Aoife Clancy, the outstanding Irish singer, honored me with an interview early Saturday morning near the end of the Catskill Irish Arts Week, just after a long singing session at the Wayside Inn.
She lives in Fairhaven Massachusetts, near New Bedford, but was brought up in Ireland.
Her father, Bobby Clancy, was in the Clancy Brothers, the famous group that brought Irish folk music to America in much of the 1960s. Consequently she was brought up listening to and playing music at an early age.
Her father insisted his children all have their daily dose of Irish music.
She was playing the banjo at 7 or 8 years old, which she didn't really like. She progressed to the guitar when she was about 11 or 12.
Her mother came from an Irish speaking area, a Gaeilteach, in Ring (An Rinn, in Irish), County Waterford, Ireland.
As a result, she was exposed to a bit of both worlds of Irish music. She heard the ballads from her father, and then she'd go down to Ring and hear the sean nos songs in the Irish language and style. She stuck mostly to her father's style of songs, but she was influenced by the sean nos (“Sean nos” means “old style” and is the style of singing where a solo performer sings unaccompanied, usually in Irish, and often in free meter).
In fact, her mom often reminded Aoife of how she, Aoife, didn't get her Irish music heritage just from her father - her mom's traditions helped form her style as well.
Aoife started performing in her teenage years. She remembers at the age of 13 and 14, her father took her out to country pubs in the middle of nowhere. He'd say, “Come on, we've got an afternoon gig.” And she'd go, “What!?” shocked at the lack of adequate warning. Still, he'd take her to these beautiful little pubs. Some of them didn't even have electricity in them. The pubs sold only large bottles of beer, no drafts. Patrons bought large bottles or nothing. Such experiences were her early exposure to public music, watching her father and observing him perform in a small little intimate setting. The people in these places were very supportive. She was extremely shy and he would encourage her to sing. But many times he would tease her by introducing her as “kind of shy” and she'd think, “Why did you say that?”
Over the years, she got more confident singing in front of a crowd. She thanks her father, because of his attitude toward performing. He was very much about “enjoy yourself and sing from the heart”. He told her don't make it so much about performing for people and how they are all looking at you, as much as about how you are enjoying the song yourself and how you are bringing it across. She learned a lot from performing from that perspective.
Aoife was a solo performer when she came to the United States. She brought a CD with her titled “It's About Time” and was published by Rego (Irish Music) Records in 1991. Aoife did a tour with Patty Noonan who ran the Rego label. Joanie Madden heard the CD, Cathie Ryan was leaving, and Joanie and Aoife met on an Irish cruise Aoife's father and uncles had put on in the Caribbean. The Cherish the Ladies group was on the cruise and Joanie had a substitute singer to cover for Cathie. Joanie didn't say anything to Aoife at that time, she just kind of observed Aoife singing at the session. A few months later Joanie called Aoife and said, “Doll, we're looking for a singer. Would you like to join the group?”
Aoife had often looked at the group with admiration as they have so much variety, the dancers, the tunes, the instruments, the songs. Of course, Aoife jumped at the chance and the next thing she knew she was appearing with Cherish the Ladies.
She sang with Cherish the Ladies for about five years.
When she left, she was in bands of various configurations with her own band, the Clancy band, and Matt and Shannon Heaton. Fling played with her for awhile. She played with other musicians including Owen Marshall.
Now she's in the Clancy Legacy with her cousins Robin O'Connel and Donal Clancy. They just brought a CD out in March titled “The Clancy Legacy” (btw, they first performed together at a workshop called "The Clancy Legacy" during the Irish Arts week in East Durham, NY in July 2006).
Aoife came to be at the 2010 Catskill Irish Arts Week because she was there a number of years ago. Myron Bretholz, the bodhrán player, encouraged her. There was one year when he was in charge of the bookings for the event, like Paul Keating was in 2010 (and before). She met Myron at a festival in Philly and he was the MC. They started chatting. Myron asked her, “Do you ever teach?” and soon asked her to come teach in the Catskills.
She did it and loved it. She had a fantastic bunch of people. She just had to talk about her father and her uncles, and then led the group in the songs that had been passed on to her. She found a whole slew of songs that over the years she'd forgotten about until she started looking back on them.
She couldn't believe the number of people who wanted to learn the songs passed on to her by her father.
Then she started getting into it. She started teaching the songs at other workshop events too.
For the last three or four years she hasn't been to the Catskills Irish Arts Week because of a competing festival, but she was invited this year and she decided it was time to return to the Catskill Irish Arts Week.
She said the 2010 week was a great week, and everyone worked her hard. There is so much going on, so many people she knows, she wishes it could be spread over two weeks. The evening sessions at the pubs alone are a dilemma – if you are at one, you cannot go to another.
The students were exposed to such wonderful music that week.
Aoife said the standard of musicians and teachers here for the week doesn't get any better. You don't get any better than the Kane sisters, Edel Fox, Joanie Madden, Cherish the Ladies, or Liz Carroll. They are the crème de la crème of Irish musicians. Anybody would be so lucky to have these people as teachers. They've been playing since they were small and now they are passing on the music to their students. That's what keeps the music alive.
On a personal note, Aoife loves when she sits at a session and somebody comes in and sings a song that she taught them.
Aoife said the Andy McGann Festival on the last Saturday of the Catskill Irish Arts Week would be great because even more performers come in. Bua is playing. The performers represent the standard of the musicians the place attracts.
She hopes to be asked to return to the Catskills next year, but she hopes to arrange a night off that week to catch her rest!
Aoife's online calendar is here: http://www.aoifeclancy.com/calendar .
_____________
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Showing posts sorted by relevance for query Aoife Clancy. Sort by date Show all posts
Showing posts sorted by relevance for query Aoife Clancy. Sort by date Show all posts
Saturday, September 11, 2010
Thursday, November 17, 2011
Irish Singing and Language On the News Via Liet
National Public Radio (NPR) in the USA has a wonderful segment about the Liet International Song Contest, a singing competition designed to emphasize the minority languages of Europe. The Segment is: A Televised Singing Competition With A Mission.
Aoife Scott from Dublin is singing in Irish in the competition finals and she is featured at multiple stages of the segment. Minority languages around Europe are discussed, and Aoife talks about how at 18 she realized her parents had given her a gift in teaching her the Irish language.
Dol Eoin and the six-piece band Macanta from Scotland, will compete performing in Scottish Gaelic (pronounced gallic). Irish and Scottish Gaelic were essential different dialects of one language until the 1700s. Although between the ages of 0 and 5 his grandparents and parents spoke Gaelic around him, they and he let it fall into disuse as he got older. But then he had a dream in Gaelic, and this prompted him to spend two years recording an album all in Scottish Gaelic.
______________________________________________
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Tracking Gibberish: JYPQ83SXNGAD
Aoife Scott from Dublin is singing in Irish in the competition finals and she is featured at multiple stages of the segment. Minority languages around Europe are discussed, and Aoife talks about how at 18 she realized her parents had given her a gift in teaching her the Irish language.
Dol Eoin and the six-piece band Macanta from Scotland, will compete performing in Scottish Gaelic (pronounced gallic). Irish and Scottish Gaelic were essential different dialects of one language until the 1700s. Although between the ages of 0 and 5 his grandparents and parents spoke Gaelic around him, they and he let it fall into disuse as he got older. But then he had a dream in Gaelic, and this prompted him to spend two years recording an album all in Scottish Gaelic.
______________________________________________
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Tracking Gibberish: JYPQ83SXNGAD
Saturday, May 12, 2012
East Durham Irish Festival, Memorial Day, 2012
East Durham Irish Festival, Memorial Day 2012
Tom McGoldrick, Festival Director of the East Durham Irish Festival, wants everyone to know the East Durham Irish Fesitival is May 26th and 27th, 2012.
Groups include:
Advance tickets are available @ $12 in advance (plus $1 handling charge per ticket up to $3), a $4.00 saving, by calling 518-634-2286 (credit card sales acceptable) or send your check to East Durham Irish Festival, Box 189, East Durham, NY 12423.
Avanced sale two day tickets are available for $22. This is $10 less than the total of same day gate entrance fees of $16 per day. No Service fees with purchase of passports.
One venue is a large pavillion and the other is a tent, so rain isn't a problem. And yah wouldn't think it would be for the Irish, right?!
Free Camping will be available. Show up at the Festival Grounds and Parking attendees will direct you to campsites.
The Children's area "Land of the Leprechauns" will be back bigger than ever. A great variety of food Food and Vendors will be available.
CALL WITH ANY QUESTIONS! 518-634-2286
Location: East Durham, New York
Time & Date: May - Saturday the 26th - Sunday the 27th
Festival Schedule
Festival Web Site with More Information
More Irish Musicians in Shamrock Road blogs:
- Terry Kane
- Len Graham
- Mary Staunton
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Tom McGoldrick, Festival Director of the East Durham Irish Festival, wants everyone to know the East Durham Irish Fesitival is May 26th and 27th, 2012.
Groups include:
Barley Juice from Philadelphia
Searson from Canada
The Fenians from California
Hair of the Dog from Albany, Shilelagh Law
The Canny Brothers
Jamesons Revenge from NYC
Andy Cooney Band from East Durham
Kitty Kelly Band from East Durham
Kilrush from East Durham
Brothers Flynn from East Durham
St. James Gate
along with Pipe Bands
and Irish Step Dancing Schools
Advance tickets are available @ $12 in advance (plus $1 handling charge per ticket up to $3), a $4.00 saving, by calling 518-634-2286 (credit card sales acceptable) or send your check to East Durham Irish Festival, Box 189, East Durham, NY 12423.
Avanced sale two day tickets are available for $22. This is $10 less than the total of same day gate entrance fees of $16 per day. No Service fees with purchase of passports.
One venue is a large pavillion and the other is a tent, so rain isn't a problem. And yah wouldn't think it would be for the Irish, right?!
Free Camping will be available. Show up at the Festival Grounds and Parking attendees will direct you to campsites.
