretation of this fine old reel.
Uilleann piper Jerry O'Sullivan recorded this hornpipe for the collection. Taking it from an old cassette tape of Dan Sullivan's Shamrock Band which I gave him, Jerry reversed the order of the parts. I was never certain as to which was the first and which was the second part, as the recording on the tape I had began in the middle of the tune. At least now my mind is set at ease, thanks to Jerry. I never did have a name for the tune, hence 'Dan Sullivan's Favourite' became its title. Dan Sullivan was an amazing musician who did much for Irish music through the many 78 RPM recordings that he and his band made.
A hornpipe in the key of B-flat beautifully played for us by Kimberley Fraser. It may be found in <em>Ryan's Mammoth Collection</em>. Somehow, the tune found its way to Ireland and into the hands of Se&aacute;n McLaughlin, a fiddle player from County Antrim. Se&aacute;n won the Senior All-Ireland fiddle championship in 1958 in Longford. He played many fine tunes when he broadcast on radio and television, including this hornpipe.
Keith Corrigan played melodeon and had some grand old tunes including this jig. It is another of the tunes that he played for me at his home in Qu&eacute;bec. It is played on this track by Damien, my nephew.
The inimitable fiddle master Se&aacute;n Maguire recorded this tune, with Josephine Keegan at the piano, on one of their records. Here we hear Gr&aacute;inne Murphy giving us her special rendition of Maxwell's Reel.
The leader of the band Cherish the Ladies is Joanie Madden, who plays this tune for us on the flute. I first heard Eddie Moloney play it. Eddie came from Ballinakill in County Galway and may have named the tune. Tommy Whelan was a member of the Ballinakill Traditional Players. However, I do not know if he indeed owned a sow...
I knew that Billy McComiskey, Laura Byrne, and Donna Long, with their superlative musicianship, would be the right people to play this tune. I learned it many years ago from my long-time friend Mr. Larry Gavin. Billy was curious as to where the jig had come from, while saying in a few words that it sounded to him like a beautiful old melody. Glad you like it as much as I do, Billy.
A tune not often heard is this set dance. I am grateful to Mr. Larry Redican Jr. for giving me permission to present his father's performance of it in this collection. I have fond memories of Larry Sr. playing it for me in my home when I lived in Ireland.
A hornpipe played with great feeling and understanding by the great accordionist, the one and only James Keane from Dublin and New York. This tune first came to my attention a number of years ago when Larry Gavin performed it at Aonach Paddy O'Brien, in Nenagh, County Tipperary.
Kevin Burke learned this tune from a tape of Larry Redican which I sent to him, one of a number of tapes given to me by dancing master Mr. Roger Casey. Kevin plays this jig in his own lonesome and swinging style.
Another tune recorded the evening that Sandy and I traveled to Ardagh, County Limerick, to Peadar's Pub to record the exciting music of accordionist Donie Nolan. This is also a tune that Donie played in concert during our musical tour of Australia in 1994.
I first heard this tune played by fiddle legend Mr. Paddy Cronin from County Kerry. Paddy had a gift for breathing new life into lesser-known tunes. This reel is performed for us here by Liz and Yvonne Kane, two well-known musicians from County Galway. I love the fiddle music of Paddy Cronin, and in asking Liz and Yvonne to learn and record this reel I think I made the perfect choice.
Leo Rowsome recorded this intricate hornpipe many years ago on a 78 RPM record. I recorded it with master piper Liam O'Flynn in 1988 on my record <em>Notes From My Mind</em>. On this track flute player Kevin Crawford joins me in keeping the tune alive.
The beautiful singing voice of All-Ireland Champion Rita Gallagher is once again heard on this track. The words of the song, and the others that she sang for the miscellany, appear courtesy of Rita. Thank you, my friend. More wonderful singing from Rita may also be heard on her 2010 CD recording, <em>The May Morning Dew</em>.
This jig was played in my home in Killaloe, County Clare, when I was a young boy. It was not played by me, but by button accordionist Terry Lane on the turntable of our record player! Now, whenever I hear Mr. Lane's recordings, or 'Mordaunt's Fancy', it brings back childhood memories. My friend Geraldine Cotter from Ennis, County Clare, joins me on piano. We recorded the track in Geraldine's home in front of a blazing turf fire.
I have had the great pleasure of living in New England for many years, first in Massachusetts, and now in Maine. When I reflect on the beauty of the region, I picture its snow, its mountains, rivers, and lakes. I think of springtime when everything greens up and comes alive. I think on the changing colours of autumn leaves, the amazing foliage, and the turning of the seasons. All of the above are wonderful gifts and all are part of nature's beauty. These visions are forever captured for me in this lovely musical piece, composed and performed on this track by fiddle player Rodney Miller from New Hampshire.
This jig is tune number 304 in [George] <em>Petrie's Complete Irish Music</em>. It is given a special melodic lift by Larry Gavin and Miche&aacute;l O'Rourke on accordion and fiddle. Charlie Lennon adds his own unmistakable accompaniment on piano. They recorded this version of the tune especially for me. The tune may also be heard on their own CD recording <em>Two Miles to Tulla</em> in a set with 'The Galway Jig'.
Joe Burke, my lifelong friend, was leader of The Leitrim C&eacute;il&iacute; Band, named not for the county of Leitrim, but for a townland in east County Galway. I was honoured to have been a member of that musical group when we won the Senior C&eacute;il&iacute; Band competition in 1962. Ambrose Moloney was one of the flute players in the band and during a tour of England he gave me this tune. I had the honour of recording this reel in the early 1970s with the legendary Tipperary accordionist Paddy O'Brien, with Charlie Lennon at the piano.
On this track we hear a lovely reel performed by its composer, Barbara MacDonald Magone. Barbara tells us in her own words below how the tune came to be: 'In the spring of 2005, the San Francisco Fiddle Club (of which I am a member) took a tour of the Pacific Northwest. We traveled in two huge buses which were somewhat modified to accommodate the fiddle players (i.e., an area for sessions and refreshments). These buses were aptly named "Strathspey Bus" and "Reel Bus". I rode on the latter. Although I was a bit apprehensive at first about the trip, it turned out to be a wonderful experience. Bonnie Rutherford, a younger member of the SFFC, helped me to come up with the name of this tune.'
My long-time friend Margaret Lawrie from Birmingham, England, composed this lovely air. The tune was the title track on her latest CD recording, which was dedicated to ten-year-old Rose Cronin, who died of leukemia. Meg told me that she took pictures in the grounds and graveyard of Hereford Cathedral and began to think of all the musicians down through the ages who had played music in this ancient place. Thus, 'Ancient Stones'. Margaret and Michael Burnham perform the tune on this track on piano and violin.
My nephew Damien Connolly plays his own composition on this track. I asked Damien for information on the tune and its title. He writes: 'I composed this tune on an old fiddle I purchased at an auction. The fiddle itself wasn't great, but it had a really nice tone. One day while playing around with the overtones on the lower strings, this tune came out. I just loved how gutsy the tune sounded so I called it "Savage Paddy". Whenever I love anything I say that it's "savage".'
Joanie Madden of Cherish the Ladies fame composed this happy jig. In her own words Joanie tells us of her inspiration: 'I was inspired to write this tune after a very rocky ferry ride to the beautiful island of Inishbofin off the coast of Connemara in County Galway'.
Another young player who contributed to this project is Sean Gavin from Detroit, son of fiddle player and teacher Mick Gavin from Meelick, County Clare. Here Sean plays the flute on one of his own compositions, a strathspey that somehow must have many stories behind its title. He is joined by his musical friend, fiddle player Devin Shepherd.
Monsignor Charles Coen recorded the jig on this track. In his own words, Father Charlie tells us what he knows about the tune: <br /><br />'This tune "The Key in the Cill" or "The Key in the Kiln" was popular in Woodford when I was growing up. It was a great favourite of Bill Logue's. Bill took a strong sweet tone from a flute and had amazing breath control. As with many Irish tunes, the title doesn't have to make sense. "Cill" being the Irish for "church", the title could mean "The Key in the Church", or "church key", or the latter sometimes a humorous name for a corkscrew, or "Kiln" being a place for burning lime, it may have some strange connection with that. The tune is important for me because I made my debut along with Bill's son Josie at a church concert playing it on two fifes. I was ten and Josie was eight and it was the only tune we both knew. My mother had some words to that melody as follows: <br /><br />"The girls are on the lookout young men, <br />The flowers are blooming, <br />It is Spring and June will surely a wedding bring. <br />The girls are on the lookout young men."' <br /><br />Sl&aacute;n, Charlie.
Another fine tune from fiddle player and composer Mrs. Matilda Murdoch from New Brunswick, Canada. Maeve Donnelly from Quin in the County of Clare delightfully performs it on this track with an Irish interpretation. This was exactly what I was hoping to hear, and it also pleased Mrs. Murdoch very much.
As I travel throughout the country, I have a compulsive habit of looking at street signs in the hope of discovering a good name or title for a new musical composition. I have seen a few variations on the above title and often wondered what road accordionist Paddy O'Brien was referring to when he named this tune, one of his many fine compositions. Paddy, from County Offaly, has been a friend and inspiration for many years. I have fond memories of him and me as teenagers playing music together in Tullamore, County Offaly. We were both young then, but the memories live on.
Jack Coen gave me the name for this jig, which can be found as a two-part tune in A major in the <em>O'Neill's 1001</em> collection. I first heard the tune played by 'The Man of Many Tunes', Larry Gavin. I also heard a version of it performed by Mr. David Curry and his orchestra in a radio broadcast when I was still living in Ireland. A classical musician, David Curry took traditional tunes in the public domain and arranged them for orchestra. Maine flute player Nicole Rabata and I play David Curry's four-part setting of 'Old as the Hills'. We transposed it to the key of G major, the key that Larry Gavin played it in many years ago.
While reflecting on Eric Eid-Reiner's musical compositions, my first thought was that he created 'happy music'. Indeed, as Eric himself described it, this is 'a light-hearted jig with a sense of humour'. Eric kindly arrived at Boston College one Sunday morning at eight o'clock to record this tune in the Irish Room at Gasson Hall. An unreasonable and unnatural hour, one might say, for a musician to record. Thanks for being so gracious, as always, Eric.
Eamon Flynn composed this slow jig for his daughter Sarah on Valentine's Day when she was five years old. Sarah asked her dad to 'do a song' for her. What a lovely present to get, one that will remain documented forever. This recording comes to us courtesy of Eamon. It was taken from his CD <em>Down by the Glenside</em>, which he recorded with our mutual friend Helen Kisiel playing piano.
