Saturday, February 28, 2009
Marcas Ó Murchú, Maurice Bradley (fiddle), Seamus O'Kane, Ciaran Kelly
Geantraí from Derry. Marcas Ó Murchú (flute), Maurice Bradley (fiddle), Seamus Ó Catháin / Seamus O'Kane (bodhrán), Ciaran Kelly / Ciarán Ó Ceallaigh (guitar). Sandinos, Derry.
Ciaran O'Kane, Brenda Smith, Murrough O'Kane, Fintan Vallely, Liz Doherty
Geantraí from Derry. Ciarán Ó Catháin / Ciaran O'Kane (guitar), Brenda Nic Gabhann / Brenda Smith (banjo), Murrough Ó Catháin / Murrough O'Kane (flute), Fintan Vallely (flute), Liz Doherty (fiddle). Sandinos, Derry.
Desi Wilkinson - Shady Woods
”Shady Woods? Sounds like a right dodgy geezer,” I'd remarked when Desi Wilkinson first told me about the working title for his new album, but then there’s always been an ingenious element in Desi’s music which surpasses the imagination of most Irish traditional flute players. The woods in question are the variety of wooden flutes, some constructed by his home-town flute-maker, Sam Murray, which the Belfast-born Desi employs on his first solo album for fourteen years, Shady Woods.
Two years in the making, Shady Woods is a complete departure for a flute-player known for playing some of the most hard-hitting music to come out of Ireland over the last couple of decades, not least with the formidable trio Cran (whose other members are singer/bouzouki-player Seán Corcoran and the uilleann piper Ronan Browne). Desi’s first album was an enjoyable, fun-packed affair, mirrored by its title, The Three Piece Flute. In contrast Shady is the product of a conscious decision to explore the more mellow sound of the wooden flute, as Desi puts it, ‘allowing the instrument to dictate the pace itself, let it make its squeaks and things the way it wants to’. 
For those who rightly thought ‘Hang on, aren’t most of the flutes used in traditional music wooden?’ the answer is, naturally, affirmative. The difference here is that Desi has chosen to use the simplest form, in other words, ones lacking any keys whatsoever. Though obviously blown differently, this form of the instrument is otherwise played similarly to the tin whistle, using overblowing (hence the ‘squeaks’) to produce the higher notes and cross-fingering to generate accidental notes (though these rarely feature in Ireland’s traditional music). The sounds produced vary according to the kind and quality of the wood used (hardwood, yew or bamboo in this case), the instrument’s tuning (determined by its length) and, of course, the player’s technique.
However, it’s not just the choice of instrument, but the selection of tunes and their arrangements which makesShady Woods an atypical Irish flute album. Again, this was deliberate on Desi’s part, selecting tunes which ‘do not slot into any category, simply ones that I enjoy playing’. The overall effect is reflective, relying on the wooden flute’s resonance and sparse accompaniment, a little percussion there, harmonised vocal drones elsewhere, and the sound of the waves rolling onto a beach in Clare. Accordionist Máirtín O’Connor can rarely have played so few notes in one piece as he does on Le Petit Bal De La Marine, a waltz evoking the afternoon dances held in Paris café in the 1920s. Shady Woods also presents probably the first musical marriage of the Irish flute and the Indian shruti box, a hand-pumped miniature harmonium, operated here by Graham Henderson of Dónal Lunny’s band, Coolfin..
Such an atmospheric combination might lead some to suspect that Desi has fallen foul of the ethereal, ambient doodling which blights an element of Ireland’s traditional music, producing albums of haunting melodies for the tourist trade, but this is far from the case, thanks to Wilkinson’s mastery of his instrument and the cosmopolitan strengths of his material. Apart from tunes from Northern Ireland, such as Lisburn Lass, there are also several pieces which reflect Desi’s passion for Breton music (he spent several years living in the region during the 1990s) and another, The Long Woman, written while he took part in Hent St. Jakez, a 1993 pan-European musical project which followed the medieval pilgrimage route to Santiago de Compostela in Northwest Spain.