The Children's area "Land of the Leprechauns" will be back bigger than ever. A great variety of food Food and Vendors will be available.
CALL WITH ANY QUESTIONS! 518-634-2286
Location: East Durham, New York
Time & Date: May - Saturday the 26th - Sunday the 27th
Festival Schedule
Festival Web Site with More Information
More Irish Musicians in Shamrock Road blogs:
- Terry Kane
- Len Graham
- Mary Staunton
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Sunday, April 10, 2011
Shannon and Matt Heaton Concert on April 9, 2011
Shannon and Matt Heaton were back at Cafe Lena in Saratoga Springs last night, Saturday, April 9, 2011, and were in fine form.
But before we get to their performances, Matt and Shannon blessed us with a new and wonderful opening act - Hannah Sanders and Liz Simmons. These two were unfamiliar to me, and probably to the vast majority in the audience, yet it was love at first chord. From Hannah's “limbo” to get through a tight spot in the microphone stands as they first stepped on stage, they were relaxed and engaging with their interpersonal stage banter and their real story intros.
They sang some traditional pieces, then turned to personally penned creations which each deserve to become well known traditional pieces; they were that good. One original composition by Hannah features a Sufi poem.
Their singing voices are an obvious strong point as they are clear, complex in undertone, and they use their voices' full dynamics. Their harmonies are rich and supportive – never distracting.
Yet, I noticed another strength. I feel men singers seem to be strong in their guitar work, as a rule. Maybe it's the whole raging guitar hero thing teenage boys go through. A higher percentage of female vocalists either play their guitars themselves in basic mode, or seek the accompaniment of a player of guitar or other instrument. While there is nothing wrong with these approaches, Liz and Hannah have strong guitar skills and the match of instruments well played with voices is special.
Turning to the Heaton's, their nearly seventh month old son Nigel has joined the act with his sparkling eyes. He's lucky to have such skillful musicians and singers as parents and he seemed happy about that.
Back on instruments for a moment, Matt's skill with guitar and bouzouki (safer to refer to it as a “banjo” in airport talk), and Shannon's expression on whistle and flute are tremendous. Occasionally, I've sometimes heard a bit of friction between traditional Irish instrument musicians and Irish singers, but when you see Shannon and Matt, you know the two sides of Irish music are a complete package.
I apologize to all for not taking complete notes, but some of the songs they performed were “The Bird in the Bush,” “The Heartland,” “Lily of the West,” “Where the Moorcocks Crow,” “Giant of the Road,” and “Botany Bay.” I'm sure the rest will pop into my mind in the next few days as the tunes I just named are circulating in my mind.
They were joined by Sam Zucchini of Saratoga environs playing the bodhrán. He masterfully added depth and Celtic authenticity.
Then not once, but twice, the masterful story teller Bairbre McCarthy treated us to a story. The first was about a tinker on the Cork peninsula who heard a voice in a dream telling him to go the Ha'penny Bridge over the Liffey in Dublin. The second was about how Cuchulainn (The Hound of Ulster) got his name. Her magic transported us with words while the musicians added a touch of atmosphere.
For the encore, all the musicians (and Nigel!) were on the stage at once. We will have the memories of that wonderful blend to hold us over until they return.
_______________
More about these fine artists is available at:
Matt and Shannon Heaton
Hannah Sanders
Liz Simmons
Bairbre McCarthy
Bairbre McCarthy's Books
Sam Zuchini
___________
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
But before we get to their performances, Matt and Shannon blessed us with a new and wonderful opening act - Hannah Sanders and Liz Simmons. These two were unfamiliar to me, and probably to the vast majority in the audience, yet it was love at first chord. From Hannah's “limbo” to get through a tight spot in the microphone stands as they first stepped on stage, they were relaxed and engaging with their interpersonal stage banter and their real story intros.
They sang some traditional pieces, then turned to personally penned creations which each deserve to become well known traditional pieces; they were that good. One original composition by Hannah features a Sufi poem.
Their singing voices are an obvious strong point as they are clear, complex in undertone, and they use their voices' full dynamics. Their harmonies are rich and supportive – never distracting.
Yet, I noticed another strength. I feel men singers seem to be strong in their guitar work, as a rule. Maybe it's the whole raging guitar hero thing teenage boys go through. A higher percentage of female vocalists either play their guitars themselves in basic mode, or seek the accompaniment of a player of guitar or other instrument. While there is nothing wrong with these approaches, Liz and Hannah have strong guitar skills and the match of instruments well played with voices is special.
Turning to the Heaton's, their nearly seventh month old son Nigel has joined the act with his sparkling eyes. He's lucky to have such skillful musicians and singers as parents and he seemed happy about that.
Back on instruments for a moment, Matt's skill with guitar and bouzouki (safer to refer to it as a “banjo” in airport talk), and Shannon's expression on whistle and flute are tremendous. Occasionally, I've sometimes heard a bit of friction between traditional Irish instrument musicians and Irish singers, but when you see Shannon and Matt, you know the two sides of Irish music are a complete package.
I apologize to all for not taking complete notes, but some of the songs they performed were “The Bird in the Bush,” “The Heartland,” “Lily of the West,” “Where the Moorcocks Crow,” “Giant of the Road,” and “Botany Bay.” I'm sure the rest will pop into my mind in the next few days as the tunes I just named are circulating in my mind.
They were joined by Sam Zucchini of Saratoga environs playing the bodhrán. He masterfully added depth and Celtic authenticity.
Then not once, but twice, the masterful story teller Bairbre McCarthy treated us to a story. The first was about a tinker on the Cork peninsula who heard a voice in a dream telling him to go the Ha'penny Bridge over the Liffey in Dublin. The second was about how Cuchulainn (The Hound of Ulster) got his name. Her magic transported us with words while the musicians added a touch of atmosphere.
For the encore, all the musicians (and Nigel!) were on the stage at once. We will have the memories of that wonderful blend to hold us over until they return.
_______________
More about these fine artists is available at:
Matt and Shannon Heaton
Hannah Sanders
Liz Simmons
Bairbre McCarthy
Bairbre McCarthy's Books
Sam Zuchini
___________
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Sunday, May 8, 2011
East Durham Irish Festival, Memorial Day 2011
Tom McGoldrick, Festival Director of the East Durham Irish Festival, wants everyone to know the Fesitival is May 28th and 29th, 2011.
Groups include:
Advance tickets are available @ $12.00 each, a $4.00 saving, by calling 518-634-2286 (credit card sales acceptable) or send your check to East Durham Irish Festival, Box 189, East Durham, NY 12423. A $1.00 handling charge will be added to each total sale.
One venue is a large pavillion and the other is a tent, so rain isn't a problem. And yah wouldn't think it would be for the Irish, right?!
Motor Homes and Campers are WELCOME to the grounds at NO CHARGE for the weekend.
CALL WITH ANY QUESTIONS! 518-634-2286
Location: East Durham, New York
Time & Date: May - Saturday the 28th - Sunday the 29th
Festival Schedule
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Tuesday, February 21, 2012
Mary Staunton Interview at Catskill Irish Arts Week 2011
During Catskill Irish Arts Week 2011, Mary Staunton spoke with us about singing and more. Her singing has been described as low on flash but as beatiful as a lark.
Question: When did you start singing?
Mary Staunton: I suppose it was when I was a young child; probably I was six or seven. My grandmother used to sing her songs at home to us. My neighbor was a great friend of my dad's. They played fiddle together. Dad used to sing a lot of songs for us as well, when we were young. There was always music and singing in the house.
Question: Did you grow up with the Irish language?
Mary Staunton: Yes, my grandmother spoke Irish to us at home. I grew up in a Gaelic speaking area or Gaeltacht. All of school was in Irish right up to 18 year olds. We sang Irish songs and English songs all the time. We played music as well, and the singing and music went hand in hand. When I was young I probably played more music than I sang. As I got older, singing took over more.
Question: What part of Ireland did you grow up in?
Mary Staunton: A place called Tourmakeady (Tuar Mhic Éadaigh in Irish). It's a small little village between the mountain and the lake – Lake Mask. It's in southwest Mayo, almost in Galway. It's about 15 miles from Westport Town.
Question: When you were a teenager, did you start doing stage performances?
Mary Staunton: When I was thirteen, we were playing sessions around Mayo. We'd play in the local bars around home, especially in summer. We'd play for seisún. We'd play for dancers. We did years of that. It was good fun, though. All my family played. My brother plays bouzouki and my sister plays fiddle and whistle. So we always played and the craic was always there! Performing was part of life.
Question: Do you remember how you learned to memorize songs?
Mary Staunton: That was just part of the art. We learned by ear and we memorized since we were kids. It was part of the thing we did. You get very quick and very used to it as you get older, especially when you start young. We heard a lot of tunes and we learned them by ear.
Question: What is your favorite song to sing?
Mary Staunton: The one I got from my grandmother, “The Green Fields of Mayo.” I love it because it's about home, it's from her, and it's very personal. It's a sacred song to me, like my family is.
Question: Have you enjoyed Catskill Irish Arts Week? Is it your first time at Catskill Irish Arts Week?
Mary Staunton: Yes, I enjoyed it very much. I heard about it for years and lots of my friends have been here, but it's my first time coming here. I had a great time. I met lovely people. There is a great atmosphere here. There is so much music going on and it's impossible to hear it all as it's so extensive. It's fantastic. Everyone is so welcoming and nice. I had a great time.
Question: How did you hear about Catskill Irish Arts Week before you came?
Mary Staunton: I heard about it through other people who've been here down through the years. I know the musicians and singers in Ireland who have come here. Anyone who has been here always speaks very highly of it. They've all said they had a great time.
Question: Were your students attentive this week?
Mary Staunton: Yes, and they were all lovely people. Some of them were teenagers. One of them had learned two songs in Irish and one hymn. She sings at a mass every year. It was great to hear her singing in the Irish language. One woman spent three months learning one song “as Gaeilge” (from or in Irish language). She broke down all the songs phonetically. It must have taken her so long to work it out! It was amazing to hear that.
Question: What's been the most surprising thing this week?