The wonderful young fiddle player Devin Shepherd, from Chicago, composed this tune and gave it to me for this collection. Lovely music, Devin. He gives us the tune's history: 'My idea with this tune was to compose something that sounded truly traditional. Therefore, I was delighted when the Cork fiddle player John Daly, who lived in Chicago for many years, commented that this tune was "like one the old guys would play back home"'.
This fine tune comes to us through the courtesy of Richard Dwyer, multi-instrumentalist, singer, and composer from west County Cork, now living in Ennis, County Clare. Richard graciously allowed me to use this excerpt from his solo accordion and fiddle CD <em>In a Creative Mood</em>, a recording which is a must for admirers of his music and compositions. The title of the tune refers to the home of Richie's sister Margaret in West Cork, where he stayed while making the recording. Richard is accompanied by Miche&aacute;l O'Rourke on piano, who is heard elsewhere in this collection (<a href="https://library.bc.edu/ds/connolly/document/477" target="_self">'The Galway Jig'</a> and <a href="https://library.bc.edu/ds/connolly/document/498" target="_self">'The Plains of Mayo'</a>) on the fiddle.
And here is Julia and Billy Clifford's version of 'Flee as a Bird', which they recorded for me that night so long ago in Tralee, County Kerry. (Kimberley Fraser's version of this tune is <a href="https://library.bc.edu/ds/connolly/document/437" target="_self">here</a>.)
There are a number of versions of the ever-popular air 'The Coolin'. Two versions may be heard on this track, performed by harper/singer P&aacute;draig&iacute;n Caesar and her sister Siobh&aacute;n on whistle. An English translation of the poem, written in the Irish language in the seventeenth century by Maurice O'Dugan, may be found in the anthology <em>1000 Years of Irish Poetry</em>.
<a href="https://library.bc.edu/ds/connolly/document/581" target="_self">Tom Turkington's performance on my fiddle that night long ago</a> in County Clare featured this hornpipe in B flat. I don't have a title for this tune, so I pay tribute to Tom Turkington by naming it for him. Listening to the great Kimberley Fraser's performance of the tune brings me back in time and somehow makes me long for that old fiddle of mine.
Another tune popular in Boston during the days of the Dudley Street dance halls was this polka. It is played here on uilleann pipes by Jerry O'Sullivan from New York.
Another composition by Margaret Lawrie, twin sister of Kathleen Lawrie, who plays on several tracks in this collection. The tune somehow reminded her of scenes she encountered in the Welsh Highlands, so Michael Burnham, who plays fiddle on this track with Meg on piano, suggested she name it for Winifred, a Welsh saint. The tune was also recorded by Margaret and Michael for their CD <em>Bygone Days</em>. I am delighted to have the tune included in this collection.
Who better to perform this tune than Martin Hayes, whose home place in County Clare is close to Lough Graney? This reel was shared back and forth across the Shannon among musicians from counties Galway, Tipperary, and Clare. Martin's treatment of the tune gives us exactly what I hoped to hear: his deep insight into the stylistic elements of this lovely reel.
Many of my fellow chronic misplacers of keys can relate to the above title. What a great name for a great tune! It is played here in grand style by its composer Richard Dwyer in another excerpt from his solo CD <em>In a Creative Mood</em>. Richie's wonderful playing of this happy reel on the accordion brings a smile to my face and lifts my heart along the way.
Rodney Miller once again demonstrates that he is not only a fiddle player of extraordinary talent, but also a fine crafter of tunes. Here he plays his composition 'Turlough'.
During one of his short visits to Boston from his native County Donegal, the great gentleman Tommy Peoples took time out of his busy schedule to record this tune for me at The Center for Irish Programs at Boston College. It was a thrill and an honour for me to spend time with this master musician, an afternoon of music that will stay with me forever.
A lovely slip jig played here for us by its composer, master fiddle player Larry Redican. Lough Key in County Roscommon is one of the beautiful lakes in Ireland famous for its fishing.
I was honoured when Mrs. Matilda Murdoch from New Brunswick composed this hornpipe for me on her ninetieth birthday. After a night of playing music together at her daughter's home in Massachusetts, Matilda presented me with this very recording of herself playing her composition. A wonderful lady, a great composer and fiddle player, Matilda Murdoch has done much for the music of the Gael. God bless you, my friend. Gabriel Donohue added piano accompaniment to Matilda's fiddle, and we both spoke to her at her home as she celebrated her ninety-second birthday. She loved the track with Gabriel's piano playing. She asked Gabriel if he would go on tour with her &ndash; so young at heart!
Another tune from the pen and heart of fiddle player Matilda Murdoch is the one played on this track by Maeve Donnelly. Maeve remains true to the spirit of Matilda's own style of playing, while giving it her own personal interpretation, weaving through the tune with an Irish and Canadian touch. Thanks again, Maeve, and thank you, Matilda: from Canada to County Clare.
This barndance is another tune from the repertoire of Boston accordionist Billy Caples. I am joined by Nicole Rabata playing flute and Kevin McElroy playing the tenor banjo. Gabriel Donohue later added his piano playing to the track.
Mr. Jack O'Hanley from Boston via Prince Edward Island, Canada, was ninety years of age when he gave me this tune. Jack's command of the fiddle at such an advanced age was simply amazing. I visited his home often and we enjoyed one another's company and music very much. The reel as played on this recording is a joy to hear. John Daly from County Cork does us the honour with his beautiful expressive fiddle playing, remaining faithful to the relaxed tempo that Mr. O'Hanley employed when he recorded this tune for me.
In this song, the old man sitting by the fireside calls his sons together to relate to them what it was like living and surviving in days gone by: true stories of tough times. Running somewhat parallel with the words of this song are words spoken to me by a wonderful lady in Killaloe who was born in the year 1866. I interviewed her in 1960 and asked what she attributed her long life to. She answered, 'Hard work and plain food, with half enough of it sometimes'. Sobering words, indeed. <br /><br />Robbie McMahon, the master balladeer and composer, sings for us once again on this track. I first heard him singing this song around the same time as I did that interview with the lady from Killaloe. Robbie's compositions often tell of days gone by. He was a powerhouse of information and history, and his delivery of these songs had a way of transporting us back in time. He was a household name in County Clare, and in my home he was loved by all within. <br /><br />The final verse in his song opens with a call for Father Dan. It was this same verse that appeared by kind permission on my mother's Memorial Card when she 'passed on to her eternal shore'. Thanks to my brother Michael for reminding me of Robbie's composition. The master kindly sang it for me again when I recorded him in his home in Spancilhill, County Clare, a few short years before he himself went to his place 'far beyond the sky'. The lines below are from that same last verse: <br /><br />'Oh Father Dan, how are you, and come over here to me. <br />Come lay your holy hand on me for I am on my way, <br />To a land that's far beyond the sky where I'll have pains no more, <br />For God himself has called me to his own eternal shore.' <br /><br />Robbie, we will miss you. Your likes will not be seen again.
My dear friend Ann Mulqueen, formerly of Castleconnell, County Limerick, and now living in An Rinn, the Gaeltacht area of County Waterford, is the singer on this track. Ann travelled throughout Ireland competing at Fleadhanna Ceoil, and she was much sought after as a performer of the great ballads of Ireland. She amassed a huge collection of songs from her grandmother, which no doubt were helpful to her during her competitive years, when she won a number of All-Ireland singing titles. On this track we hear her singing 'Eochaill', a love song in Irish which she learned from the great Gaeltacht singers of An Rinn. This track appears on her CD, <em>Mo Ghr&aacute;sa Thall na D&eacute;ise</em>. The English translation of the lyrics is provided courtesy of Tom&aacute;s &Oacute; Ceilleachair.
This well-known jig is performed on this track by yours truly, S&eacute;amus Connolly. With help on the banjo from my friend Kevin McElroy, we offer this grand two-part jig as a way to invite musicians to play this tune once again. The interesting second part of the tune comes from the fiddle playing of Thomas Power from Doonbeg in County Clare.
One could say not a very pleasing or romantic title, but certainly a tune worth preserving, even more so when it's played on the fiddle by Maeve Donnelly. Whilst driving through Italy with Chrysandra (Sandy), my wife, this old jig came into my head, and I scribbled some of the notes on paper so that I would remember it again. I had first heard the tune played on the C&eacute;il&iacute; House programme in the 1960s by the well-known nine-brother band The McCusker Brothers, from Northern Ireland. What a pleasant coincidence it was, upon my return from Italy, to hear the tune on Maeve's 2002 recording <em>Maeve Donnelly</em>. Maeve has done me the honour of playing it again for this collection.
This air, played here by its composer, Josephine Keegan, is a special tribute to her friend M&aacute;ire McDonnell-Garvey, author of numerous books on the history and music of the West of Ireland. M&aacute;ire worked all her life promoting traditional Irish music. She was secretary to the Dublin County branch of Comhaltas Ceolt&oacute;ir&iacute; &Eacute;ireann, and she was a fine fiddle player in the Roscommon and Sligo styles of playing. Thank you, Josephine, for remembering M&aacute;ire with this lovely air.
David Reiner has published a number of fiddle books, including <em>Anthology of Fiddle Tunes</em> (Mel Bay). According to Dave, this tune came together in his head while he was hiking with his parents and brother in the Canadian Rocky Mountains. After he returned from the hike he picked up his fiddle and, he writes, 'made a few improvements to the tune, including the ending that tumbles down arpeggios like a waterfall into a canyon.' The great Liz Carroll recreates Dave's musical hiking adventure with her interpretation of this composition.
Irish c&eacute;il&iacute; dancing was very popular in the late 1950s and early '60s, and dancers loved the idea of dancing to the music of different bands. In the late 1950s I was invited to join The Ormond Star C&eacute;il&iacute; Band, one of a number of bands that were formed around the banks of The Shannon and Lough Derg. The Ormond Star counted among its members many fine musicians, including All-Ireland champion button accordionist Paddy Ryan from Coolbawn, Nenagh, County Tipperary, and fiddle player Liam O'Connor, originally from Brosna, County Kerry. Liam taught me many tunes, including the one played on this track by my friend Nicole Rabata on flute, with myself on fiddle. Just for the record, The Ormond Star did travel to Dublin to make a long-playing recording &ndash; exciting times for me as a teenager.