Over the years Belfast has produced an array of fine flute-players, including Gary Hastings and the late Frankie Kennedy from Desi’s generation and, more recently, Marcas Ó Murchú and Harry Bradley, so it’s difficult to resist the temptation to ask for his views on the reason. He harks back to the 1970s when the Troubles were at their height and ‘there was an intensity about the music scene which saw us all in the crucible at the same time’. While some flute-players had graduated from the fife and drum bands, Desi came under the spell of the Cathal McConnell and Tommy Gunn of the original Boys of the Lough. As a consequence, along with Gary and Frankie, he sought out the older players from Gunn and McConnell’s native County Fermanagh, from where it was but a short hop across the border to the hotbed of traditional flute-playing, East Connaught (counties Leitrim, Sligo and Roscommon) and musicians such as Packie Duignan and Josie McDermott.
Three Scores Of Boxty, learned from the Derrygonnelly flute-player, Eddie Duffy, is one tune on Shady Woods which derives from Desi’s travels at that time. Nowadays, when he is not touring Europe or the USA with Cran, Desi is based in Limerick balancing a career as a research associate at the city’s university with the demands of life as a professional musician. Cran’s fourth album will soon be in the pipeline, but for the moment it’s time to promote Shady, but, as the man says himself, the album’s tunes are timeless, so why hurry?
The Irish Flute By Bill Devlin
“Irish” flutes
People play Irish traditional music on all kinds of flutes: bamboo, polymer, modern metal ‘Boehm System’ concert flutes, even bicycle pumps with holes drilled in the side! But the flute most identified with Irish traditional music is the wooden, six-holed instrument sometimes called the ‘Irish’ flute. It’s usually made of blackwood or grenadilla, the same tropical wood used to make clarinets, but in recent years the tree has been on the verge of becoming endangered, and new woods are being adopted.
These wooden flutes are the descendants of the common flutes of the eighteenth and early nineteenth century, with some improvements and tweaking by modern makers to allow them to hold their own in sessions or solos. These flutes were known as “simple system,” because they had the same six toneholes as whistles, with keys added randomly over time to allow accidentals to be played. They survived in two traditions, Irish dance music and Cuban charanga.
Other than their material, they differ from the familiar modern flutes because of their conical or tapered bore or shape, which helps focus the sound. Back in George Washington’s time, the ideal sound of these flutes was somewhere between an oboe and a clarinet, and no one made flutes that epitomized this better than the British firm of Rudall & Rose. Today, most modern flutemakers base their designs on those of this long-gone firm.
No one knows exactly when or how flutes were incorporated into traditional playing. The first recordings of Irish flute were made of Leitrim player John McKenna in the U.S. in the 1920s. McKenna’s home area of Leitrim, along with neighboring parts of Counties Roscommon and Sligo, was one region where flutes were common in house dances. East Galway, where modern players Mike Rafferty and Jack Coen emigrated from, was another. These two areas developed distinct styles, but today players may incorporate all kinds of influences. Some like Matt Molloy, the acknowledged master among modern Irish flute players, imitate piping techniques.
The wooden Irish flute lacks the volume of modern metal flutes, but blends in with most other instruments and emerges in slowed down versions of dance music, in slow airs, and in fast rhythmic tunes as well. Although traditional music can also be played on the metal flute, as great players like Joannie Madden and Noel Rice demonstrate, the unkeyed holes of the wooden flute make it easy to keep the fingers flying along with the lively dance music of the tradition.Some flutes have keys for common accidentals, but the instrument can often do just as well keyless.
Among the best-known and most respected of the many wooden flutemakers of today are Patrick Olwell of Virginia, Michael Grinter of Australia, and Sam Murray and Hammy Hamilton of Ireland.
People play Irish traditional music on all kinds of flutes: bamboo, polymer, modern metal ‘Boehm System’ concert flutes, even bicycle pumps with holes drilled in the side! But the flute most identified with Irish traditional music is the wooden, six-holed instrument sometimes called the ‘Irish’ flute. It’s usually made of blackwood or grenadilla, the same tropical wood used to make clarinets, but in recent years the tree has been on the verge of becoming endangered, and new woods are being adopted.
These wooden flutes are the descendants of the common flutes of the eighteenth and early nineteenth century, with some improvements and tweaking by modern makers to allow them to hold their own in sessions or solos. These flutes were known as “simple system,” because they had the same six toneholes as whistles, with keys added randomly over time to allow accidentals to be played. They survived in two traditions, Irish dance music and Cuban charanga.