Mary Staunton: I admire the way Paul has put it all together. It’s a maze of timing for all the concerts, workshops, and all the various classes. The week is a huge thing to undertake. He does amazing work. The whole jigsaw of the time table - how he does it is great.
Question: Are you staying for a bit in the States after this week?
Mary Staunton: I am going back into New York City to be with friends for a few days. I haven't seen them in years. That will be wonderful!
Question: What CDs do you have out?
Mary Staunton: I just recorded a new CD last year called “Circle of Friends.” I launched it last August as my second CD. My first CD was 12 years prior in 1998. It took me a long time to get into the mood to do the next one, but I got lots of help from various friends. A friend of mine Alec Fin produced it with me. He's a circuit barrister and my neighbor. It was an easy recording to do as I had the help of my many friends on it.
My earlier CD is called “Bright Early Mornings” but that was done so many years ago. It's a mixture of songs and tunes including a few duets. There are a lot of Mayo tunes on it that are nice to preserve.
Question: How did you come to have a duet with John Prine on your Circle of Friends CD?
Mary Staunton: I’ve known John Prine for twenty years. He has a holiday home in Kinvar and we play tunes there together. Also, Sharon Shannon invited us to a duet of John’s own composition on the Diamond Mountain Sessions CD. His composition is entitled, “Love, Love, Love.” When we were recording that, he offered to do a duet with me the next time I recorded a CD.
Question: How did you pick the song to do as a duet?
Mary Staunton: John and I both liked “Boots of Spanish Leather” by Bob Dylan. We liked the idea of doing a male/female call and response. When you look at the song, you see Dylan wrote it in that style, but of course he didn’t use a duet of voices. He recorded himself singing both the man and woman’s parts. John and I decided it would be fun to record it as a duet.
I heard Bob Dylan play Boots of Spanish Leather in Galway once. His version was amazing.
So that’s it. Maybe Bob will hear this track someday? I hope he likes it. It was a privilege for me.
___________________________
Mary Staunton Website
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Question: When did you start singing?
Mary Staunton: I suppose it was when I was a young child; probably I was six or seven. My grandmother used to sing her songs at home to us. My neighbor was a great friend of my dad's. They played fiddle together. Dad used to sing a lot of songs for us as well, when we were young. There was always music and singing in the house.
Question: Did you grow up with the Irish language?
Mary Staunton: Yes, my grandmother spoke Irish to us at home. I grew up in a Gaelic speaking area or Gaeltacht. All of school was in Irish right up to 18 year olds. We sang Irish songs and English songs all the time. We played music as well, and the singing and music went hand in hand. When I was young I probably played more music than I sang. As I got older, singing took over more.
Question: What part of Ireland did you grow up in?
Mary Staunton: A place called Tourmakeady (Tuar Mhic Éadaigh in Irish). It's a small little village between the mountain and the lake – Lake Mask. It's in southwest Mayo, almost in Galway. It's about 15 miles from Westport Town.
Question: When you were a teenager, did you start doing stage performances?
Mary Staunton: When I was thirteen, we were playing sessions around Mayo. We'd play in the local bars around home, especially in summer. We'd play for seisún. We'd play for dancers. We did years of that. It was good fun, though. All my family played. My brother plays bouzouki and my sister plays fiddle and whistle. So we always played and the craic was always there! Performing was part of life.
Question: Do you remember how you learned to memorize songs?
Mary Staunton: That was just part of the art. We learned by ear and we memorized since we were kids. It was part of the thing we did. You get very quick and very used to it as you get older, especially when you start young. We heard a lot of tunes and we learned them by ear.
Question: What is your favorite song to sing?
Mary Staunton: The one I got from my grandmother, “The Green Fields of Mayo.” I love it because it's about home, it's from her, and it's very personal. It's a sacred song to me, like my family is.
Question: Have you enjoyed Catskill Irish Arts Week? Is it your first time at Catskill Irish Arts Week?
Mary Staunton: Yes, I enjoyed it very much. I heard about it for years and lots of my friends have been here, but it's my first time coming here. I had a great time. I met lovely people. There is a great atmosphere here. There is so much music going on and it's impossible to hear it all as it's so extensive. It's fantastic. Everyone is so welcoming and nice. I had a great time.
Question: How did you hear about Catskill Irish Arts Week before you came?
Mary Staunton: I heard about it through other people who've been here down through the years. I know the musicians and singers in Ireland who have come here. Anyone who has been here always speaks very highly of it. They've all said they had a great time.
Question: Were your students attentive this week?
Mary Staunton: Yes, and they were all lovely people. Some of them were teenagers. One of them had learned two songs in Irish and one hymn. She sings at a mass every year. It was great to hear her singing in the Irish language. One woman spent three months learning one song “as Gaeilge” (from or in Irish language). She broke down all the songs phonetically. It must have taken her so long to work it out! It was amazing to hear that.
Question: What's been the most surprising thing this week?
Mary Staunton: I admire the way Paul has put it all together. It’s a maze of timing for all the concerts, workshops, and all the various classes. The week is a huge thing to undertake. He does amazing work. The whole jigsaw of the time table - how he does it is great.
Question: Are you staying for a bit in the States after this week?
Mary Staunton: I am going back into New York City to be with friends for a few days. I haven't seen them in years. That will be wonderful!
Question: What CDs do you have out?
Mary Staunton: I just recorded a new CD last year called “Circle of Friends.” I launched it last August as my second CD. My first CD was 12 years prior in 1998. It took me a long time to get into the mood to do the next one, but I got lots of help from various friends. A friend of mine Alec Fin produced it with me. He's a circuit barrister and my neighbor. It was an easy recording to do as I had the help of my many friends on it.
My earlier CD is called “Bright Early Mornings” but that was done so many years ago. It's a mixture of songs and tunes including a few duets. There are a lot of Mayo tunes on it that are nice to preserve.
Question: How did you come to have a duet with John Prine on your Circle of Friends CD?
Mary Staunton: I’ve known John Prine for twenty years. He has a holiday home in Kinvar and we play tunes there together. Also, Sharon Shannon invited us to a duet of John’s own composition on the Diamond Mountain Sessions CD. His composition is entitled, “Love, Love, Love.” When we were recording that, he offered to do a duet with me the next time I recorded a CD.
Question: How did you pick the song to do as a duet?
Mary Staunton: John and I both liked “Boots of Spanish Leather” by Bob Dylan. We liked the idea of doing a male/female call and response. When you look at the song, you see Dylan wrote it in that style, but of course he didn’t use a duet of voices. He recorded himself singing both the man and woman’s parts. John and I decided it would be fun to record it as a duet.
I heard Bob Dylan play Boots of Spanish Leather in Galway once. His version was amazing.
So that’s it. Maybe Bob will hear this track someday? I hope he likes it. It was a privilege for me.
___________________________
Mary Staunton Website
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Monday, January 17, 2011
Bernadette Nic Gabhann Interview at Catskill Irish Arts Week
Bernadette Nic Gabhann, the outstanding Irish fiddle player and dancer, honored me with an interview on Thursday afternoon in the Catskill Irish Arts Week 2010, just after a Irish language teaching session at Gavin's Golden Hill Resort.
She hails from Ashbourne, County Meath, north of Dublin, Ireland.
She loves County Meath for having the Hill of Tara, Brú na Bóinne, including Newgrange and Knowth, as well as Trim Castle.
During the Catskill Irish Arts Week, she participated in the music and developed an Irish language and culture strand to add to the festival. Of course the week is strong in music, singing, dance, and other cultural aspects, but she wanted to bring the language and related culture into the week. She picked certain aspects of the language and used them to try to enlighten the people as to what is going on. The classes extended four days. She started with the pronunciation, the vowels, the different consonants. It's been going great. There have been big numbers attending. Now the class is in the fun part where they are looking at songs and tunes.
She is relating the language to the tunes and songs people often hear performed. She is relating it to what the people want, and what they most encounter as musicians, seeing as most of the people are involved in the music in some way. Some of the people at the Catskill Irish Arts week have traveled to Ireland and they have elements of the Irish language they are confused about. So she helps them look at song lyrics, tune & instrument names, days of the week, the names of tunes, and how they are spelled and how to pronounce them. She also showed how to put the words into sentences.
When Bernadette was asked if English speakers learn a little Irish and use it in Ireland, especially in the Gaeltacht areas (Irish speaking areas), the native Irish will respect that, she said yes absolutely and it's fun to use as well.
It's likely people will find the Irish speakers speak fast, in their dialect, and the speakers are using a language centuries old. So with brief training an English speaking person won't be able to follow most conversations in detail. But even for your own sake, if you know some Irish, you will feel like you know what's going on, and, with the small sayings you will be able to give a nod of respect to the right direction, but you'll show you appreciate and acknowledge that this language is there, it exists.
If you are playing Irish music, that music is just one element of the country and culture. The music does still have a lot of connection to the language which goes back to the time they both, and other aspects as well, were all interconnected. The popularity of Irish music has allowed it to stand alone without the language and without the dance and without song. But it can't really stand alone because in order to get the full tradition and the full picture you need to understand the interconnections of all of them.
In response to the question of whether the Irish language is getting more or less popular, Bernadette said it is more popular. It's doing really well at the minute. The international TV and media communication have really helped. There is a new wave. There is a full time Irish language television station. It's young, it's colorful, it's bright, it's vibrant. It has good, hip, new presenters. It's fun. People want to be involved in it. The youthfulness and attractiveness of it has helped the language and shown its a modern presence.
It has to do something different, so with the national television station with two channels so they can cover all the sitcoms, all the soap operas, and documentaries. To teach the Irish language, they do something slightly different. During the day time they have excellent children's cartoons. They have Dora. They have Mr. Men. These shows are all translated to Irish with voice over and they are excellent. So the Irish is very good for the daytime television. TG Ceathair (TG-4) does a lot of sport. It does a lot of traditional Irish music.
Also, TG-4 did a series called Geantraí that goes around the country to different places, and records traditional musicians and singers in their local session environment. The most recent number of series have had a different local presenter in each area, so understandably, its a very popular show.