Flute player Frank Neylon had a repertoire of fine tunes associated with his native Kilnaboy in north County Clare. Frank was living in Boston, Massachusetts, when I arrived there from Ireland in the 1970s. He was well-known and respected by all as a gentleman and a fine musician. He made some 78 RPM recordings with the County Kerry fiddle player Paddy Cronin, and he was featured on a long-playing record that I produced of musicians living in and around the Boston area in 1979. I asked Nicole Rabata to learn this reel from Frank's flute playing. For want of the tune's real title, I took the liberty of naming it after a landmark in Frank's home area.
New England is known for its ever-changing weather patterns, and for snow, rain, sleet, and ice. In 2008, the New England states were badly hit with an unforgettable ice storm. People were stranded and without heat in their homes for weeks. Trees were laden down with ice, and the roads were treacherous to drive and walk on. One of the good things that came as a result of the ice storm is this tune composed and played here by Rodney Miller. Certainly, Rodney, your tune will forever remind us of those glittering shiny trees, the downed electrical and phone lines and, of course, the wonderful people who work so hard and so diligently to bring our lives back to normal in the aftermath of such a storm.
When I visited Finbarr Dwyer at his home in Clarecastle, County Clare, he generously made a recording for me which included this less familiar composition of his. Finbarr was most humble and did not give his tune much credit, let alone a title. He would probably have given us a different interpretation had he played it again for me. That's Finbarr, a master musician, composer, and improviser &ndash; surely a genius if ever there was one.
Josephine Keegan, the prolific composer, fiddle player, and pianist, made up this top-notch tune. Thanks, Josephine, for sending it to me for inclusion in this collection.
The revered traditional music group The Boys of the Lough performed in Boston in the late 1980s. At a house gathering that same evening, their flutist Cathal McConnell played this tune for me. The tune is performed for us on this track by Catherine McEvoy, who brings to bear her very own masterly interpretation and style.
Another tune from the playing of Tom Turkington from County Tyrone. This hornpipe is one of the tunes that he played on my fiddle so long ago at a concert at a Fleadh Cheoil in County Clare. S&eacute;amus Duffy, the traditional singer and adjudicator, introduced Tom that night with the words, 'We'll go up north now to Tyrone Among the Bushes!' I think it makes a great title for this hornpipe, which is played on this track by Kimberley Fraser from Cape Breton. Again, my sincere thanks to Kimberley and to all the musicians who took the time to learn tunes and perform them for this collection. All of you are heroes.
Multi-instrumentalist and composer Eamon Flynn wrote this tune to honour his wife Vicki. Vicki's maiden name was Weaver. This track comes from a CD Eamon recorded with our mutual friend Helen Kisiel, who is often sought after as a piano accompanist by traditional musicians in the Boston area. The CD is named <em>Down by the Glenside</em>, and it features Eamon in full flight on a number of instruments. He is a wonderful musician, composer, and my friend for over fifty years. Thanks, Eamon, for all the music. Your influence in the Boston and New England music scene will forever remain strong.
My nephew Damien Connolly plays another of his compositions on the fiddle on this track. When I asked him the name of the tune he gave me the answer, 'Ideno', a Killaloe contraction of 'I don't know'!
It meant much to my wife Sandy and me when Bill Black, our friend from Cape Cod, sent us a tune that he composed in her honour entitled 'How Are You, Sandy?' Bill later sent the tune under the new title 'Sandy Connolly's' when she left us to go to her eternal reward. Thank you, sir, for caring so much. Sandy was very moved by your thoughtfulness. My friend Kevin McElroy joins me on this track.
Billy Clifford recorded this tune for me <a href="https://library.bc.edu/ds/connolly/document/572" target="_self">that night long ago</a> in Tralee, County Kerry. The memories of that evening remain with me always, especially delightful when I listen to the tape Billy and his mother made for me that evening so long ago. What generosity. A version of 'Johnny's Welcome Home' appears in <em>O'Neill's 1001</em>.
Kathleen Boyle, a great musician from Glasgow, composed this tune for her mother and father. They had returned home to County Donegal after living for forty-seven years in Scotland. Kathleen, who plays her composition on this track, travels back and forth from Scotland to America very often. She is a member of Joanie Madden's Cherish the Ladies ensemble. There is more on this young lady elsewhere in the collection.
Leo Rowsome, known as 'The King of the Pipers', wrote this lovely reel. It is played on this track by fiddle player John Daly. 'An T&oacute;stal', according to my good friend Helena Rowsome, Leo's daughter, means 'a pageant or assembly of ordinary people'. Here Helena describes 'An T&oacute;stal' in her own words. Thank you, dear friend. <br /><br />'I well remember when An T&oacute;stal was held in Dublin. The entire city was cleaned up and flower baskets, flags and bunting of all colours placed on O'Connell Bridge. I recall thinking that Dublin must be the best place on earth. It provided a great incentive to tidy the city and instill civic pride again in its people. It was from An T&oacute;stal that the current well-known 'Tidy Towns' competition came.<br /><br /> On one designated Sunday during An T&oacute;stal (which would last for a couple of weeks), the GPO would be decorated with more flags than usual and a big platform placed outside for dignitaries of the State... I recall seeing the President, Se&aacute;n T. O'Kelly, on the platform addressing the people during his presidency in 1954. I was eight then and daddy lifted me up to see the goings on... <br /><br />Dad played at many events during An T&oacute;stal, including a C&eacute;il&iacute; at the Mansion House. He composed the reel for obvious reasons: his celebration of a great festival. An T&oacute;stal lasted from 1953 into the 1960s when it sort of phased out.'
My friend in Tulla, Larry Gavin, sent me this reel thirty-five years ago. I love Larry's accordion playing and I am grateful to him for supplying many wonderful tunes to me during all the years that I have lived in America. Larry, as they say, you 'kept me at it'. The reel is played on this track by Joanie Madden.
Accordionist, concertina player, and composer Charlie Mulvihill from New York composed this tune. Charlie was very friendly with the great Paddy Killoran, master fiddle player from County Sligo. When Paddy Killoran died, his wife Betty gave Charlie the 78 RPM recordings that Paddy had recorded in the 1930s and '40s. Charlie transferred the records to tape for Mrs. Killoran to enjoy once again. Along with the Killoran recordings, Charlie gave her a tape of his own compositions which includes this jig cleverly structured around the recurrence of the note 'A'. He plays it on this track with his daughter Geraldine on piano and son Tommy on fiddle. I am grateful to Tommy Mulvihill for giving me permission to feature the track with this collection.
I first heard this song many years ago, sung by Ed and Ruth Fitzgerald from Kildare, Prince Edward Island, Canada. The song tells the story of the seas surrounding the Island. Ed composed the song for a competition on the Island, but forgot about it for many years until we got together one night for some music and song in the home of our friends, Alice B&eacute;rub&eacute; and her husband Gerry Gill in Summerside, Prince Edward Island. We set up the recording machine after a lovely dinner prepared by Gerry, and this song was revived for us by Ed and Ruth. We had a wonderful evening.
Barbara MacDonald Magone composed this tune on a trip to one of the best-known and best-loved fiddle camps. She writes, 'This reel was written for the great cabin I inhabited (with many good musician friends) over the many years that I taught at the Valley of the Moon Scottish Fiddle camp in the redwoods in northern California.'
I made this tune to honour the late Larry Reynolds of Galway, my friend for many years. Larry took me under his wing when I arrived in Boston in the 1970s. As president of Comhaltas Ceolt&oacute;ir&iacute; &Eacute;ireann in Boston, he guided the organisation from strength to strength. Larry always gave a great welcome to any musician young or old who came to visit or live in Boston.
Having lived in the beautiful and historic city of Cork in the 1960s, I often think back to the happy times I had while beginning to find my feet in the big world of city life. The clock tower of St. Anne's Church has special meaning for me because the Bells of Shandon often chimed as I walked past the church. Whenever I hear the wonderful poem 'The Bells of Shandon', penned by Francis Sylvester Mahony, it is with deep affection and recollection that I think of the Shandon Bells. Mahony's words are very meaningful to me, and I quote from his poem here for all to read: <br /><br />'With deep affection <br />And recollection <br />I often think of <br />Those Shandon Bells <br />Whose sounds so wild would, <br />In the days of childhood, <br />Fling round my cradle <br />Their magic spells. <br />On this I ponder <br />Where'er I wander, <br />And thus grow fonder, <br />Sweet Cork, of thee. <br />With thy bells of Shandon, <br />That sound so grand on <br />The pleasant waters <br />Of the river Lee.' <br /><br />The grand old jig 'Shandon Bells', the first in O'Neill's <em>The Dance Music of Ireland, 1001 Gems</em>, is played on this track by Nicole Rabata on flute and myself on fiddle. We play it as a four-part tune. I played it many times as a two-part jig in the city by the River Lee. I first heard the two extra parts played by David Curry and his orchestra. They are two parts well worth hearing and preserving for posterity.
The many accordion styles in Irish and Scottish music have always held a fascination for me. The music of Mr. Dominick McCarthy is a mixture of the music of these neighboring countries. I first heard his music on Radio &Eacute;ireann, and I remember seeing him perform with fiddle player Se&aacute;n Ryan at one of the early All-Ireland Fleadhanna Ceoil in the 1950s. Both of these men played a lot together where they lived in the Midlands of Ireland. Dominick McCarthy played this fling for me in his own distinctive style when I was on a visit to his home in the 1980s.
This jig, played here for us by Josephine Keegan from South Armagh, was learned from the cassette tape that Michael Power sent me of the playing of his father, Thomas Power, a lovely fiddle player from Doonbeg in west County Clare (see <a href="https://library.bc.edu/ds/connolly/document/544" target="_self">'Thomas Power's Polka'</a>).
This reel is another composition of the talented Eamon Flynn from County Limerick. Eamon's brother Con was not heard from for many years and when he suddenly returned home there was rejoicing all around the neighbourhood. Eamon celebrated his brother's return with this reel. The track here was taken from an old cassette tape of Eamon. Thanks to Gabriel Donohue for cleaning it up for me in his studio for all to hear.
Another tune from the playing of Thomas Power from Doonbeg in County Clare. On this track, I am joined by Kevin McElroy on bodhr&aacute;n and Nicole Rabata on flute to perform our interpretation of the march.
The Bells of Congress were presented to the United States by the Ditchley Foundation of Great Britain in 1976. A replica of the bells in London's Westminster Abbey, they are rung in honour of the opening and closing of Congress, and on state occasions and all national holidays. The Old Post Office in Washington houses the Bells of Congress and a guided tour of the building by the National Park Service is worth taking. <br /><br />In the 1980s, as part of a musical delegation to Washington, D.C., representing the State of Massachusetts, I had the honour of visiting the Old Post Office and hearing the bells ring. When in full peal, the bells can take up to three and a half hours to complete their continuous performance. However, my composition on this track takes only a few minutes. I am joined by Gabriel Donohue on guitar.