Other than their material, they differ from the familiar modern flutes because of their conical or tapered bore or shape, which helps focus the sound. Back in George Washington’s time, the ideal sound of these flutes was somewhere between an oboe and a clarinet, and no one made flutes that epitomized this better than the British firm of Rudall & Rose. Today, most modern flutemakers base their designs on those of this long-gone firm.
No one knows exactly when or how flutes were incorporated into traditional playing. The first recordings of Irish flute were made of Leitrim player John McKenna in the U.S. in the 1920s. McKenna’s home area of Leitrim, along with neighboring parts of Counties Roscommon and Sligo, was one region where flutes were common in house dances. East Galway, where modern players Mike Rafferty and Jack Coen emigrated from, was another. These two areas developed distinct styles, but today players may incorporate all kinds of influences. Some like Matt Molloy, the acknowledged master among modern Irish flute players, imitate piping techniques.
The wooden Irish flute lacks the volume of modern metal flutes, but blends in with most other instruments and emerges in slowed down versions of dance music, in slow airs, and in fast rhythmic tunes as well. Although traditional music can also be played on the metal flute, as great players like Joannie Madden and Noel Rice demonstrate, the unkeyed holes of the wooden flute make it easy to keep the fingers flying along with the lively dance music of the tradition.Some flutes have keys for common accidentals, but the instrument can often do just as well keyless.
Among the best-known and most respected of the many wooden flutemakers of today are Patrick Olwell of Virginia, Michael Grinter of Australia, and Sam Murray and Hammy Hamilton of Ireland.
Tuesday, February 24, 2009
Garry Shannon
The eldest of a celebrated musical family which includes accordeonist Sharon Shannon and Mary Shannon of "The Bumblebees". Garry's music has been very influential on the Irish Trad scene in general and Flute players in particular.
Over two decades,Garry has travelled through Europe, the Soviet Union, the United States and Australia.
Himself a senior all-Ireland winner in '88, he is a teacher and many of the current crop of youngsters - soloists and groups - bear his unmistakable stamp.
Since beginning his recording career in 1981, Garry has left a fine body of work on vinyl, cassette and C.D. as a member of various respected groups and currently with the legendary Kilfenora Ceili Band. His debut solo album " Lose the Head " with Orfhlaith Ni Bhriain (1989) and his 2nd album Loozin 'air have pride of place as classics in many enthuasiasts'' collections. His third album "Punctured!" is now available at the online store.
His exciting new C.D. Punctured! features a host of excellent musicians. 12 sparkling tracks full of mischief, each an individual jewel crafted with consummate skill.
He teaches flute extensively. He trains the Burren groups of young musicians in Corofin and is co-ordinator of the Irish Music Residential Summer School Meitheal.
Over two decades,Garry has travelled through Europe, the Soviet Union, the United States and Australia.
Himself a senior all-Ireland winner in '88, he is a teacher and many of the current crop of youngsters - soloists and groups - bear his unmistakable stamp.
Since beginning his recording career in 1981, Garry has left a fine body of work on vinyl, cassette and C.D. as a member of various respected groups and currently with the legendary Kilfenora Ceili Band. His debut solo album " Lose the Head " with Orfhlaith Ni Bhriain (1989) and his 2nd album Loozin 'air have pride of place as classics in many enthuasiasts'' collections. His third album "Punctured!" is now available at the online store.
His exciting new C.D. Punctured! features a host of excellent musicians. 12 sparkling tracks full of mischief, each an individual jewel crafted with consummate skill.
He teaches flute extensively. He trains the Burren groups of young musicians in Corofin and is co-ordinator of the Irish Music Residential Summer School Meitheal.