TG4 also hosts annual music awards, the lifetime achievement awards, and the young musicians of the year awards. A lot of sport is shown, including repeats of classic games from the 1980s that people went to and remember. A bit of news and current affairs from around the country is featured. For instance, they have a series that goes around to different festivals, showing the unique aspects of each.
Bernadette absolutely enjoyed teaching the Irish at Catskill Irish Arts Week. What she presented is a drop in the ocean. Of course, it's the best she could do in the time available. She didn't take a roll of participants or assign and collect homework. No one is pressured to turn up on time. So it has been an easy going class structure that way, but making some progress with many people learning sounds and words has been satisfying. There is no reason for people to be lost and in the dark with regards to Irish. It's a language for anybody, not some select few.
She participated in the week on the music side of things by playing fiddle. She was at the Catskill Irish Arts Week in 2009, also.
Her main event this year is that she and her sister Caitlín recorded an album during the year with two American musicians Seán Gavin and Seán McComiskey from Detroit. They got this group together. The music was great, and they enjoyed being friends. They wanted to capture that. People have great sessions and if they are lucky enough to capture it, they are thrilled. That's just what this group did. They formed the group and called it NicGaviskey which combines a bit of all their last names. They launched the album at Furlongs Riverside Inn during the Catskill Irish Arts Week (after the interview).
In addition to the Irish language instruction, Bernadette performed at concerts and at sessions during the week.
Bernadette gets to the United States a fair bit. She was in the US in April to work on the album, so she seems to be in the USA once or twice a year.
She's seen other parts of the US while on tour with Lord of the Dance and enjoyed it immensely. But she really enjoys the Catskill Irish Arts Week and the unique chance to perform and instruct.
A great selection of Bernadette and Caitlín videos can be reached from here (They dance at the Catskill Irish Arts Week 2010 if you click the next to last video still) : http://video.moglik.com/t/bernadette-nic-gabhann.htm .
________
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
She hails from Ashbourne, County Meath, north of Dublin, Ireland.
She loves County Meath for having the Hill of Tara, Brú na Bóinne, including Newgrange and Knowth, as well as Trim Castle.
During the Catskill Irish Arts Week, she participated in the music and developed an Irish language and culture strand to add to the festival. Of course the week is strong in music, singing, dance, and other cultural aspects, but she wanted to bring the language and related culture into the week. She picked certain aspects of the language and used them to try to enlighten the people as to what is going on. The classes extended four days. She started with the pronunciation, the vowels, the different consonants. It's been going great. There have been big numbers attending. Now the class is in the fun part where they are looking at songs and tunes.
She is relating the language to the tunes and songs people often hear performed. She is relating it to what the people want, and what they most encounter as musicians, seeing as most of the people are involved in the music in some way. Some of the people at the Catskill Irish Arts week have traveled to Ireland and they have elements of the Irish language they are confused about. So she helps them look at song lyrics, tune & instrument names, days of the week, the names of tunes, and how they are spelled and how to pronounce them. She also showed how to put the words into sentences.
When Bernadette was asked if English speakers learn a little Irish and use it in Ireland, especially in the Gaeltacht areas (Irish speaking areas), the native Irish will respect that, she said yes absolutely and it's fun to use as well.
It's likely people will find the Irish speakers speak fast, in their dialect, and the speakers are using a language centuries old. So with brief training an English speaking person won't be able to follow most conversations in detail. But even for your own sake, if you know some Irish, you will feel like you know what's going on, and, with the small sayings you will be able to give a nod of respect to the right direction, but you'll show you appreciate and acknowledge that this language is there, it exists.
If you are playing Irish music, that music is just one element of the country and culture. The music does still have a lot of connection to the language which goes back to the time they both, and other aspects as well, were all interconnected. The popularity of Irish music has allowed it to stand alone without the language and without the dance and without song. But it can't really stand alone because in order to get the full tradition and the full picture you need to understand the interconnections of all of them.
In response to the question of whether the Irish language is getting more or less popular, Bernadette said it is more popular. It's doing really well at the minute. The international TV and media communication have really helped. There is a new wave. There is a full time Irish language television station. It's young, it's colorful, it's bright, it's vibrant. It has good, hip, new presenters. It's fun. People want to be involved in it. The youthfulness and attractiveness of it has helped the language and shown its a modern presence.
It has to do something different, so with the national television station with two channels so they can cover all the sitcoms, all the soap operas, and documentaries. To teach the Irish language, they do something slightly different. During the day time they have excellent children's cartoons. They have Dora. They have Mr. Men. These shows are all translated to Irish with voice over and they are excellent. So the Irish is very good for the daytime television. TG Ceathair (TG-4) does a lot of sport. It does a lot of traditional Irish music.
Also, TG-4 did a series called Geantraí that goes around the country to different places, and records traditional musicians and singers in their local session environment. The most recent number of series have had a different local presenter in each area, so understandably, its a very popular show.
TG4 also hosts annual music awards, the lifetime achievement awards, and the young musicians of the year awards. A lot of sport is shown, including repeats of classic games from the 1980s that people went to and remember. A bit of news and current affairs from around the country is featured. For instance, they have a series that goes around to different festivals, showing the unique aspects of each.
Bernadette absolutely enjoyed teaching the Irish at Catskill Irish Arts Week. What she presented is a drop in the ocean. Of course, it's the best she could do in the time available. She didn't take a roll of participants or assign and collect homework. No one is pressured to turn up on time. So it has been an easy going class structure that way, but making some progress with many people learning sounds and words has been satisfying. There is no reason for people to be lost and in the dark with regards to Irish. It's a language for anybody, not some select few.
She participated in the week on the music side of things by playing fiddle. She was at the Catskill Irish Arts Week in 2009, also.
Her main event this year is that she and her sister Caitlín recorded an album during the year with two American musicians Seán Gavin and Seán McComiskey from Detroit. They got this group together. The music was great, and they enjoyed being friends. They wanted to capture that. People have great sessions and if they are lucky enough to capture it, they are thrilled. That's just what this group did. They formed the group and called it NicGaviskey which combines a bit of all their last names. They launched the album at Furlongs Riverside Inn during the Catskill Irish Arts Week (after the interview).
In addition to the Irish language instruction, Bernadette performed at concerts and at sessions during the week.
Bernadette gets to the United States a fair bit. She was in the US in April to work on the album, so she seems to be in the USA once or twice a year.
She's seen other parts of the US while on tour with Lord of the Dance and enjoyed it immensely. But she really enjoys the Catskill Irish Arts Week and the unique chance to perform and instruct.
A great selection of Bernadette and Caitlín videos can be reached from here (They dance at the Catskill Irish Arts Week 2010 if you click the next to last video still) : http://video.moglik.com/t/bernadette-nic-gabhann.htm .
________
More Irish Musicians in Shamrock Road blogs:
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Wednesday, August 3, 2011
Kieran Jordan Interview at Catskill Irish Arts Week 2011
Kieran Jordan is an Irish dance performer, choreographer, and instructor in the Boston area. One of her specialties is Irish sean nós step dance, which is improvised, percussive, old-style Irish dance. She taught both mornings and afternoons in July 2011 at the Catskill Irish Arts Week in East Durham where she gave us the following interview.
Question: How long have you been doing Irish dance?
Kieran Jordan: I started Irish dancing when I was five years old and have been continuing it for the 31 years since. I love Irish dance and it is my full time work. I wasn't sure I could have a career in Irish dance because when I was thinking about careers, there weren't many people making it their career. This was before Riverdance became popular. There didn't seem to be a future beyond teaching and running a dancing school, and I never pictured myself doing that. I was performing a lot in my twenties, and one thing led to the next. My career is a balance of teaching, performing, and recordings.
It's great to make a living doing what I love and I like being my own boss, although it is challenging. It is not always easy. But hey, this is Catskill Irish Arts week, so I'm not going to worry about it here. I'm just going to have fun! I look forward to this all year.
Question: Do you teach masses of people at once? Do you teach both new and experienced students?
Kieran Jordan: It fluctuates. I do have some faithful groups of people who have danced with me for years, and I also have new people all the time. Right now I think the interest is low. It might be the recession, but also these things go in trends, waves.
Question: So we are not in a time period like when Riverdance first burst into popularity?
Kieran Jordan: Right now I think the general interest in Irish dance has plateaued. There isn't a huge resurgence right now. Still certainly there are always people who find inspiration in the music and the dance, who get “bit” by this bug!
Question: When you were five years old you learned traditional step dance. How did you make the conversion to sean nós?
Kieran Jordan: In high school I did a little bit of tap dance and then I became very interested in Cape Breton step dance from Nova Scotia in Canada. I just love that music and the steps are so playful and energetic in a way that allows for improvisation between the dancer and the musicians. Things are not as quite mapped out in sean-nós as in traditional Irish step dance. So I started to gravitate toward Cape Breton dance. Then I saw Irish sean nós dancing. I saw Seosamh O Neachtain on a television piece. I watched Donnacha O’Muineachain and Mick Mulkerrin perform at Gaelic Roots at Boston College. And Joe O'Donovan was a great dance master who I was fortunate enough to study with in Cork, at UCC.
In the early 90s it seemed like the interest in sean nós was starting to grow. Maybe there were more opportunities, or maybe it was becoming more visible. So I loved sean nós and I pretty much abandoned competitive Irish step dance. I gravitated toward all these styles like Cape Briton and sean nós, which are about improvising and interacting with the music. I was working with a lot of live music in Boston because there is such a great music scene there. I had a lot of opportunities for collaboration, picking things apart with musicians. I found these dance styles more suitable to my personality. They allowed me to really express myself in my performances and choreography.
Question: Was the dancing in the Titantic movie anything of interest to you?
Kieran Jordan: My memory is somewhat vague but I recall that scene being at the party within the boat among the working class people. Of course it was choreographed for the film, but they choreographed it in a way to make the dance look like a spontaneous party scene. That spontaneity is what sean nós dancing is about. That's what you'll see in the Catskills here. In the sessions at night, myself and other dancers will get up and dance. It's about feeling the moment. Feeling the energy. When someone is dancing and its really synching up well, I think everyone loves that marriage of rhythm and melody. It's great!