I first heard this reel played by Br&iacute;d Donnelly, a fine flute player with The Pride of Erin C&eacute;il&iacute; Band from County Fermanagh. My friend Nicky McAuliffe calls it 'The West Clare', but I'm sure the musicians in West Clare would be pleased with the title I have given it here, just as they would have been delighted with Br&iacute;d's playing of it. Catherine McEvoy plays the reel on this track, with her nephew Paddy McEvoy on the piano. The music lives on.
My good friend Ann Mulqueen, one of Ireland's wonderful traditional singers, composed 'Tigh an Cheoil'. Tigh an Cheoil, the great pub in An Rinn in County Waterford, should be on everyone's list of places to visit when looking for a good pint, great songs, and music. Listen as Ann brings us back to her time as Bean an T&iacute; sa Tigh an Cheoil. Beautiful words, beautiful singing by the author. This track appears on her CD, <em>Mo Ghr&aacute;sa Thall na D&eacute;ise</em>.
A prolific composer in the world of Irish music was master fiddle player Larry Redican. I didn't have a name for this jig, hence the title 'The Great Composer' came to mind. Larry plays the fiddle on this tune, which was a favourite of his friend Mr. Roger Casey, an Irish dance adjudicator. Roger kindly gave me all the recordings of Larry Redican which are featured in this collection, with the exception of the recording of <a href="https://library.bc.edu/ds/connolly/document/515" target="_self">'Larry's Strange Jig'</a>.
A week-long Irish music school known as Meitheal is held every year in Limerick. The five-day immersion in Irish music is directed by flute player Garry Shannon. As a teacher at the summer school, I had an assignment to work with a group of students who were interested in learning how to make up tunes. The music of composers Liz Carroll, Josephine Keegan, and Phil Cunningham from Scotland were used as examples. Students were asked to study the approach and methods used by these well-known composers. 'I'm not too sure where this is going to go', I said to myself. 'Music, I believe, happens when one is least thinking about it." However, after much listening, discussion, agreement, and collaborating, the students composed this tune. A talented group of young musicians &ndash; concertina players, accordionists, and other instruments all performing together &ndash; a wonderful sight to hear and behold! I have no fear for the future of Irish music. Nicole Rabata, a young flute player from Portland, Maine, joins me on this track. Listen and enjoy.
<span>Accordion player William Sullivan immigrated from Clifden, Ireland, to New York City in the 1920s, later settling in Parlin, New Jersey. He recorded this tune on Sampler Records in the late 1980s in a duo with Mitzie Collins, a hammered dulcimer and piano player. Bill Sullivan was a friend of the 1920s accordion player Peter 'P.J.' Conlon, and they often played music together. My friend Ted McGraw from Rochester told me that both these accordionists appeared on a 78 RPM recording on the Clarion label, with Peter Conlon on one side of the record and Bill Sullivan on the other. The jig is played on this track by my nephew Damien Connolly on melodeon. The title that I gave to the jig is 'Bill Sullivan's'. Names change from time to time: Bill Sullivan had named it for Mr. Conlon.</span>
Ted McGraw has an amazing collection of music in his library. He sent me this recording of Larry Redican and suggested that it was 'a strange jig'. Ted doesn't know where the recording took place, and he has little or no information about the tune. My own intuition seems to suggest that the jig may be of Canadian origin. Thank you, Ted, for bringing the tune to light once more.
The New England fiddle player Rodney Miller composed 'Gaelic Roots' at Boston College during one of the University's weeks of Irish music, song, and dance, when he was a special guest and visiting professor. Rodney honours us on this track with his beautiful music and sweet tone. He performed this tune on one of his own handmade instruments.
Paula, a fiddle student in one of my classes at the Rocky Mountain Fiddle Camp, asked me to 'make a tune' in honour of her late father, Curly. Paula really wanted to play something new at the student concert which was to be held at the end of the week of classes. I agreed at the time, but somehow managed to forget her request until one afternoon, I awoke from a nap in a panic. I had only then remembered my promise to Paula, and then panicked more. Never having known Curly or anything about him, it was not easy to make a tune for him. However, I did take out my fiddle and gave it a few strokes. Happily, I began to get some ideas into my head of what 'Remembering Curly' might sound like. With some shape to the tune, Paula was able to play it at the concert. <br /><br />A more complete version of the tune is heard on this track, with my good friends the late John McGann playing guitar and Gabriel Donohue on keyboard. John was very involved with the transcription of the tunes for this project but, alas, he left us too soon. So in John's memory, perhaps 'Remembering Curly Remembering John McGann' might be a perfect title for this tune. Thanks, John, for all the music, stories, laughs, and friendship.
The wise man of traditional Irish music, Paddy O'Brien from County Offaly, composed this tune and graciously recorded it for me for inclusion in this collection. The Athens mentioned in the title is in southeastern Ohio, along the Hocking River. Athens is home to the University of Ohio. Paddy has fond memories of visiting Athens. Perhaps when he writes his autobiography he will reveal to us what went on down that road.
Brendan Bulger plays a lovely version of 'Paddy the Piper' on this track. Another version may be found in <em>Ryan's Mammoth Collection</em>. I first heard the tune played by Paddy Cronin, who loved playing tunes from that wonderful nineteenth century collection.
The fiddle playing of Devin Shepherd from Chicago is heard once again on this track, playing one of his own compositions. He is joined by Marta Cook, who plays the harp. A lovely tune, Devin, thanks for sending it along. Thank you too, Marta, for helping with the recording.
The memory of legendary piper Willie Clancy from County Clare continues to be immortalised with this fine hornpipe. A composition of County Tyrone's All-Ireland champion fiddle player Jimmy McHugh, the tune is played here for us by Jimmy's son Benny. Benny kindly recorded a number of his father's compositions for me in Donegal in 2009. The Willie Clancy Summer School, affectionately known as 'Willie Week', has special memories for me and for thousands of musicians and music lovers from around the world.
Flute player Frank Neylon lived in Boston when I arrived there in 1977. I loved listening to his beautiful, distinctive North Clare style of playing, and to the unusual tunes that he had brought with him to America. This is another of the tunes that he recorded for me on the long-playing record that I produced in Boston in 1981 (see <a href="https://library.bc.edu/ds/connolly/document/639" target="_self">'Leamanagh Castle'</a>). I played Frank's recording for Nicole Rabata, from Portland, Maine. She listened a few times and played along with Frank, capturing elements of his style, and said, 'Do you want me to record it for the book?' I'm glad I said yes. Enjoy Nicole's playing.
This tune was one of the ones that I did not know on that tape sent to me over fifty years ago by Kitty Linnane, then leader of the famous Kilfenora C&eacute;il&iacute; Band (see <a href="https://library.bc.edu/ds/connolly/document/725" target="_self">'Come to the Fair'</a>). Indeed, many of the tunes on that tape were new to me. I had my work cut out for me, having to learn all of them for our upcoming tour of England. I am delighted that Tara Lynch (of the famed Kilfenora name) joined me on this track. It felt like home having Tara play with me. Thank you, my friend.
I learned this set dance from the playing of Larry Redican. Its first few measures seem to be related to the melody of an old tune &ndash; also a set dance &ndash; called 'The King of the Fairies'. And so, 'here's me' (an old Irish expression) playing 'Queen of the Faeries'.
My dear friend Cindy Polo wrote this lovely tune in memory of her Dad. In her own words she tells us how it came to be: <br /><br />'My first attempt at Irish fiddle playing was at a music camp in 2008, a violin novice, where I had the opportunity to learn from S&eacute;amus Connolly. He suggested that I could create a tune if I thought about a meaningful event. The tune played here by S&eacute;amus was my first attempt at composing music. It is in waltz time, and I wrote it in memory of my father, Edward Thomas Keane. As a young child, we would waltz across the living room, me riding on his feet. In later years there were father&ndash;daughter dinner dances and the dance at my wedding. We had our last waltz in 2001, the weekend before he died in the World Trade Tower on September 11th.'
This track comes to us courtesy of Kathleen Boyle from Glasgow. Kathleen recorded it in Donegal in 2011 in the county where her grandfather, the great N&eacute;illidh Boyle, lived. Kathleen carries on her grandfather's tradition of composing as she plays her own tune, 'Barney's Jig'.
An expression in Ireland when I was growing up was, 'Ah, cop-on', which means something like 'get with it'. Damien Connolly, my nephew, remembers the saying too, and he suggested the above title as a name for the composition which he plays on this track. Damien writes: 'A Bottle of Cop-On: One of my friends from Sixmilebridge, Paul Delaney, used to say, "You need a good bottle of cop-on". Perhaps he was right! Maybe I still need a good bottle of it. The first few bars of the second part kept coming to me for months til I finally decided to do something about it. I wrote this tune back in 2006.'
Some of the lovely variations in Shannon Heaton's playing of this reel came from Johnny McGreevy, the Chicago fiddle master. They were given to Shannon by the one and only Liz Carroll, who also comes from that City by the Lake.
Another composition from the multi-instrumentalist Eamon Flynn from Mountcollins in County Limerick. Eamon moved from Boston to The Green Mountain State, Vermont, in 1987. His memories of the hills and fishing brooks of this beautiful state in New England live with him now as he enjoys his retirement (not from music!) in his native Limerick. We hear him playing his own composition with our mutual friend Helen Kisiel playing piano, on a track taken from Eamon's CD <em>Down by the Glenside</em>. Courtesy of Eamon and Helen, I give you 'The Vermont Jig'.
Another tune that Eric Eid-Reiner played for me during that <a href="https://library.bc.edu/ds/connolly/document/502" target="_self">early morning recording session</a> in Gasson Hall on the Boston College campus. Eric told me that he wrote the jig after listening to a lively session at Johnson State College in Vermont. The music session was part of the Northeast Heritage Music Camp.