Friday, February 20, 2009
John Wynne live at Passionfruit Theatre, Athlone
This weekend John Wynne will play at Passionfruit Theatre, a lovely intimate venue in Athlone town. for more info on upcoming gigs check out their website: Passionfruit Theatre - Irish Music Venue
Tuesday, February 17, 2009
Laurence Nugent
Laurence Nugent is an extraordinarily gifted flute and whistle player from Lack, County Fermanagh North of Ireland.Widely Considered as one of the best Flute players in Ireland if not the world. Born into a family renowned for its musical ability his father, the late Sean Nugent, was an All-Ireland fiddle champion and the leader of the legendary Pride of Erin Ceili Band. Laurence began making his own mark at an early age. He started the whistle at the age of eight and then progressed to the flute. In 1994 and again 1995, he won the All-Ireland tin whistle competition. Laurence has established a fine reputation as a musician on the Celtic music circuit. He has appeared as a guest of the Chieftains,Shane McGowan,Van Morrison,Liam Ó Maonlaí, the Green fields of America And has toured and performed with Liz Caroll,Paddy Keenan, Arty McGlynn..... He has toured extensively, performing at concerts throughout the US, Canada, Europe and Asia including Milkwaukee irish fest,the san fransico Irish fest,The Glen Echo Festival in washington D.C, the Willie Clancy week, and the Festival De Cornovaille Quimper.He is heard extensively on radio, including a Praire Home Companion, The studs Terkel show, and Ireland's RTE. Laurence Has released several critically acclaimed solo records on Shanachie Records and also featured on shanachie's "Celtic Tapestry" along side Solas,DeDannam,Clannad,Planxty, and Silly Wizard.
Sunday, February 15, 2009
John McEvoy and John Wynne Play Major Moran's Reels
From the 2007 Nyah Festival, a set of reels called "Major Moran's Reels", played by John McEvoy (fiddle) and John Wynne (flute), both from Co. Roscommon. "Major Moran" was Johnny Moran, a fiddle and flute player from Elphin, Co. Roscommon.
Saturday, February 14, 2009
Gary Shannon
The eldest of a celebrated musical family which includes accordeonist Sharon Shannon and Mary Shannon of "The Bumblebees". Garry's music has been very influential on the Irish Trad scene in general and Flute players in particular.
Over two decades,Garry has travelled through Europe, the Soviet Union, the United States and Australia.
Himself a senior all-Ireland winner in '88, he is a teacher and many of the current crop of youngsters - soloists and groups - bear his unmistakable stamp.
Since beginning his recording career in 1981, Garry has left a fine body of work on vinyl, cassette and C.D. as a member of various respected groups and currently with the legendary Kilfenora Ceili Band. His debut solo album " Lose the Head " with Orfhlaith Ni Bhriain (1989) and his 2nd album Loozin 'air have pride of place as classics in many enthuasiasts'' collections. His third album "Punctured!" is now available at the online store.
His exciting new C.D. Punctured! features a host of excellent musicians. 12 sparkling tracks full of mischief, each an individual jewel crafted with consummate skill.
He teaches flute extensively. He trains the Burren groups of young musicians in Corofin and is co-ordinator of the Irish Music Residential Summer School Meitheal.
Over two decades,Garry has travelled through Europe, the Soviet Union, the United States and Australia.
Himself a senior all-Ireland winner in '88, he is a teacher and many of the current crop of youngsters - soloists and groups - bear his unmistakable stamp.
Since beginning his recording career in 1981, Garry has left a fine body of work on vinyl, cassette and C.D. as a member of various respected groups and currently with the legendary Kilfenora Ceili Band. His debut solo album " Lose the Head " with Orfhlaith Ni Bhriain (1989) and his 2nd album Loozin 'air have pride of place as classics in many enthuasiasts'' collections. His third album "Punctured!" is now available at the online store.
His exciting new C.D. Punctured! features a host of excellent musicians. 12 sparkling tracks full of mischief, each an individual jewel crafted with consummate skill.
He teaches flute extensively. He trains the Burren groups of young musicians in Corofin and is co-ordinator of the Irish Music Residential Summer School Meitheal.
Posture and Holding the Flute
http://www.geocities.com/feadanach/posture.html
Most flute players I've met could stand to rethink the way their bodies interact with the instrument. The flute really is one of the least comfortable instruments to play. It's very easy to develop a great deal of tension in the hands, wrists, and shoulders, which can lead to repetitive strain injury. Let alone that you've simply got to find a way of keeping the thing steady while you're moving your fingers around! Small wonder that there are so many strange postures among traditional flute players. One of the most common is to brace the flute against the left shoulder, or rest it on top of the shoulder--obviously a technique developed by evil chiropractors looking to increase their business.