So yah, I like that scene in Titanic!
Question: Last year at the dance pavilion there was an exposition of dance. A big crowd came over to see that. Is that what dance does often?
Kieran Jordan:
People love Irish dancing and I think if you look at the ratio in a week like this, there may be 300 fiddle players and maybe 30 step dancers and sean nós dancers. We stand out! There are not as many of us.
Dancing is a very out-front kind of thing. We're not sitting behind an instrument. It's your own body making the performance. So for a dancer, the spot light is on you, and you are very visible. Most dancers love that to some degree, even a shy one like me!
Sean nós dance is movement and sound at the same time. Percussive dance is not just about moving your body, but it's about making percussion that contributes as a musical component.
So there is a stage presence – your physical appearance and presence, and then your ability to make music with your feet. It's coordination, skill, and technique, matched with an in internal sense of rhythm, groove, and listening skills.
Question: You said sean nós dance is very applicable to a lot of ages. Why is that and how does that work?
Kieran Jordan: I think there is a very strong connection between sean nós step dancing and set dancing – the group sets. If you look at set dancing, there are moments within it where there is percussive dancing and there are somewhat improvised moments as well. One of my major influences, Aiden Vaughn, dances steps as a solo sean nós dancer, and works the sames rhythms into his set dancing.
Set dancing is a social thing, it's meant to be for all ages. It's not about performance for the most part. Sean nós is also a social dance form and people of all ages do it.
Sean nós is more about being a musical instrument, listening, and collaborating. You can have bad knees or other joints and you can still pull it off. You don't need to have leaps high off the floor, or perfection with your flexibility. You just need to be able to listen and create a few rhythms. It's often the case where less is more.
Certainly there are dancers who are kind of flamboyant, and that's great as one style, but the dancers I like are subtle and have the ability to groove along with the musicians, rather than claim all the attention out front.
Question: How do you know when to dance with a group of musicians? I've seen dancers go up in one of the pavilions during a concert and they obviously are there to dance, but don't just run out and dance the second they get there. Is there some kind of vibe between the musicians and the dancers so they know when to start dancing?
Kieran Jordan: On stage, here at the Catskills, most of those concert performances are unrehearsed. The music is going. The dancer climbs up the stairs to the stage and listens for where the group is in the set. You are following the structure of the music.
In sean nós the start point is a little more relaxed. In Irish step dancing you would start at the beginning of a tune. In sean nós you can slip your way in when it feels right. Also, one of the nice things about the Catskills are the sessions. It's expected there are going to be dancers in the session. To jump up and dance in a session is really fun. You can't always do that. Dance is a welcome part of the performance here in the Catskills!
Kieran Jordan's Web Site
Interviews with 2010 Catskill Irish Arts Week Participants:
- Bernadette Nic Gabhann
- Aoife Clancy
- Brían Ó hAirt (Brian Hart)
- Bairbre McCarthy
Question: How long have you been doing Irish dance?
Kieran Jordan: I started Irish dancing when I was five years old and have been continuing it for the 31 years since. I love Irish dance and it is my full time work. I wasn't sure I could have a career in Irish dance because when I was thinking about careers, there weren't many people making it their career. This was before Riverdance became popular. There didn't seem to be a future beyond teaching and running a dancing school, and I never pictured myself doing that. I was performing a lot in my twenties, and one thing led to the next. My career is a balance of teaching, performing, and recordings.
It's great to make a living doing what I love and I like being my own boss, although it is challenging. It is not always easy. But hey, this is Catskill Irish Arts week, so I'm not going to worry about it here. I'm just going to have fun! I look forward to this all year.
Question: Do you teach masses of people at once? Do you teach both new and experienced students?
Kieran Jordan: It fluctuates. I do have some faithful groups of people who have danced with me for years, and I also have new people all the time. Right now I think the interest is low. It might be the recession, but also these things go in trends, waves.
Question: So we are not in a time period like when Riverdance first burst into popularity?
Kieran Jordan: Right now I think the general interest in Irish dance has plateaued. There isn't a huge resurgence right now. Still certainly there are always people who find inspiration in the music and the dance, who get “bit” by this bug!
Question: When you were five years old you learned traditional step dance. How did you make the conversion to sean nós?
Kieran Jordan: In high school I did a little bit of tap dance and then I became very interested in Cape Breton step dance from Nova Scotia in Canada. I just love that music and the steps are so playful and energetic in a way that allows for improvisation between the dancer and the musicians. Things are not as quite mapped out in sean-nós as in traditional Irish step dance. So I started to gravitate toward Cape Breton dance. Then I saw Irish sean nós dancing. I saw Seosamh O Neachtain on a television piece. I watched Donnacha O’Muineachain and Mick Mulkerrin perform at Gaelic Roots at Boston College. And Joe O'Donovan was a great dance master who I was fortunate enough to study with in Cork, at UCC.
In the early 90s it seemed like the interest in sean nós was starting to grow. Maybe there were more opportunities, or maybe it was becoming more visible. So I loved sean nós and I pretty much abandoned competitive Irish step dance. I gravitated toward all these styles like Cape Briton and sean nós, which are about improvising and interacting with the music. I was working with a lot of live music in Boston because there is such a great music scene there. I had a lot of opportunities for collaboration, picking things apart with musicians. I found these dance styles more suitable to my personality. They allowed me to really express myself in my performances and choreography.
Question: Was the dancing in the Titantic movie anything of interest to you?
Kieran Jordan: My memory is somewhat vague but I recall that scene being at the party within the boat among the working class people. Of course it was choreographed for the film, but they choreographed it in a way to make the dance look like a spontaneous party scene. That spontaneity is what sean nós dancing is about. That's what you'll see in the Catskills here. In the sessions at night, myself and other dancers will get up and dance. It's about feeling the moment. Feeling the energy. When someone is dancing and its really synching up well, I think everyone loves that marriage of rhythm and melody. It's great!
So yah, I like that scene in Titanic!
Question: Last year at the dance pavilion there was an exposition of dance. A big crowd came over to see that. Is that what dance does often?
Kieran Jordan:
People love Irish dancing and I think if you look at the ratio in a week like this, there may be 300 fiddle players and maybe 30 step dancers and sean nós dancers. We stand out! There are not as many of us.
Dancing is a very out-front kind of thing. We're not sitting behind an instrument. It's your own body making the performance. So for a dancer, the spot light is on you, and you are very visible. Most dancers love that to some degree, even a shy one like me!
Sean nós dance is movement and sound at the same time. Percussive dance is not just about moving your body, but it's about making percussion that contributes as a musical component.
So there is a stage presence – your physical appearance and presence, and then your ability to make music with your feet. It's coordination, skill, and technique, matched with an in internal sense of rhythm, groove, and listening skills.
Question: You said sean nós dance is very applicable to a lot of ages. Why is that and how does that work?
Kieran Jordan: I think there is a very strong connection between sean nós step dancing and set dancing – the group sets. If you look at set dancing, there are moments within it where there is percussive dancing and there are somewhat improvised moments as well. One of my major influences, Aiden Vaughn, dances steps as a solo sean nós dancer, and works the sames rhythms into his set dancing.
Set dancing is a social thing, it's meant to be for all ages. It's not about performance for the most part. Sean nós is also a social dance form and people of all ages do it.
Sean nós is more about being a musical instrument, listening, and collaborating. You can have bad knees or other joints and you can still pull it off. You don't need to have leaps high off the floor, or perfection with your flexibility. You just need to be able to listen and create a few rhythms. It's often the case where less is more.
Certainly there are dancers who are kind of flamboyant, and that's great as one style, but the dancers I like are subtle and have the ability to groove along with the musicians, rather than claim all the attention out front.
Question: How do you know when to dance with a group of musicians? I've seen dancers go up in one of the pavilions during a concert and they obviously are there to dance, but don't just run out and dance the second they get there. Is there some kind of vibe between the musicians and the dancers so they know when to start dancing?
Kieran Jordan: On stage, here at the Catskills, most of those concert performances are unrehearsed. The music is going. The dancer climbs up the stairs to the stage and listens for where the group is in the set. You are following the structure of the music.
In sean nós the start point is a little more relaxed. In Irish step dancing you would start at the beginning of a tune. In sean nós you can slip your way in when it feels right. Also, one of the nice things about the Catskills are the sessions. It's expected there are going to be dancers in the session. To jump up and dance in a session is really fun. You can't always do that. Dance is a welcome part of the performance here in the Catskills!
Kieran Jordan's Web Site
Interviews with 2010 Catskill Irish Arts Week Participants:
- Bernadette Nic Gabhann
- Aoife Clancy
- Brían Ó hAirt (Brian Hart)
- Bairbre McCarthy
Thursday, February 10, 2011
Brían Ó hAirt Interview at Catskill Irish Arts Week
Brían Ó hAirt (Brian Hart) the wonderful singer, sean-nós singer, concertina player, and sean-nós dancer, honored me with an interview early Friday afternoon in the Catskill Irish Arts Week 2010, just after a sean-nós teaching session at the gazebo just outside the Irish American Heritage Museum in East Durham, New York.
Brian is from Saint Louis, Missouri. He came into Irish music through the language. He actually was exposed to Irish when he was in Junior High, 12 or 13 years old, probably through Clannad or Enya, who were both mainstream Celtic groups. The language caught his interest because he never had heard of the Irish language. He didn't even know there was a language other than English that was spoken in Ireland, so once he knew of it, he started studying it on his own. Because he was already a singer, he decided to listen to some Irish language singing. During his intial exposure, he heard Darach Ó Catháin, a singer from Connemara and Rath Cairn Gaelteachs. When Brian heard him sing, it touched his heart and affected him in a way which directed his engagement with the Irish language.
In college he developed in the language and lived in Ireland immersed in an area where the language is spoken. Then he started performing and singing with other sean nós singers living up in Chicago, in the Midwest, and on the east coast.