My friends from Winnipeg, Canada, Alice Bérubé and her sister Jeannine, visited with Sandy and me a few years ago. Both of them play fiddles and they enjoy getting together to talk, laugh, and play music. They meet once a year, as Alice lives on Prince Edward Island and Jeannine three thousand miles away in Vancouver. We played music in my house for a few days and had much fun. On the day of their departure, they told me that they were going to go shopping for a gift for me. I appreciated their kindness, but told them, 'don't get me anything!' I left the house to do some errands and when I returned my friends were nowhere to be found. I somehow thought I heard fiddle music in the house but did not know where it was coming from. A few days later, after my friends had returned home, a fax came to my house with a tune written on manuscript paper. It was a jig that the ladies had composed while up in my attic. They had somehow found their way up there. Unfortunately, on the day the fax arrived my machine was running low on ink. The lines on the paper all ran together on the tune's second part, and I was unable to make it out. At Sandy's suggestion, I sat at the kitchen table to compose a temporary replacement for it. I next met the ladies a year later at the Northeast Heritage Music Camp, and we began to play the jig, but with a few surprises and laughs as our two competing second parts clashed against each other! I had to explain to them what had happened to their original second part, and my addition was demoted to a third part. We recorded it with help from Ken Perlman on banjo and Pete Sutherland on piano, two fellow teachers at the camp. Thanks, ladies, a nice gift, better than 'anything' from a shop.
I can picture Jimmy Noonan with his eyes closed and his shoulder going up and down as he plays this tune with accordionist Dan Gurney. When Jimmy moves like this playing his flute, it is a visible sign that he is 'in the groove', giving the music the swing that is such a part of his playing. Listen as these wonderful musicians give 'The Ballina Lassies' that lilt and swing that was associated with the older musicians. One can hear that happy lift in the music of master fiddle player Paddy Killoran, from whose recording Dan and Jimmy learned this tune.
Another track from fiddle player M&aacute;ire O'Keeffe. Her title for this tune refers to an area near Rathmore, County Kerry, famous for its music. M&aacute;ire learned this polka from Sonny Riordan.
I recorded Mrs. Galvin playing this hornpipe at a concert over fifty years ago in County Clare. Jerry O'Sullivan plays it on this track with a slightly different arrangement. This tune is sometimes attributed to the nineteenth-century Newcastle fiddle player and composer James Hill, and it appears in William Honeyman's <em>The Strathspey, Reel, and Hornpipe Tutor</em>. In parts of New England, it is played as a reel for contra dancing.
This track comes to us through the generosity of its composers, fiddle player Donna H&eacute;bert and guitarist Max Cohen. It is track number two on their CD <em>In Full Bloom</em>. Donna writes: <br /><br />'My father passed away in early March 2008 while our band was visiting the Grand Canyon. We were stalked by ravens all day until, at sunset, one landed among us. It looked straight at me and gestured, croaking; after a few minutes it flew off. Within moments, the call came through that my father had passed. Max and I wrote the tune and only then did I discover that my father's bomber unit in World War II was called The Ravens... When I heard the last mix from Canada, I wept with joy. Mark Busic (engineer) had captured the feel of the day, the canyon, the wonder, perfectly. Max's guitar is the raven's wings. My violin and viola are the spirit breaking free...'<br /><br /><br />
I first heard this tune on a long-playing record titled <em>Music from the Glens</em>, featuring the musical Quinn family from New York. Mr. Louis Quinn, father of this talented family, was a fiddle player who came to America from South Armagh. Mr. Quinn probably heard this tune growing up in that beautiful part of the county, an area well-known for Irish music and c&eacute;il&iacute; dancing. The tune gets its name from Henry Savage, who came from a long lineage of fiddle players in that area. Here, Shannon Heaton plays her interpretation of this barndance. I am very grateful to Shannon and her husband Matt, who so generously took time from their busy schedules to come all the way from Boston to spend time with Sandy and me, for playing such delightful music for this project.
Here we have another melody composed by the Grand Lady of New Brunswick fiddle music, Mrs. Matilda Murdoch. Its performer on this track, who once again gives Matilda's music a genuine Irish flavour, is none other than Maeve Donnelly.
I first fell in love with this tune when I heard fiddle master supreme Winston 'Scotty' Fitzgerald from Cape Breton playing it on a recording. I had in my collection a tape of my friend, pianist Barbara MacDonald Magone, playing the jig in two different keys. I sent the recording to pianist Donna Long. Donna recorded the tune, also in the same two musical keys that Barbara had played them in. I am grateful to Donna for this track and to Barbara for the original recording. The tune is named for the Green Mountain Boys, headed by Ethan Allen during the American Revolution in the 1700s.
My musical colleague and friend Laurel Martin made this lovely tune. Laurel did not think highly of her composition, nor did she think it good enough for this collection. Laurel, I love your jig, as do many others who have heard it. Thanks for playing it and recording it for all of us to hear and learn.
Another composition of Larry Nugent, who plays a reel named for one of his twin sons, Se&aacute;n. The contribution of the boy's father and his grandfather, Sean Nugent Sr., to Irish music and culture will have a lasting impact. Let's hope that Se&aacute;n &Oacute;g and his brother Emmet carry on the family tradition.
A happy reel given to me in the early 1970s by Johnny McGreevy. Johnny told me it was the only tune that he composed and that he did not think too much of it. Brendan Bulger from Boston, Marty Fahey from Chicago, and Kathleen Gavin from Balbriggin near Dublin had other ideas. They recorded this tune on their CD <em>Music at the House</em> and gave it the swing that was so reminiscent of Johnny's playing. Playing the reel on this track, Brendan Bulger gives us that same swing.
Joanie Madden gives us her interpretation of a tune I first learned from Larry Gavin. It also appears in <em>O'Neill's 1001</em>. I temporarily mislaid the recording Joanie made for me, so the tune almost didn't make it into this collection. I'm glad I found it, Joanie. Great playing!
I love slip jigs and I enjoy playing them. Patrick W. Joyce collected this one from David Grady, a flute player from Ardpatrick in County Limerick, but he did not get the tune's name. 'David Grady's' sounds good to me. Mr. Joyce's collection was published in 1876. I have it in my library, and my copy once belonged to a Br&iacute;d O'Callaghan from County Limerick. She signed the book in 1961, when she was 16 years old. I wonder where she is now. Wherever you are, Br&iacute;d, this tune lives on and I play it here for you.
A tune composed by Sean Gavin when he was nineteen years old. The tune is in honour of good musical times that were had at the famed Abbey Pub in Chicago, a traditional music hub for many years. Sean plays his creation on flute (he is a multi-talented musician), joined by Brian Miller on the guitar.
Se&aacute;n Maguire recorded this tune and gave it the above title. It may be found in <em>Ryan's Mammoth Collection</em> in the key of G-major under the name 'Norfolk'. The beginning of the tune always brings to mind the hornpipe 'The Wily Bachelor'. Laurel Martin plays it in her own distinctive style on the fiddle. Thanks, friend. As our mutual friend Peter Barnes once said of you, 'You're the hornpipe queen!'
M&aacute;ire O'Keeffe is the fiddle player on this track. It is once again a delight to hear my good friend M&aacute;ire demonstrate the captivating fiddle style of County Kerry. M&aacute;ire learned this polka from fiddle player Maurice O'Keeffe, a wonderful source of the music of the 'Kingdom' of Kerry.
A slightly different version of this reel may be found in <em>The Roche Collection of Traditional Irish Music</em>. On this track, we again hear Kevin Crawford giving us a lovely performance.
Eamon Flynn first recorded his above-titled composition for the Boston branch of Comhaltas Ceolt&oacute;ir&iacute; &Eacute;ireann. It was featured on their 1981 LP <em>We're Irish Still</em>. It is played here for us in fine traditional style by Manus McGuire on fiddle.
My next door neighbour when I was growing up in Killaloe was known to me as Mister Brooks. He loved to play the accordion, and he had many fine polkas in his repertoire. The polka I play on this track was one of his favourites. In almost sixty years of playing and listening to music I have yet to hear someone else play it. Happy memories of a wonderful neighbour and of his wife and family.
The Curragh is a flat open plain in County Kildare, an area well-known for Irish horse breeding, training, and racing. My original source for this tune was Cathal McConnell, the master musician and singer from County Fermanagh. He played it for me when on that visit to Boston with his musical friends, The Boys of the Lough (see <a href="https://library.bc.edu/ds/connolly/document/643" target="_self">Cathal's Reel</a>). <br /><br />I gave the recording to my good friend Jerry O'Sullivan, who plays the tune on this track, but with his very own arrangement and interpretation. The phrasing, as one will see, is different from that of the written transcription of Cathal's playing. Fascinating, really, when one thinks of how music can be changed to suit the performer and the instrument. Thanks to both these fine exponents for their contrasting versions.
My good friend Cindy Polo made this tune and dedicated it to another friend, Randy Bridgman. I enjoyed playing this tune with Cindy and Gabriel Donohue. In Cindy's own words, she tells us about 'The Crooked Hurricane': <br /><br />'What else to do while the power is out in the middle of a hurricane? Fiddle and fiddle! I composed this tune as Hurricane Irene battered eastern North Carolina in 2011. The hurricane did not travel as expected. Its unusual pattern of travel was described as crooked. The tune too is crooked in the style of some Canadian fiddle tunes. I dedicate the jig to my friend Randy Bridgman, a native of Newfoundland. This tune is also crooked, somewhat like the shape of many of the trees in my garden when the storm subsided.'
Tommy Peoples played this tune for me at a recording session at Boston College. The tune may also be found on Tommy's fine albums <em>Traditional Irish Music Played on the Fiddle</em> and <em>Waiting for a Call</em>.
David Kaynor graciously played his own composition for me, with Pete Sutherland at the piano, at the Northeast Heritage Music Camp held at Johnson State College in Vermont in 2009. David told me that this tune occurred to him after he hosted a fiddle convention, about 1985, in Montague Center, Massachusetts. David is well-known as a caller and fiddle player in the world of New England contra dancing. His tune is very popular at weddings and celebrations. One can certainly imagine a bride walking to this elegant and stately composition. Thanks, David, and a special thanks to Jay Ungar and Swinging Door Music for permission to include the tune in this collection.
The young fiddle player Liam Lewis played this jig on a tape given to me by a friend one night after a concert. I stuck the tape into the cover of my fiddle case and forgot about it. Finding it later was a lovely surprise. My friend Laurel Martin learned the jig from the tape and traveled all the way to my home in Maine to record it. A version of the tune may be found in <em>The Roche Collection</em>. This tune was a favourite of flute player Eddie Moloney from Ballinakill, County Galway.
Another composition of accordionist and concertina player Charlie Mulvihill from New York. It is played on this track by Charlie and his children Tommy on fiddle, and Geraldine on piano. It is another of the tunes on the tape that Mr. Mulvihill made for Mrs. Betty Killoran, wife of Sligo fiddle player Paddy Killoran. Hopefully, some day in the not too distant future, we will see and hear a CD recording of more of the music of Mr. Mulvihill, this great tunesmith.