An ideal flute posture is one that allows you to (a) stand or sit up straight, (b) maintain a comfortable, relaxed, secure hold on the instrument, (c) have your fingers totally free from having to support the flute, (d) play with a correct embouchure, and (e) make maximum use of your lung capacity, all (f) without putting excessive strain on the wrists, shoulders, back, or neck.
To hold the flute properly, what you need to go for is a three-point support system. You guide the flute towards you with the joint that joins your left index finger to the hand--that is, the palmar surface of the index finger's MP (metacarpo-phalyngeal) joint (thanks, Larry)--or with your left thumb if you play with a "flat-fingered" or "piping-style" grip. Your right thumb guides the flute away from you and is counterbalanced by your jaw at the other end of the flute. The flute isn't gripped in either hand; rather, it's balanced between these three points. Note that the best place for your right thumb is braced against the side of the flute, not underneath. Many players (myself included) also brace the little finger against the flute. If you do this, you may want to turn your foot joint out so that the E-flat key is out of the way - just be sure that you roll it back in before you start playing a tune that uses that note. You should be able to keep your right wrist fairly straight.
Note that it's best to seal the holes of the flute with the fleshy undersides of your fingertips, not the bony ends, so you can keep your right-hand fingers pretty flat. It's much less of a strain to reach the holes that way, too.
Be very careful with the position of your left hand. The standard grip requires you to bend the wrist backwards a little, but avoid going to extremes. Long periods of wiggling your fingers with your wrists flexed can lead to carpal tunnel syndrome or worse problems. You can minimize the bend in your wrist by bracing the flute against the MP joint rather than the finger itself, and by turning your head a bit to the left. Play around with these variables until you find a comfortable, relatively tension-free position, and check yourself often in a mirror.
You'll also find that turning your head to the left also lets you raise your right hand to playing height without having to lift your shoulder much at all. Both your elbows should be held loosely and comfortably, more or less at your sides.
The flat-fingered left-hand position, with the thumb on the far side of the flute, is a relatively low-tension grip, and much easier on the wrist. However, if you use this technique, you may find yourself getting into a posture that puts excessive strain on your neck. If you have a flute with a two-piece middle section, you can roll your left-hand section outward, which lets the hand reach the holes comfortably without you having to bend your head down to get at the embouchure hole. The only other drawback to holding the flute this way is that you can't reach the B-flat key, but that's not a major problem in the context of Irish music.
Above all, keep in mind that if you experience pain or tension while you're playing, you're doing something wrong. Playing the flute isn't supposed to hurt--that's what dancing is for!
Most flute players I've met could stand to rethink the way their bodies interact with the instrument. The flute really is one of the least comfortable instruments to play. It's very easy to develop a great deal of tension in the hands, wrists, and shoulders, which can lead to repetitive strain injury. Let alone that you've simply got to find a way of keeping the thing steady while you're moving your fingers around! Small wonder that there are so many strange postures among traditional flute players. One of the most common is to brace the flute against the left shoulder, or rest it on top of the shoulder--obviously a technique developed by evil chiropractors looking to increase their business.
An ideal flute posture is one that allows you to (a) stand or sit up straight, (b) maintain a comfortable, relaxed, secure hold on the instrument, (c) have your fingers totally free from having to support the flute, (d) play with a correct embouchure, and (e) make maximum use of your lung capacity, all (f) without putting excessive strain on the wrists, shoulders, back, or neck.
To hold the flute properly, what you need to go for is a three-point support system. You guide the flute towards you with the joint that joins your left index finger to the hand--that is, the palmar surface of the index finger's MP (metacarpo-phalyngeal) joint (thanks, Larry)--or with your left thumb if you play with a "flat-fingered" or "piping-style" grip. Your right thumb guides the flute away from you and is counterbalanced by your jaw at the other end of the flute. The flute isn't gripped in either hand; rather, it's balanced between these three points. Note that the best place for your right thumb is braced against the side of the flute, not underneath. Many players (myself included) also brace the little finger against the flute. If you do this, you may want to turn your foot joint out so that the E-flat key is out of the way - just be sure that you roll it back in before you start playing a tune that uses that note. You should be able to keep your right wrist fairly straight.
Note that it's best to seal the holes of the flute with the fleshy undersides of your fingertips, not the bony ends, so you can keep your right-hand fingers pretty flat. It's much less of a strain to reach the holes that way, too.