He came to Irish on his own, without parental influence. His parents are from southern Indiana, so his family is not Irish in the cultural sense. His family has Irish ancestors, but they would not consider themselves Irish Americans. His parents knew about their Irish relatives, but this had no particular meaning to them, no cultural significance.
His parents were neutral but supportive about his delving into the Irish culture. His mom is interested in the music, but his other siblings and his dad aren't really interested. They love him for who he is, but since it's different from where they come from, they don't participate themselves. However, they still support Brian in his explorations and experiences.
Brian is a member of the musical group Bua. He joined the group about four years ago but was not a founding member. The founding member were Jackie Moran and Chris Bain. They were both in the Chicago area. Jackie was from Ireland, but he's been living in Chicago for approximately 20 years. Brian was living in Ireland when he was invited to join. Brian Miller, Brian Ó hAirt knew very well and Seán Gavin, he knew of. Brian Ó hAirt had been so much into Irish language and music, he thought that returning to the US, the band would be a good segue. He could start doing things with the music scene here in the United States.
He had gone into Irish language immersion in Ireland as an undergrad at the University of Wisconsin to study the language and to do field school. But he also did it to engage in the music more and to engage in the language community there, particularly the community in Connemara. A lot of his language and his repertoire songs come from there because of his interaction with sean nós singers in the States.
Brian finds this type of singing very personal among the participants. The passing along of the tradition is really important in sean nós and Irish singing. There are a lot of selfless teachers out there who will support you in any form – learning the language, the songs, the dance, or the music.
To get the group started, they organized sets and performed that material. When it came down to it, they had only performed twice when they recorded their first album. It's titled “Live at Martyrs'” for a pub on the north side of Chicago on Lincoln Avenue. They wanted to record their CD as early as possible so they could get their CD passed around. They wanted to gain and keep momentum. The others had done a lot of touring before, as well. They wanted to re-enliven the group, get the CD done, and start touring. They started getting more gigs.
They did a studio album early last year (2009) called, “An Spealadóir” which is on the Mad River Records label. They signed Bua on for their first studio album project.
Chicago has a big Irish community, and it shows in competitive Irish dance for young people, for instance. The Chicago community has been receptive to Bua, but there has been a little of the “a prophet is never welcomed in their home town” aspect. Bua hasn't gotten a lot of opportunities to perform there. They've played a few times in Chicago, but there are so many musicians in Chicago, their group is just commonplace. Outside of Chicago the interest can be stronger. Chicagoans are supportive of the band being from Chicago, but when there, it's hard to stand out from the crowd of options.
During the summer tour (2010), they are piecing together material for another studio album. They are focusing on the quartet. Jackie, the drummer, has a lot of familial obligations. Both Chris and Jackie have two young baby girls. Jackie Moran also does other stuff with a band called Comas. So he'll be making music with Bua less. He'll be a part of Bua but on a less significant level. They plan to make a studio album in the fall or winter months.
They had planned appearances in Poughkeepsie, in Maine, and at the Lowell Folk Festival. Their schedule and other news of the group can be found at Buamusic.com .
Brian had planned a tour with Len Graham in late August starting in the Pacific northwest (Seatle, Portland, Eugene), after a kickoff at the Irish Fest in Milwaukee. Len Graham is a traditional singer from Antrim. He's a well known older generation singer.
The northwest and Canada are receptive to Irish music. Canada is receptive to folk music in general. Irish Americana is unique to certain parts of the United States. Brian says the further west or the further south you go in America, the less Irish Americana you find. It seems to be a northeast and Great Lakes region mentality and culture. So out in the northwest, it isn't so much an interest in Irish American as it is an interest in folk music in general. They have lots of old time music, bluegrass, jazz, blues, and world music.
Brian won the All Ireland competition in Men's Singing in 2002. The singing was ballads in English. He was doing his summer immersion program in Galway and he had mis-figured his length of stay. He discovered he had a whole extra week after he had finished his program and before he was supposed to go back to the United States. The fleadh (pronounced approximately as “flah” in English, and a fleadh is a festival, usually involving music, and potentially involving instruction and competition) was on and he qualified for it by competing in the mid-west of the United States. At the All Ireland, he won!
Brian used to visit Ireland three or four times a year. Now that he's with Bua, he has less time because they are touring in the summer months. In the winter months, he's teaching. He might make it in November.
He teaches Irish Gaelic at Washington University. His classes are part of the liberal arts education there. Irish study courses of other types are taught, such as literature and folklore.
Bua hasn't yet played as a band in Ireland. They've all performed there separately. Seán Gavin's parents are from Ireland. Jackie Moran is from Ireland. Chris Bain's wife's father is from Ireland. Brian Miller and his wife are in bands in Ireland, as well. Brian Ó hAirt, himself, has lived in Ireland. They are all connected to Ireland. They all go there and back, but they haven't toured there as a band. There is certainly interest, but it takes out of pocket expenditures to get there, and once there, they would have to line up gigs. The problem, then, is that traditional Irish music is as common there as old time country music is here. Also, many Irish are into US country music or rock, as in U2, and such. There is plenty of traditional Irish music in Ireland though - you just have to know where to look for it.
Brian first came to the Catskill Irish Arts Festival when he was living in Chicago. Paul Keating travels lots of places doing PR work for the Catskill Irish Arts Festival, so he came to Chicago. When Paul visits places he's also looking at musicians in the area. At the time he came to Chicago, John Daly, who is a fiddler from Cork, was the artistic director at the Irish American Heritage Center in Chicago. Brian was housing with John then because Brian had just moved up to Chicago and was looking for his own place. Bua was part of the scene and Brian thinks Paul heard about the members of Bua. Paul invited both John (Jackie) Moran and Brian to be part of the teaching program at the Catskill Irish Arts Week.
Brian enjoyed this week. He ended up coming a day late, but he had a great time once in the Catskills. Last year he was driving around Len Graham and a lot of the singers from Armagh, which had many benefits, but this year he had more freedom to do what he wanted to do, to come and go.
He's not sure if he'll be back to the Catskill Irish Arts Week because it is by invitation. But there are many great gatherings across the summer, so he knows next summer he'll be busy.
Brian looks forward to the Saturday concert (Andy McGann Traditional Music and Dance Festival). There is a full day of collaboration between artists and the cream of the crop of Irish music from both sides of the Atlantic appear. They play all day and it's fantastic to witness that. Albany is just forty something minutes away. If that were in his back yard, he'd definitely be there!
More about Brian Hart, and Bua, is here: Brían Ó hAirt .
Or you can read interviews with:
- Bernadette Nic Gabhann
- Aoife Clancy
Brian is from Saint Louis, Missouri. He came into Irish music through the language. He actually was exposed to Irish when he was in Junior High, 12 or 13 years old, probably through Clannad or Enya, who were both mainstream Celtic groups. The language caught his interest because he never had heard of the Irish language. He didn't even know there was a language other than English that was spoken in Ireland, so once he knew of it, he started studying it on his own. Because he was already a singer, he decided to listen to some Irish language singing. During his intial exposure, he heard Darach Ó Catháin, a singer from Connemara and Rath Cairn Gaelteachs. When Brian heard him sing, it touched his heart and affected him in a way which directed his engagement with the Irish language.
In college he developed in the language and lived in Ireland immersed in an area where the language is spoken. Then he started performing and singing with other sean nós singers living up in Chicago, in the Midwest, and on the east coast.
He came to Irish on his own, without parental influence. His parents are from southern Indiana, so his family is not Irish in the cultural sense. His family has Irish ancestors, but they would not consider themselves Irish Americans. His parents knew about their Irish relatives, but this had no particular meaning to them, no cultural significance.
His parents were neutral but supportive about his delving into the Irish culture. His mom is interested in the music, but his other siblings and his dad aren't really interested. They love him for who he is, but since it's different from where they come from, they don't participate themselves. However, they still support Brian in his explorations and experiences.
Brian is a member of the musical group Bua. He joined the group about four years ago but was not a founding member. The founding member were Jackie Moran and Chris Bain. They were both in the Chicago area. Jackie was from Ireland, but he's been living in Chicago for approximately 20 years. Brian was living in Ireland when he was invited to join. Brian Miller, Brian Ó hAirt knew very well and Seán Gavin, he knew of. Brian Ó hAirt had been so much into Irish language and music, he thought that returning to the US, the band would be a good segue. He could start doing things with the music scene here in the United States.
He had gone into Irish language immersion in Ireland as an undergrad at the University of Wisconsin to study the language and to do field school. But he also did it to engage in the music more and to engage in the language community there, particularly the community in Connemara. A lot of his language and his repertoire songs come from there because of his interaction with sean nós singers in the States.
Brian finds this type of singing very personal among the participants. The passing along of the tradition is really important in sean nós and Irish singing. There are a lot of selfless teachers out there who will support you in any form – learning the language, the songs, the dance, or the music.
To get the group started, they organized sets and performed that material. When it came down to it, they had only performed twice when they recorded their first album. It's titled “Live at Martyrs'” for a pub on the north side of Chicago on Lincoln Avenue. They wanted to record their CD as early as possible so they could get their CD passed around. They wanted to gain and keep momentum. The others had done a lot of touring before, as well. They wanted to re-enliven the group, get the CD done, and start touring. They started getting more gigs.
They did a studio album early last year (2009) called, “An Spealadóir” which is on the Mad River Records label. They signed Bua on for their first studio album project.
Chicago has a big Irish community, and it shows in competitive Irish dance for young people, for instance. The Chicago community has been receptive to Bua, but there has been a little of the “a prophet is never welcomed in their home town” aspect. Bua hasn't gotten a lot of opportunities to perform there. They've played a few times in Chicago, but there are so many musicians in Chicago, their group is just commonplace. Outside of Chicago the interest can be stronger. Chicagoans are supportive of the band being from Chicago, but when there, it's hard to stand out from the crowd of options.