Writing the stories of these tunes brings back many memories. When Sandy, my late wife, was diagnosed with kidney cancer, my life was turned upside down. We were so happy together and loved doing and planning different things: places to see, friends to visit, recordings to make. To help and encourage young and talented people, and to travel, were part of our dreams. After I left Chrysandra at the hospital, late at night whilst driving home I thought of how good she was to me and how she wanted to make my life comfortable and easy. She always said, 'When you are with me, Baby, all you have to do is breathe'. She gave her whole life to me and, until the day she left us, was dedicated to me and to her beloved National Park Service of the United States of America. <br /><br />Anyway, as I drove home that night, many tears flowed like a river and the pain hurt, but the beginning notes of this tune came to me. As I sat in her hospital room for the next few days I worked on the air, writing it on the corners of the local paper 'The Boston Globe'. The end result is what you have on this track. It is played by my friend Bonnie Bewick Brown, a member of the Boston Symphony Orchestra. Bonnie also arranged 'Miss Chrysandra Walter' for cello and viola and invited her friends to perform it, and they did so beautifully. I am forever grateful to Bonnie for this wonderful arrangement and for all the help she gave to me on this project. I know Sandy would be very proud of this tune and how it was played. My dear wife and friend Chrysandra will be forever remembered by me, and through this tune her memory will live on!
A fine version of 'Sporting Nell', played here for us by one of my favourite young fiddle players, the talented Tina Lech from Boston. I first heard this reel in Chicago in 1972 played by another of my favourite fiddle players, the great Johnny McGreevy.
A lovely tune that came from the playing of John Kelly, the fiddle and concertina master from west County Clare. John had a storehouse of unusual tunes and was ever so generous in handing them down to other interested musicians. Michael Relihan was a neighbour to John Kelly before John moved to Dublin City. I first heard my friend Larry Gavin playing the version played here by Catherine McEvoy.
Another tune from the pen of Kathleen Boyle from Glasgow in Scotland. She wrote this waltz for her sister's wedding, for her to walk down the aisle to. Here we hear 'K.T.' beautifully playing her own composition on piano and piano accordion.
'Rock Point Lane' is the name of the street in California where Sandy's parents live. One Christmas day, around 1990, when she and I were visiting them, the basic outline of this jig came to me. After working on it for a while and deciding which key would best suit the fiddle, Sandy subtly suggested that we videotape it. Secretly understanding her motive, I reluctantly agreed. <br /><br />I had forgotten completely about the tune and did not remember any of it when years later we came across the videotape and watched it together. She said as we watched it, 'See I told you, I knew you wouldn't remember it'. How right she was! That was Sandy. Always thinking and a step ahead. The tune is more complete now as I give it my best shot on this track. Another transcription of the jig is to be found in <em>A Drop in the Ocean</em>, a book of Irish traditional tunes compiled by my friend Josephine Keegan.
This reel is another composition of Eamon Flynn, taken from his CD recording with permission. It is named for the village of Brosna in County Kerry, a place well-known for great Irish music and whose name has been given to a number of tunes including 'The Brosna Slide'.
The young Chicago fiddle player Devin Shepherd composed this fine jig. He plays it on this track with his musical friend, flute player Sean Gavin from Detroit, accompanied by Brian Miller on guitar and Jackie Moran on bodhr&aacute;n.
On this track we once again hear Eamon Flynn on fiddle as he plays 'Mike Duggan's Polka'. Thanks to Brosna-born accordionist Michael Mulcahy for the tune title.
Margaret Lawrie wrote this third and final tune that she and Michael Burnham recorded for this collection. It may also be heard on their own CD <em>Bygone Days</em>, a recording dedicated to Meg's grandfather, fiddle player Michael Cullen from County Roscommon. The tune is based on the gaillarde, or gagliarda, a dance form which was popular in continental Europe in the sixteenth century. Margaret also told me that the galliard was popular in England, but not so with The Birmingham C&eacute;il&iacute; Band of which she was a member!
My young friend Meghan Mette composed this reel. I was delighted that she asked me to play it with her, along with Nicole Rabata on flute and Kevin McElroy on mandolin. She tells us how the tune came about: <br /><br />'I wrote this tune for S&eacute;amus first and foremost as a "thank you" for all of the musical wisdom he has imparted to me. However, it is also a tale of the many afternoons spent in S&eacute;amus' music room, learning, listening, playing... Some days we just sat and listened to old albums on the wonderful sound system, the notes vibrating through the varnished floorboards and bouncing off the walls... <br /><br />My favourite afternoons, however, were when it was just the two of us, sitting side by side, playing tunes for the fun of it; maybe S&eacute;amus would think of a special ornament he wanted to show me or a specific tune that was fun to play in a different key. I often enjoyed just sitting back and observing S&eacute;amus when he went on a rant of tunes. I was, and still am, mesmerised by the fluidity and grace of his fingers as they tickle the fingerboard, his bow flying over the strings, his mind at obvious peace. These are my favourite images, frozen in time, S&eacute;amus in another world entirely, just playing because he loves it so. When I play "The North Road", it reminds me of these moments...'<br /><br /><br />
I am so honoured that my great friend, the prolific composer Bob McQuillen, wrote this tune for me. 'The Professor', as I call him, is a special person in my life and I have for many years admired his compositions and music. Bob is heard playing his beloved piano with his 'Dear Girls', as he likes to describe Deanna Stiles, the flutist, and Jane McBride Orzechowski, the fiddle player, in his band. Old New England, as they are known, recorded this track for me in Bob's home in New Hampshire.
Sung here by Edward and Ruth Fitzgerald from Prince Edward Island in Canada, this song tells the story of a ninety-one-ton, two-masted schooner built in Massachusetts in 1869. According to Edward, the boat was based in Tignish, PEI, and it was primarily used in the fishing and lumber trades. The song tells the story of a voyage from Northport in dangerous icy waters in the year 1893, culminating in a terribly sad ending as the schooner tried to reach the French islands of Saint Pierre and Miquelon. The melody to this song is well-known on the Island and has been used for other songs about marine tragedies.
Larry Redican, the great New York fiddle player and composer, once told me he loved going through old books and manuscripts 'looking for strange tunes'. The reel on this track is certainly a version of the tune found in <em>Ryan's Mammoth Collection</em>, known as 'The Rakish Highlander'. Here Larry gives us his interpretation.
Brian Hebert plays a hornpipe he wrote to honour my special friends Craig and Maureen Sullivan. I will forever be grateful to them for their benevolent generosity to me, to Boston College, and to the world of Gaelic music and song. It is through their kindness that I have been able to turn the inspiration for this collection into a reality.
Performed by my friend Bonnie Bewick Brown on violin, along with her friends Julianne Lee on viola and Mickey Katz on cello, this tune came to me on the morning in 1988 when my mother passed on to her place of eternal joy and rest. Being away from one's homeland and receiving a phone call at 6 A.M. somehow sends chills through your body. Usually, these calls relay some bad news or something you would prefer not to hear. 'Yes, Mama has died,' my brother Michael said. For some unknown reason, when I hung up the phone the first thing that I did was take out my fiddle and play. And play I did, all the while thinking of the music we had in our home as I was growing up. I played some of the tunes that my mother taught me, and I thought of all that she did for me as I endeavoured to play the music that I loved. Somehow and from someplace, this tune came to me. I went to Ireland that night and said goodbye to my Mom and when I returned to this great United States I began to work on the tune and make it my own. Looking back now over the last twenty-six years, I have come to realise that this was the last tune that my mother, Lena, gave to me. The beautiful arrangement of the melody comes to us courtesy of Bonnie. Bless you, my friend. Lena Connolly will always be remembered.
Emmet is Se&aacute;n &Oacute;g Nugent's twin brother, and their father Larry Nugent composed this tune (Se&aacute;n has <a href="https://library.bc.edu/ds/connolly/document/660" target="_self">his own tune</a> in this collection). The young Nugent twins are well-placed to carry on the great family legacy of Irish music.
The great fiddle player from New York City, Mr. Tony De Marco, composed this reel for his friend Linda Hickman, herself a lovely flute player. When I heard this reel performed by Tony and Charlie Lennon on Tony's CD <em>The Sligo Indian</em>, I fell in love with it instantly. Tony was so gracious when I asked him if he would record it for this collection. 'Consider it done,' he said. Tony, the reel brings a smile to my face. It is a wonderful tune, so happy and full of love.
This reel comes to us by kind permission of my good friend Richard 'Richie' Dwyer, its composer. It is taken from his CD <em>In a Creative Mood</em>, which he recorded in his native West Cork looking out to sea and the mist on the ocean. Richie is again joined by Miche&aacute;l O'Rourke on piano.
This tune may be found in the <em>O'Neill's Music of Ireland</em> collection under the title 'Gallant Tipperary'. It also appears in <em>The Roche Collection of Traditional Irish Music</em> in the 'Airs' section of that book. The tune, played here by Laurel Martin, was popular in Boston in the 1930s and 1940s.
There are a number of songs that mention Lough Erne in County Fermanagh, and much has been written about this beautiful spot. Rita Gallagher's performance of this song is a dream. Listen as one of Ireland's great singers tells the story.
I first heard this tune played by Nicky McAuliffe and Connie O'Connell on two fiddles. They played it at a concert in Miltown Malbay at the Willie Clancy Summer School in 1988. They learned the tune from a P&aacute;draig O'Keeffe manuscript. Here we listen to fiddle player Kevin Burke playing the jig in his unmistakable lilting style.
On this track we once again hear Josephine Keegan performing one of her compositions. The tune is dedicated to her friend, the late M&aacute;ire McDonnell-Garvey, who was a fiddle player and the author of a number of books about her native province of Connacht.
Shannon and Matt Heaton give vibrant life to a barndance which I first heard on the long-playing record <em>Music from the Glens</em>. The album featured the talented Quinn family from New York, hence the title I've given the tune to honour this musical clan led by Mister Louis Quinn of County Armagh.
My nephew Damien Connolly plays a reel of his own composition. In his words he tells us about his native Killaloe: 'I am very proud of my hometown of Killaloe, County Clare. I lived there for twelve years before moving to Ennis. Killaloe is my first love, as it were. Every morning I would open the window and look out on the hills of the surrounding countryside and breathe in the fresh air. I have so many fond childhood memories from that old town. It's situated right on the river Shannon, so it's a beautiful place indeed... A couple of years ago, I purchased a bouzouki off eBay, tuned it up, and this is the tune that fell right out.'