Be very careful with the position of your left hand. The standard grip requires you to bend the wrist backwards a little, but avoid going to extremes. Long periods of wiggling your fingers with your wrists flexed can lead to carpal tunnel syndrome or worse problems. You can minimize the bend in your wrist by bracing the flute against the MP joint rather than the finger itself, and by turning your head a bit to the left. Play around with these variables until you find a comfortable, relatively tension-free position, and check yourself often in a mirror.
You'll also find that turning your head to the left also lets you raise your right hand to playing height without having to lift your shoulder much at all. Both your elbows should be held loosely and comfortably, more or less at your sides.
The flat-fingered left-hand position, with the thumb on the far side of the flute, is a relatively low-tension grip, and much easier on the wrist. However, if you use this technique, you may find yourself getting into a posture that puts excessive strain on your neck. If you have a flute with a two-piece middle section, you can roll your left-hand section outward, which lets the hand reach the holes comfortably without you having to bend your head down to get at the embouchure hole. The only other drawback to holding the flute this way is that you can't reach the B-flat key, but that's not a major problem in the context of Irish music.
Above all, keep in mind that if you experience pain or tension while you're playing, you're doing something wrong. Playing the flute isn't supposed to hurt--that's what dancing is for!
Choosing a Flute for Irish Music
http://www.firescribble.net/flute/choosing.html
The first thing to decide is whether you want a simple-system or Boehm-system flute. The vast majority of traditional Irish flute players use a wooden, simple-system flute, like the three flutes shown here, made by Chris Wilkes.
Some people prefer to play Boehm-system flutes, which is the key system on the modern silver flute. The flute shown below is a wooden Boehm-system model made by Chris Abell of Asheville, North Carolina.
Boehm-System Flutes
Billy Clifford of Co. Kerry playing a wooden Boehm-system flute. Photo copyright Peter Laban, Miltown Malbay
Boehm-system flutes are available in metal or wood. They have a cylindrical bore and a complex key system. The renowned German flutemaker and player Theobald Boehm developed this instrument in the mid-1800s because he believed it would make the flute louder and improve its internal tuning, especially in the third octave. These qualities make the Boehm-system flute especially appropriate for classical music in orchestral settings; in fact, by the late 1800s conductors were requiring all orchestra flute players to play Boehm-system instruments.
The fingering of the Boehm system flute is more complex than that of the simple system, making it less popular for traditional Irish music. Plus, without the open holes it is hard to slide from one note to another, which may limit your expressiveness, especially when playing airs.
For more info on the development of the Boehm-system flute, check out the Standing Stones Irish flute site.
Simple-System Flutes
The simple system, conical-bore flute is what people played before Boehm introduced his cylindrical-bore design in the mid-1800s. Simple-system flutes are usually made of wood (cocus, grenadilla [also called African blackwood], rosewood, ebony, and boxwood are the most common), have six tone-holes and anywhere from zero to 13 metal keys. Many experienced Irish flute players prefer six- or eight-key instruments, although much of the traditional Irish repertoire may be played on a keyless flute. The six tone-holes on a simple-system flute correspond to the six holes on a tin whistle: if you already play whistle, you will not need to change your fingering to play the same music on a flute.
Most simple-system flutes used by Irish musicians play in concert pitch: as with a D pennywhistle, the "D" fingering on a flute (six fingers down) produces a D (an octave below that of a pennywhistle) on the A=440 tuning standard in wide use today. People generally refer to these instruments as "concert flutes" or "D flutes" although strictly speaking the latter term is incorrect since the flute may have keys that take it down to C-sharp and C.
As with the whistle, flutes are available in a range of keys. D is standard for Irish music, but you can also find flutes in A, G, F, Eb, C, B, and Bb. These are mostly regarded as novelty instruments, although they do come in handy for certain tunes or for creating a desired mood. By the way, the Bb flute is large, much longer than a standard D flute.You will often come across small "flutes" in the key of Bb, the same size as a Bb whistle; these are called fifes. A small, keyed flute in D, the same size as a D pennywhistle, is known as a piccolo.
The rest of this section of the site deals with factors you should consider in choosing a simple-system flute. Go on to the Next Page to learn about keys, wood, tone, and other considerations.
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