L.E. McCullough

Author and recording artist L.E. McCullough dropped by to tell me about his new web site. On it, you'll find his articles on the tin whistle, plus information about his recordings and writing.

tinwhistlelessons.com

One John Ryan (hey, I know your polka...) contacted me to let me know about his new site, tinwhistlelessons.com. It contains both free content and content for sale. He's looking for feedback on the site, so feel free to contact him directly via the link on this page if you have comments on the site.

Cnoc Buí­, by Conal Ó Gráda

Some people remember where they were the precise moment when Neil Armstrong landed on the moon. Others, their first kiss. Me, I remember the precise time and location when I first heard Conal Ó Gráda's first album, The Top of Coom. Some very good musical recordings express their genius in a subtlety which takes repeated listening and a deep knowledge of the musical context of the album to truly comprehend. Not so with The Top of Coom; it grabbed my ears the second I first heard it, and immediately changed my mind about the kind of sounds and rhythm that it was possible to produce on a wooden flute.

Ó Gráda plays with a precise rhythm and a wide range of timbre. His use of fingered ornamentation is not excessive; most of what sets his style apart from others comes from his rhythm and versatile breath control. He can play as gently as anybody, but he can also drive the flute to a resonant, coarse tone which begins to push the boundaries of what we would think of as the sound of a wind instrument. As well anything in between; his playing is not random bursts of noise, but rather a controlled exploration of the range of the instrument. Gary Hastings described Conal as "half man, half steam-engine." When he plays dance music, it actually makes you want to dance.

Now, nearly 20 years later, Ó Gráda has released a new album, called Cnoc Buí­. How does it compare to The Top of Coom? Well, his style is recognizable from the first album; there hasn't been a day and night change in the intervening years. But the album itself is somewhat different. Save for Colm Murphy's bodhrán on a couple of tracks, the CD is entirely unaccompanied. Now, the accompanists on Ó Gráda's first album were no slouches (e.g., Arty McGlynn), but unaccompanied recordings are all too rare these days, and always pleasant to hear. Also, a notable omission from the first album, namely, polkas, has been corrected. Ó Gráda's style fits the polka rhythm very well, and Cnoc Buí­ includes three tracks of polkas.

With only two exceptions, all of the tunes on the CD are traditional. There is a good mix of common and less common tunes. The audio quality is good, and the sound hasn't been drowned in reverb. All of the tunes on this recording are played on the concert flute (The Top of Coom featured a couple of tracks played on the fife).

My only complaint about the CD is that there are no liner notes. It's a small thing, but I always like to read artists' comments about the tunes. But overall this is a great CD, one of my favorite this year. I've been listening to it for about two months now, and it sounds fresh every time.

You can buy the CD (or download) at CDBaby or via Ó Gráda's own site. Both sites have audio previews of the tracks. It's also available from Celtic Grooves.

Killashandra

 

Well, the highly coveted award for "Craig's favorite performance at the Dublin Irish Festival this year" goes to Killashandra. Killashandra, otherwise known as "Ted and Debbie," play their music in a way which is thoughtful and speaks volumes about the musicians. I think it is really music which could not be made by two people who had just met for the first time. At the same time, they have not allowed their years of making music together to make their music stale, either. It reminded me, in that way, of hearing Martin Hayes and Dennis Cahill, or June McCormack and Michael Rooney. Not so much in the musical style, but in the way that they worked together as partners.

Ted and Debbie play tunes slowly when it fits the tune and their own style, and they play less common(-ly performed today) rhythms, like barndances. They improvised and experimented with tunes in a way which seemed to surprise even themselves. Their performance was punctuated by occasional anecdotes about some of the tunes and where they learned them.

Unfortunately, they have no recordings released that I'm aware of. I'm hoping that will change. In the meantime, you'll probably be able to hear them at the Dublin Irish Festival next year, and they occasionally lead the session at Claddagh downtown. Regretfully, however, I've seen very few sessions in the Columbus area which made room for even occasional solo performances, and a lot of what is really special about Killashandra's music would be lost in the din of a local session.

Where I'll Be At the Dublin Irish Festival

Click the title to see where I'm planning to be this weekend.

Dympna O’Sullivan and Joan Hanrahan

Since I haven't posted anything in forever and a day, here's a nice video of Dympna O’Sullivan and Joan Hanrahan playing a couple of jigs.