The great Appalachian fiddle player Alan Jabbour recorded this tune for me with Ken Perlman on banjo and Pete Sutherland at the piano. Alan told me that Grover Jones loved to play this tune on his fiddle, and even when in the company of other musicians without his fiddle he would always request this waltz. Although Mr. Jones did not compose the tune, it was because of his enthusiasm, love, and eagerness to hear it that his name automatically became associated with it. Dr. Jabbour also told me that he learned the waltz from the legendary West Virginia fiddle player Henry Reed. Listen to the beautiful, sensitive, and refined music of Alan Jabbour. Alan, I have listened to this track many times and every time a little happy tear runs down my face. Lonesome music, my friend.
Martin Hayes, the great fiddle player from East Clare, gives us this beautiful rendition of a tune I have given the title 'Tulla Lodge'. This tune was given to me by Larry Gavin.
Flutist Nicole Rabata joins me to play 'The Magic Slipper', a polka I learned from Boston accordionist Billy Caples. Mr. Caples was a well-known musician who had his own orchestra during the Dudley Street era of music and dancing.
'Maestro' Se&aacute;n Maguire played this tune in the key of A major at a concert in Kilfenora, County Clare, many years ago. My friend Sally K. Sommers Smith Wells reminded me that it somehow was like the song 'Love Will You Marry Me?' Brendan Bulger from Boston plays the tune, a version of which may be found in <em>O'Neill's 1001</em> collection.
Larry Gavin sent this tune to me on a tape over thirty years ago. Getting a tape of music from Ireland, and more especially from Larry, was always special. I was always assured of getting a new tune or two from my good friend. On this track we hear Joanie Madden playing the version found in <em>O'Neill's 1001</em> collection, the same version that was played by Larry so long ago. Lar, I still have that tape. Thanks for the memories.
Paddy Cronin was always very eager to learn new tunes. Paddy loved 'going through the books' with his fiddle in hand. He had a vast store of old tunes and an amazing repertoire, including this reel, played here for us by the lovely ladies of music, Liz and Yvonne, the wonderful Kane sisters from County Galway.
Another tune from the legendary Cathal McConnell. He gave me this tune, and the others in this collection, during that visit to Boston and Cambridge, Massachusetts, over thirty years ago (see <a href="https://library.bc.edu/ds/connolly/document/643" target="_self">'Cathal's Reel'</a>).
Dancing master Denis Moynihan, as he was known before he officially changed his name to its Irish version, Donncha &Oacute; Muineach&aacute;in, was a popular teacher of Irish dance. He was known throughout Ireland for his choreography and repertoire of older steps. Some of these were passed down to Donncha from the County Cork dancing masters Joe O'Donovan and Cormac O'Keeffe, and we mustn't forget his own dance teacher, the Grand Lady of Irish Dance, Peggy McTaggart. The set dance played on this track by S&eacute;amus McGuire and Garry O'Briain was learned from a recording of Larry Redican who introduced the tune as 'For Denis Moynihan'; this perhaps implies that Redican composed the tune.
I tried as best I could to learn this tune from a tape made in the home of Mr. and Mrs. Paddy Gavin in Balbriggan, County Dublin, almost forty years ago. The tape was damaged a little but one could hear a great session of music played that night by the Gavin family and Jimmy Keane from Chicago. At one point on the tape, someone sat down at the piano and begin to pick out the melody of the reel heard on this track, as though composing, reading, or trying to remember it. I loved the tune and what I could make out of it, so I reconstructed it in my own way, whilst trying my utmost to remain faithful to what I could decipher of the original version. After all that and years later, I spoke to Kathleen Gavin, who recalls being at the piano that night sight-reading the tune from a piece of manuscript paper. The tune's origins remain a mystery. Its composer may not like my reconstruction, or how I played it on this track, nor the title that Kathleen has suggested. Please know though, whoever you may be, that we certainly like your tune or composition, and we thank you for it.<br /><br />P.S. It has come to our attention that this tune is a composition of Leitrim fiddle player and multi-instrumentalist Joe Liddy. He titled the tune "The Sweat House."
Yet another great old tune that was given to me by Chicago fiddle player Johnny McGreevy. The young fiddle player Tina Lech, one of my favourite musicians, plays the tune for us on this track.
This lovely and unusual slip jig is played here by Geraldine Cotter. It may also be found in her collection of fifty traditional Irish tunes called <em>Rogha, Geraldine Cotter's Choice</em>.
David Reiner composed 'The New Road to Sligo'. It is played for us by Liz Carroll. David told me that he composed this tune 'to tell the story of a musical road trip, from the bold beginning in G minor, to the detour into B flat, to the simpler and lyrical third part.'
David Curry's broadcasts from the BBC studios in Belfast were eagerly awaited in my home. He broadcast many fine tunes, including this one, which Nicole Rabata and I arranged for flute and fiddle. Not having the tune's original title, I have named it for the river that flows through Mr. Curry's hometown of Belfast.
Poet Cr&iacute;ost&oacute;ir Mac Gearailt penned the words of this song in tribute to one of Ireland's greatest sportsmen, the mighty Mick Mackey from Ahane, County Limerick. Mick Mackey played hurling for his native county in the 1930s and '40s, and the county depended on him to bring home the McCarthy Cup, the prize for winning an All-Ireland championship. Like many before me, I had the honour of shaking Mr. Mackey's hand. My father had introduced me to him when they worked together for the ESB, the Electricity Supply Board of Ireland. <br /><br />In addition to Mick Mackey, the Limerick teams back in the 1930s and '40s that won All-Ireland championships had among them on the field men like Paddy Clohessy and the star goalkeeper Paddy Scanlon, who, as the song says, was 'defiant in the goal'. I got to know this great County Limerick goalkeeper and had the special honour of sitting beside him on a number of occasions when both of us travelled on the Killaloe-to-Limerick bus that wound its way through Castleconnell, where Mr. Scanlon would board. We talked at length about hurling and about other greats such as the mighty Christy Ring from Cloyne in County Cork. I have always had a fascination with the game's goalkeepers and, with my encouragement, Paddy would discuss the great ones. Doctor Tommy Daly from County Clare was many times mentioned in our discussion, as was the legendary Tony Reddin, who played in goal for counties Galway and Tipperary. I mentioned to Paddy Scanlon that I knew Tony Reddin: Tony lived in Banagher, County Offaly, and he often visited my sister's home, where I had the honour of chatting with him. Paddy Scanlon's praise for Tony Reddin was like that of many others, regarding him as one of the greatest goalkeepers of all time. <br /><br />Today, May 24, 2015, it is by some strange coincidence that I write these few lines whilst listening via Internet radio to counties Limerick and Clare battling it out in Semple Stadium, Thurles, County Tipperary, in the first round of the Munster Hurling Championship. This stadium has over the years established itself as the leading venue for Munster hurling finals and a field where other Limerick teams of the past paraded with pride before capacity crowds. And so, you stalwart heroes of the 1930s and '40s, Mick Mackey, Paddy Scanlon, and Paddy Clohessy, I somehow know that your hearts would be filled with pride were you to watch the Limerick team of today running up and down the pitch in Thurles, as they hopefully make their way to Croke Park, the stadium in Dublin where the All-Ireland hurling finals are played each September, to reclaim the McCarthy Cup. <br /><br />Ann Mulqueen sings with pride Cr&iacute;ost&oacute;ir Mac Gearailt's song about Ann's neighbour, the great Mick Mackey, and the giants of hurling of days now long gone. A lot of ramblings, one might say, but memories worth remembering! The ramblings themselves are part of an Irish tradition whenever our national game of hurling is discussed. And always looking for a win, the hurler on the ditch could be heard desperately shouting, 'Come on, let the game begin! Never mind the ball, play the man!' <br /><br />Thank you, Cr&iacute;ost&oacute;ir, for your lovely song and for permission to use it here. Thank you Ann, and thank you Miche&aacute;l &Oacute; Conghaile and Cl&oacute; Iar-Chonnachta for permission to use this recording, along with the two other songs that Ann beautifully sang for us in this collection. All of the songs were taken from her CD <em>Mo Ghr&aacute;sa Thall na D&eacute;ise</em>. <br /><br />P.S. I, too, played in Croke Park, but not with a hurley!
During that <a href="https://library.bc.edu/ds/connolly/document/434" target="_self">musical evening at the Gavins'</a> in Balbriggan so long ago, Jimmy Keane, the piano accordion player from Chicago, played this tune. He informed me that it is one of Liz Carroll's compositions, entitled 'The Champaign Jig Goes to Columbia'. It can be found in <em>Liz Carroll Collected</em>, a beautifully produced book of her wonderful compositions. Gr&aacute;inne Murphy plays her version of the tune on this track.
I have much respect and admiration for National Heritage Fellow Dr. Mick Moloney, a man who has, in my humble opinion, done more to promote Irish music in America than anyone. Through his teaching, music performances, research, productions, recordings, and promotion of young musicians, traditional music in America is on a very strong platform and foundation. I made this tune to honour Mick. I hope I do him justice and that he and I will have an opportunity to play the tune together sometime.
This is the first tune that Eamon Flynn composed over forty years ago. He plays it for us on accordion with our mutual friend, Miss Helen Kisiel, on piano. The tune may also be heard on Eamon's CD recording <em>Down by the Glenside</em>.
Cindy Polo, my good friend, phoned me one night and lilted part of this melody to me. I loved the sound of it and suggested to Cindy that it might fit naturally on the fiddle in a minor key. We talked about 'doing something with it', and so we began to collaborate on making a tune. For inspiration, we talked about Cindy's evening ritual of walking her dogs: an evening parade in her neighbourhood of people young and old, big and little, walking and being walked by a vast array of canines. Our musical thoughts and ideas were sung and played to one another over the phone for a few weeks, until we finally decided that our tune didn't sound too bad. In fact, we liked it! We are still unsure, though, as to whether it is a strathspey or a march. Time and distance did not allow Cindy and I to record our tune together, so, for what it's worth, and for your pleasure, here I am playing 'The Dogwalker'.
I first heard this reel played by the man who influenced many musicians of my generation, the great Se&aacute;n Maguire. Se&aacute;n had a happy knack of transposing tunes to different keys than those that might have been originally documented. The reel is played here by Boston's own Brendan Bulger.