During the summer tour (2010), they are piecing together material for another studio album. They are focusing on the quartet. Jackie, the drummer, has a lot of familial obligations. Both Chris and Jackie have two young baby girls. Jackie Moran also does other stuff with a band called Comas. So he'll be making music with Bua less. He'll be a part of Bua but on a less significant level. They plan to make a studio album in the fall or winter months.
They had planned appearances in Poughkeepsie, in Maine, and at the Lowell Folk Festival. Their schedule and other news of the group can be found at Buamusic.com .
Brian had planned a tour with Len Graham in late August starting in the Pacific northwest (Seatle, Portland, Eugene), after a kickoff at the Irish Fest in Milwaukee. Len Graham is a traditional singer from Antrim. He's a well known older generation singer.
The northwest and Canada are receptive to Irish music. Canada is receptive to folk music in general. Irish Americana is unique to certain parts of the United States. Brian says the further west or the further south you go in America, the less Irish Americana you find. It seems to be a northeast and Great Lakes region mentality and culture. So out in the northwest, it isn't so much an interest in Irish American as it is an interest in folk music in general. They have lots of old time music, bluegrass, jazz, blues, and world music.
Brian won the All Ireland competition in Men's Singing in 2002. The singing was ballads in English. He was doing his summer immersion program in Galway and he had mis-figured his length of stay. He discovered he had a whole extra week after he had finished his program and before he was supposed to go back to the United States. The fleadh (pronounced approximately as “flah” in English, and a fleadh is a festival, usually involving music, and potentially involving instruction and competition) was on and he qualified for it by competing in the mid-west of the United States. At the All Ireland, he won!
Brian used to visit Ireland three or four times a year. Now that he's with Bua, he has less time because they are touring in the summer months. In the winter months, he's teaching. He might make it in November.
He teaches Irish Gaelic at Washington University. His classes are part of the liberal arts education there. Irish study courses of other types are taught, such as literature and folklore.
Bua hasn't yet played as a band in Ireland. They've all performed there separately. Seán Gavin's parents are from Ireland. Jackie Moran is from Ireland. Chris Bain's wife's father is from Ireland. Brian Miller and his wife are in bands in Ireland, as well. Brian Ó hAirt, himself, has lived in Ireland. They are all connected to Ireland. They all go there and back, but they haven't toured there as a band. There is certainly interest, but it takes out of pocket expenditures to get there, and once there, they would have to line up gigs. The problem, then, is that traditional Irish music is as common there as old time country music is here. Also, many Irish are into US country music or rock, as in U2, and such. There is plenty of traditional Irish music in Ireland though - you just have to know where to look for it.
Brian first came to the Catskill Irish Arts Festival when he was living in Chicago. Paul Keating travels lots of places doing PR work for the Catskill Irish Arts Festival, so he came to Chicago. When Paul visits places he's also looking at musicians in the area. At the time he came to Chicago, John Daly, who is a fiddler from Cork, was the artistic director at the Irish American Heritage Center in Chicago. Brian was housing with John then because Brian had just moved up to Chicago and was looking for his own place. Bua was part of the scene and Brian thinks Paul heard about the members of Bua. Paul invited both John (Jackie) Moran and Brian to be part of the teaching program at the Catskill Irish Arts Week.
Brian enjoyed this week. He ended up coming a day late, but he had a great time once in the Catskills. Last year he was driving around Len Graham and a lot of the singers from Armagh, which had many benefits, but this year he had more freedom to do what he wanted to do, to come and go.
He's not sure if he'll be back to the Catskill Irish Arts Week because it is by invitation. But there are many great gatherings across the summer, so he knows next summer he'll be busy.
Brian looks forward to the Saturday concert (Andy McGann Traditional Music and Dance Festival). There is a full day of collaboration between artists and the cream of the crop of Irish music from both sides of the Atlantic appear. They play all day and it's fantastic to witness that. Albany is just forty something minutes away. If that were in his back yard, he'd definitely be there!
More about Brian Hart, and Bua, is here: Brían Ó hAirt .
Or you can read interviews with:
- Bernadette Nic Gabhann
- Aoife Clancy
Monday, March 12, 2012
Interview with Terry Kane
Terry Kane, one of the two performers in the Jameson Sisters, graced us with the following interview on the final Saturday of Catskill Irish Arts Week 2011:
How did you get started in Irish singing?
All of my great-grandparents came from the west coast of Ireland, mostly from Co. Clare ... one from Kerry, and one from Cork. They were all very much into the music. When they came over here, they worked and saved enough money to buy farms in upstate New York.
Which part of upstate?
I lived near Corning in a little town called Addison.
My father's family is from Corning.
My mother would probably say, “Shame on you!” to me - “You don't know the Aldriches?”
We would visit my relatives in Corning and close friends in Angelica.
One of my relatives just got married near there. It is beautiful, angelic even!
(We share a laugh!)
So your family settled in that area.
They were farmers basically and brought a lot of their family over here. Most of them worked in the tanneries and other factories. They all lived on the same hill and would get together. One of my great grandfathers built a dance stage in a glade of woods. They would come, play, and dance there.
As farmers, they would work hard all day, but during the night, they'd get together and socialize.
They were pretty well known for their dancing. They were asked to do Irish dancing at square dances, which were very popular in the wider community.
Did you get to experience the place in the glade?
My cousins own the farm now and we played softball next to the glade as kids but there was no stage left. The dancing was passed from my great-grandfather to my grandfather. My grandfather taught my mom her siblings a little bit but he wound up having a tree fall on his leg. He was not able to dance after that. There was a lot of talk of dance. I heard this dancing is what my grandfather used to do. Unfortunately, it wasn't physically passed on. The music, storytelling, and singing kept going. The family is all big into dancing, but more into swing dancing or American tap dancing. Once the Irish dancing faded, nobody could teach us as we were out in the middle of nowhere.
Did you learn musical instruments when you were young?
We learned how to play piano and band instruments but that was more a classical association, with school. Folk music was big at that time when I was growing up in the '60s. I have a big family. I am the youngest out of eleven. My older brothers and sisters were already adults when I was born. One of my brothers had gone to Paris, France to study to be a French teacher. He managed to scoot over to Dublin and got hooked on a lot of rebel songs and also singing the folk style ballads with the guitar. He came home and shared all that music with us. The younger half of the family got more exposure to Irish music than most of the older half. My brother, Pat, was inspired to take up the fiddle and start playing. I wound up getting the mandolin and guitar. So the music all came back to us. Now twice a year the whole family gets together. There are enough musicians in the family to play for céilí dances and we can get at least 4 sets dancing. After that we usually stay up till the early morning singing.
Then the singing? You grew up singing in English?
Yes, there was very little Gaelic speaking in my family. All of my family that came from Ireland, my great grandparents, spoke in Irish at that time. My great grandfather had actually been to England dancing. He was a really good dancer so he had already traveled around performing. He had learned to speak English a little better than the rest of my relatives. They spoke English by that time on the west coast of Ireland but even that was in heavy brogue. They called my great grandfather Yankee Jim, because he was the only one the English speakers could understand.
How did you get introduced to singing in Irish and sean nós singing?
I liked the style of it and the sound of it. I listened to a lot people who did singing in English, like Dolores Keane and people like that who were singing in a more traditional style back in the '60s and '70s. I had an opportunity to be inspired by them. I loved the ornamentation. Still, I didn't want to sing in Irish until I could speak it. When I got to Philadelphia, I found a lot of people there from Donegal and lots of places in Ireland. There was a strong Donegal influence and they still speak Irish in Donegal. There's classes to be had, and ways to be exposed to the language. I've been learning it for twelve years. My Irish isn't great yet, but at least if they interview me on the radio, I'd be able to talk to them. I'd probably sound like Sabatini or someone like that. When Gabriela Sabatini was first interviewed in English for her great tennis skills, having come from Argentina, her English skills were not so smooth.”
I remember that, “I – like – to – play – very – much.”
(Terry laughs and says, “Yah!”)
But getting back to singing, I get to ask you a somewhat unique question to an American. What is your favorite Irish song in English and what is your favorite Irish song in Irish?
Usually my favorite song kinda changes as I learn new songs. They aren't static things. Right now I'm singing this song “Ar Mo Ghabháil ‘na Chuain Domh.” It's a story about a fair haired priest that decided to get married. He leaves the monastery to go off, but then the girl decided to leave him. After that he became a soldier of fortune on the continent. He saw and experienced all these things, came back to Ireland, and wrote a book. He put this song in the book, with other poetry. It's an interesting story. The title of the book is An Caisideach Bán, which translates to the Fair Haired Cassidy.
In English, I like “The May in Morning Dew.” A lot of artists have performed or recorded it. Maybe it's Dolores Keane's version of it – it still plays in my head. Usually I don't try to memorize a song just as it's performed by an artist, but that one by her is so memorable to me...
Can you learn multiple versions of the same song?
Everyone has their own way that their brain works well. Some people remember lots of versions of a song. Some people can connect across songs. Last night at the singing session they were singing different songs from memory that feature the words, “Oh, really ...” Some people can pick a song to sing because of hearing another song by an earlier singer. They have these minds that can think across the songs they know to stay within a theme. So to answer your question, I try to find multiple versions of a song, I learn the best one or mix a few versions to get one that I like then as I sing the song over years my own style of ornamentation creeps in. I do remember the best versions I heard of most songs which were usually by Seosamh Ó hÉanaí, Sean ‘ac Dhonncha, Áine Meenaghan, Mairéad Ní Mhaonaigh.
How long have you been coming to the Catskill Irish Arts Week?
I have been coming for many, many years, but I wasn’t here for the first one.
During one of the early years, my brother-in-law, Joe Burke got asked to fill in for a performer who couldn't make it. Joe was kind of a quiet unassuming kind of guy. He didn't feel like he could teach students because he had never learned how to teach. I'm a music teacher so he asked me if I would come up and sit in to field all those questions he didn't really have answers for because he wasn't trained on music theory. My presence calmed him down and helped him overcome his nervousness because he knew I was there to answer the questions more formal training required. Joe was a terrific singer and most of the students just wanted to listen to the way he sang and ask for song recommendations. I only had to answer a few questions about vocal warm-ups and ornamentation.