Dennis Watson from County Roscommon, now living in Chicago, is a flute player and piper. Shannon Heaton recorded this tune, her own composition, on her recent CD <em>The Blue Dress</em>. She plays it again for this collection and dedicates it to Dennis Watson.
I found an old brown manuscript page and remembered that my former sister-in-law Maureen Glynn had given it to me. Maureen grew up in Brooklyn, New York. She was a talented lady and widely respected in the Irish music and dance world. Maureen was a great musician: a piano, fiddle, and whistle player who taught hundreds of children in and around The Big Apple. She was also an Irish dance teacher, but most times could be heard playing music at the feiseanna instead of adjudicating the dancing. Maureen loved the old music and it was always a delight to play with her. <br /><br />The track heard here is taken from a cassette recording that I made years ago of myself playing the tune from that manuscript. If memory serves me well, I believe it was a handwritten transcription of a page from <em>The Roche Collection</em>, where this tune occurs in the key of G under the title above. I moved the tune to the key of A, in order to give it a more open, pipes-like sound on the fiddle. At the time of recording, some variations had come to mind and I did not want to forget them, so onto the tape they went. I forgot about the tune after that, but I recently found the tape in a drawer in my music room. I thought it would make a worthy addition to this collection. So here is Maureen Glynn's old brown manuscript. A tune not to be forgotten. Enjoy!
Another tune that Larry Gavin sent to me is this reel. Larry found it in 'The Bible' of Irish music, the <em>O'Neill's 1001</em> collection of tunes. It is played here for us by the great Catherine McEvoy with accompaniment by her nephew, Paddy McEvoy, on piano.
Cathal McConnell, 'The Great One', gave me this tune, and he also gave it the above title. Recently, I discovered that the other 'Great One', Liz Carroll, had recorded her rendition of the tune on her long-playing record <em>A Friend Indeed</em>. Liz informed us in the liner notes of the recording that Armin Barnett and David Molk composed the tune while driving to Durham, New York. Liz called this smashing tune 'The Ride to Durham', and her playing is a delight to listen to. The lovely fiddle playing of John Daly from County Cork is heard on this track as he remains true to the version from the tape of Cathal McConnell's flute playing. John's fiddle playing is also a delight to hear.
One of the most gratifying experiences for any musician is to have the opportunity to play for good dancers. Roger Casey from New York, now an Irish stepdancing adjudicator, was an excellent competitive dancer. When he practiced for competitions back in the 1950s and '60s, Roger had the pleasure of dancing in his kitchen to the music of fiddle master Larry Redican. <br /><br />The reel heard on this track is played by Tina Lech on fiddle. She learned it from the fiddle playing of Larry Redican and, not having a name for the tune, I gave it the above title to honour my good friend Roger. I was so touched and honoured when Roger presented me with a number of tapes of Larry Redican's fiddle music from those practice sessions. Incidentally, the tunes performed by Larry Redican in this collection are used by kind permission of Mr. Larry Redican Jr.
The town of Moate is in County Westmeath. It has a strong musical tradition and at one time had a famous c&eacute;il&iacute; band that made a number of 78 RPM recordings. The late accordionist Brendan McCann, who lived in Connecticut, grew up near Moate. As a tribute to Brendan and his music, Josephine Keegan from County Armagh, whose music is to be found throughout this collection, composed and recorded this track.
The reel played on this track by Catherine McEvoy was one that Paddy O'Brien and I had considered recording with Charlie Lennon for <em>The Banks of the Shannon</em> mini-LP that we made in the 1970s. I'm not exactly sure why we did not record it. Then, thirty years later, I had the distinct honour of recording a CD called <em>The Boston Edge</em> with another maestro of the accordion, Joe Derrane, with John McGann playing guitar. Joe, like Paddy O'Brien, came up with this very same reel, and also suggested that we record it for <em>The Boston Edge</em>. In the end, for whatever reason, the tune did not make it onto that record either. <br /><br />Looking back now on both these situations, maybe the reason the tune was not recorded was because we never could find a name for it. One could say that that in itself is not a good reason, and so to redeem ourselves I asked our good friend Catherine McEvoy to do us the honour. In giving it a name for this collection, I had two good choices: 'The Banks of the Shannon', or 'The Boston Edge'. Both titles sound good to me; after all, both masters of the accordion clearly liked the tune. However, I have chosen to call it 'The Banks of the Shannon' because the version Catherine plays on this track comes from a recording of Paddy O'Brien. Unfortunately, I never did capture Joe Derrane playing it. Now it's Catherine's turn.
When my wife Chrysandra worked in Washington, DC, we lived across the Potomac in Alexandria, Virginia. During the summer months while she was working I would play my fiddle all day. I wish I had that same energy now! The tune that I play on this track came together out of nowhere. I worked on it on and off for years and finally gave up on it. Not having a recording device the day I finished it (or was trying to), I phoned my good friend Laurel Martin and asked her if she would record it as I played it over the phone. Thanks to Laurel, the tune surfaced again and survives in this form.
The fiddle master N&eacute;illidh Boyle recorded this tune as part of a two-jig set in Dublin in 1937. That recording happened to be the very first record of Irish fiddle music that I had when I was growing up. It is performed on this track by N&eacute;illidh's grandaughter Kathleen on piano accordion and Gr&aacute;inne Murphy on fiddle. They both did me the honour of recording the track in Donegal, home to Kathleen's parents and grandfather.
This slip jig from the Scottish tradition was taught to me by Boston harpist Kathleen Guilday. I told her about this project and asked her if she would record it for me. Kathleen was delighted, and graciously agreed to come to Maine to do the recording. I also told Kathleen of the mishap in my brother's home in Ennis, County Clare (for further insight into the recording of this slip jig, see <a href="https://library.bc.edu/ds/connolly/document/484" target="_self">&lsquo;The First Slip&rsquo;</a>). <br /><br />When Kathleen did arrive in Maine, guess what happened? Yes, my machine would not record. I was so upset, especially because she had driven over 150 miles for nothing. Well, that's not true: we turned the day into something special by having dinner and a nice bottle of wine while reminiscing about friends in Boston and our musical exploits together around New England. Kathleen did eventually get to record the slip jig, this time in her own home and with her own equipment. I ask myself if there was a jinx on this tune. Maybe it had something to do with its title. I'm puzzled. Anyhow I am grateful to you, Kathleen. Thank you, my friend. I think we beat the odds.
This tune was composed by Chicago fiddle player Devin Shepherd. He plays it here with his friend Sean Gavin on flute. Devin named the tune for Mike Doyle from County Wexford, who now lives in Chicago. Mike is an avid enthusiast of the music and can be found on the floor youthfully dancing wherever music is played.
The tune on this track was composed by my nephew Damien Connolly. When I asked Damien what memories this tune's title referred to, he immediately said, 'Well, I grew up listening to a blend of Clare, Sligo, and Kerry fiddling. This is a tune that kind of reminds me of Paddy Canny and East Clare music in general.' Listen as he tells of his memories.
Looking back in time, one of my special memories of working on this project was the visit I made to Finbarr Dwyer. As I was setting up my recording machine he was playing this, his very own version of 'The Old Blackbird'. I have always loved this tune, but hearing it played by Finbarr that day made it even more special. I captured most of his remarkable playing of this tune, and here it is now. Finbarr's playing is a perfect lesson on the difference between the 'bones' of a tune that can be found in a transcription and what that tune can become in the mind and hands of a true master. The transcription included with this collection is taken from a book entitled <em>Forget Me Not</em>, which Laurel Martin and I compiled for Mel Bay.
The majestic vocals of the one and only Len Graham bring us near the end of this collaborative collection as he sings 'The Parting Glass'. His is an old County Antrim setting of the song, one that he and Joe Holmes sang together in the Guild Hall, Derry, shortly before Joe passed away. For those wishing to further their knowledge of the music, song and traditions of an Ulsterman, Len Graham's book, <em>Joe Holmes: Here I am Amongst You</em>, is a must read! In 'The Parting Glass', Len wishes us goodnight and bids joy to all, but the feeling is tinged with the sadness of a goodbye. Len told me that Joe used to speed up the slow air of the song until it became the dance tune 'The Peacock's Feather'. <br /><br />'The Parting Glass' somehow makes me nostalgic, bringing to mind many wonderful moments of joy and laughter as I reminisce on the years of recording and collecting for this project. These memories, the songs and music, will forever remain in my heart. Not wanting to say goodbye, I would prefer something a little more upbeat, in the spirit of what my father always said to me as I was leaving home: 'Never say goodbye, always say Cheerio'. So, I have chosen Len's song as a way of saying not goodbye, but for now, 'Cheerio'. Len, my friend, thank you for the wonderful singing, and for 'The Peacock's Feather' schottische at the end, a happy surprise!
And as we present this last selection, we come to the end of a long musical journey. It is my hope that whoever reads my stories, anecdotes, and ramblings will get some insight into the tunes' histories, and some new information about them. <br /><br />Preferring to end this collection with lively, happy music, I asked my young musical friends, Kathleen Boyle from Scotland and Gr&aacute;inne Murphy from Massachusetts, to do me the honour of recording the above-named tunes for this last track. These same jigs were recorded in 1937 by Kathleen's grandfather, the famed fiddle maestro N&eacute;illidh Boyle from County Donegal. The young ladies are joined by N&eacute;illidh's son Hughie Boyle, who plays piano, and together, with pride, they give us that same lift and drive associated with the wonderful music that is peculiar to County Donegal. I was thrilled when Kathleen invited me to join herself, her dad, and Gr&aacute;inne in remembering her grandfather, completing an extraordinary musical circle. The torch has indeed been passed.<br /><br />It so happens that the last tune on the track, 'The Connaughtman's Rambles', is the first jig I ever learned, and I did so from the 78 RPM recording that N&eacute;illidh Boyle recorded seventy-eight years ago. In a way, then, this track is symbolic of how Irish traditional music keeps coming full circle, shared back and forth between musicians across the broad Atlantic and across generations. <br /><br />And lest I forget about the not-often-heard tune dedicated to a certain Biddy (a nickname for 'Bridget') from Sligo, my mind goes back in time to my grandmother sitting by the fireside listening to me trying to learn and play this fine jig. And so, in remembrance of my grandmother, <span>Elizabeth Collins (n&eacute;e Rochford)</span>, a wonderful lady of tunes, songs, and stories, I hereby offer an account of the lyrics she had for 'Biddy from Sligo': <br /><br />'Oh mother dear, may I go for a swim? <br />Yes, my darling daughter! <br />Mind the boys don't see your shins, <br />Keep them well under the water!'