I do something like that at the Banjo Burke Festival. I sit in with Aine Meenaghan a lot. When those questions come up about music notation or theory I chime in and answer them. It works very nicely. She knows what the music should sound like and how best to teach Irish singing. She is a fluent speaker who grew up in Connemara and has many songs memorized.
So you've been going to the Banjo Burke Festival since it started?
Yes, I've been performing for them since the beginning. They give me a place to stay, I donate my time doing performances with different bands I've been in. It's a nice thing to donate to, Parkinson's Research, and traditional music together. Sometimes the Banjo Burke Memorial Fund gives a scholarship to someone to attend this Catskills Irish Arts Week. And they do things to support people entering the study of Irish Traditional Music.
What did you think of THIS Catskill Irish Arts Week?
I had a really good time. The weather was so gorgeous. I couldn't actually come for the beginning of it because I was working. But as soon as I got off, we headed up here. I think it was 100 degrees Fahrenheit or very close to it when we left Philadelphia. I was worried about getting by New York City because I was driving through that area near 5 o'clock. We did get up here in time for the evening concert. That was our goal. When I stepped out of the van it was miraculously as cool as we could ask for. It's been bright and sunny during the day and cool at night, cool enough for a sleeping bag or extra blanket.
Do you know Roslyn Blyn-LaDrew? She's in Philadelphia.
Absolutely. She's a brilliant teacher.
I take lessons with her over Skype.
She is just a wealth of information. Sweet personality, she sings, and she writes poetry in Irish. It's great to hear original songs in the Irish language.
Where do you see yourself going in the next few years with your Irish Singing?
Without a doubt, I'll be at this year's Banjo Burke Festival. It's Columbus Day weekend. I'll be up with the harpist, Ellen Tepper. We call ourselves The Jameson Sisters. It's nice having the harp for Irish songs. For people who haven't ever heard Irish before, they can be a little lost when they can't understand the words in Irish. Sometimes there are 5 or 10 verses in these songs. The musicality can be different, the ornamentation, the tones. At least with the harp there is music there that they can listen to and connect.
I see myself studying Irish a lot more. I love speaking with more people in Irish.
Do you see yourself going to Ireland soon?
I never seem to have enough money. Maybe it's because I spend too much money buying Gaelic books?
(We laugh together).
Actually, I will be going to Ireland next year. My brother takes tours to Ireland 3 or 4 times a year. He has got some big trip going where he needs to take two buses, so I'm signed up to be the entertainment on the other bus. He sings to the people on the bus as they are going from one place to another. It's something different for this tour.
Now I've got to try to one up him. I've got to make my bus better than his bus (Terry laughs).
Any last thoughts?
They bring a lot of great artists here for Catskill Irish Arts Week. Everyone should come and enjoy the talent!
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Click here to go to Terry Kane's Web site
_________________________________________
More Irish Musicians in Shamrock Road blogs:
- Len Graham
- Mary Staunton
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
How did you get started in Irish singing?
All of my great-grandparents came from the west coast of Ireland, mostly from Co. Clare ... one from Kerry, and one from Cork. They were all very much into the music. When they came over here, they worked and saved enough money to buy farms in upstate New York.
Which part of upstate?
I lived near Corning in a little town called Addison.
My father's family is from Corning.
My mother would probably say, “Shame on you!” to me - “You don't know the Aldriches?”
We would visit my relatives in Corning and close friends in Angelica.
One of my relatives just got married near there. It is beautiful, angelic even!
(We share a laugh!)
So your family settled in that area.
They were farmers basically and brought a lot of their family over here. Most of them worked in the tanneries and other factories. They all lived on the same hill and would get together. One of my great grandfathers built a dance stage in a glade of woods. They would come, play, and dance there.
As farmers, they would work hard all day, but during the night, they'd get together and socialize.
They were pretty well known for their dancing. They were asked to do Irish dancing at square dances, which were very popular in the wider community.
Did you get to experience the place in the glade?
My cousins own the farm now and we played softball next to the glade as kids but there was no stage left. The dancing was passed from my great-grandfather to my grandfather. My grandfather taught my mom her siblings a little bit but he wound up having a tree fall on his leg. He was not able to dance after that. There was a lot of talk of dance. I heard this dancing is what my grandfather used to do. Unfortunately, it wasn't physically passed on. The music, storytelling, and singing kept going. The family is all big into dancing, but more into swing dancing or American tap dancing. Once the Irish dancing faded, nobody could teach us as we were out in the middle of nowhere.
Did you learn musical instruments when you were young?
We learned how to play piano and band instruments but that was more a classical association, with school. Folk music was big at that time when I was growing up in the '60s. I have a big family. I am the youngest out of eleven. My older brothers and sisters were already adults when I was born. One of my brothers had gone to Paris, France to study to be a French teacher. He managed to scoot over to Dublin and got hooked on a lot of rebel songs and also singing the folk style ballads with the guitar. He came home and shared all that music with us. The younger half of the family got more exposure to Irish music than most of the older half. My brother, Pat, was inspired to take up the fiddle and start playing. I wound up getting the mandolin and guitar. So the music all came back to us. Now twice a year the whole family gets together. There are enough musicians in the family to play for céilí dances and we can get at least 4 sets dancing. After that we usually stay up till the early morning singing.
Then the singing? You grew up singing in English?
Yes, there was very little Gaelic speaking in my family. All of my family that came from Ireland, my great grandparents, spoke in Irish at that time. My great grandfather had actually been to England dancing. He was a really good dancer so he had already traveled around performing. He had learned to speak English a little better than the rest of my relatives. They spoke English by that time on the west coast of Ireland but even that was in heavy brogue. They called my great grandfather Yankee Jim, because he was the only one the English speakers could understand.
How did you get introduced to singing in Irish and sean nós singing?
I liked the style of it and the sound of it. I listened to a lot people who did singing in English, like Dolores Keane and people like that who were singing in a more traditional style back in the '60s and '70s. I had an opportunity to be inspired by them. I loved the ornamentation. Still, I didn't want to sing in Irish until I could speak it. When I got to Philadelphia, I found a lot of people there from Donegal and lots of places in Ireland. There was a strong Donegal influence and they still speak Irish in Donegal. There's classes to be had, and ways to be exposed to the language. I've been learning it for twelve years. My Irish isn't great yet, but at least if they interview me on the radio, I'd be able to talk to them. I'd probably sound like Sabatini or someone like that. When Gabriela Sabatini was first interviewed in English for her great tennis skills, having come from Argentina, her English skills were not so smooth.”
I remember that, “I – like – to – play – very – much.”
(Terry laughs and says, “Yah!”)
But getting back to singing, I get to ask you a somewhat unique question to an American. What is your favorite Irish song in English and what is your favorite Irish song in Irish?
Usually my favorite song kinda changes as I learn new songs. They aren't static things. Right now I'm singing this song “Ar Mo Ghabháil ‘na Chuain Domh.” It's a story about a fair haired priest that decided to get married. He leaves the monastery to go off, but then the girl decided to leave him. After that he became a soldier of fortune on the continent. He saw and experienced all these things, came back to Ireland, and wrote a book. He put this song in the book, with other poetry. It's an interesting story. The title of the book is An Caisideach Bán, which translates to the Fair Haired Cassidy.
In English, I like “The May in Morning Dew.” A lot of artists have performed or recorded it. Maybe it's Dolores Keane's version of it – it still plays in my head. Usually I don't try to memorize a song just as it's performed by an artist, but that one by her is so memorable to me...
Can you learn multiple versions of the same song?
Everyone has their own way that their brain works well. Some people remember lots of versions of a song. Some people can connect across songs. Last night at the singing session they were singing different songs from memory that feature the words, “Oh, really ...” Some people can pick a song to sing because of hearing another song by an earlier singer. They have these minds that can think across the songs they know to stay within a theme. So to answer your question, I try to find multiple versions of a song, I learn the best one or mix a few versions to get one that I like then as I sing the song over years my own style of ornamentation creeps in. I do remember the best versions I heard of most songs which were usually by Seosamh Ó hÉanaí, Sean ‘ac Dhonncha, Áine Meenaghan, Mairéad Ní Mhaonaigh.
How long have you been coming to the Catskill Irish Arts Week?
I have been coming for many, many years, but I wasn’t here for the first one.
During one of the early years, my brother-in-law, Joe Burke got asked to fill in for a performer who couldn't make it. Joe was kind of a quiet unassuming kind of guy. He didn't feel like he could teach students because he had never learned how to teach. I'm a music teacher so he asked me if I would come up and sit in to field all those questions he didn't really have answers for because he wasn't trained on music theory. My presence calmed him down and helped him overcome his nervousness because he knew I was there to answer the questions more formal training required. Joe was a terrific singer and most of the students just wanted to listen to the way he sang and ask for song recommendations. I only had to answer a few questions about vocal warm-ups and ornamentation.
I do something like that at the Banjo Burke Festival. I sit in with Aine Meenaghan a lot. When those questions come up about music notation or theory I chime in and answer them. It works very nicely. She knows what the music should sound like and how best to teach Irish singing. She is a fluent speaker who grew up in Connemara and has many songs memorized.
So you've been going to the Banjo Burke Festival since it started?
Yes, I've been performing for them since the beginning. They give me a place to stay, I donate my time doing performances with different bands I've been in. It's a nice thing to donate to, Parkinson's Research, and traditional music together. Sometimes the Banjo Burke Memorial Fund gives a scholarship to someone to attend this Catskills Irish Arts Week. And they do things to support people entering the study of Irish Traditional Music.
What did you think of THIS Catskill Irish Arts Week?
I had a really good time. The weather was so gorgeous. I couldn't actually come for the beginning of it because I was working. But as soon as I got off, we headed up here. I think it was 100 degrees Fahrenheit or very close to it when we left Philadelphia. I was worried about getting by New York City because I was driving through that area near 5 o'clock. We did get up here in time for the evening concert. That was our goal. When I stepped out of the van it was miraculously as cool as we could ask for. It's been bright and sunny during the day and cool at night, cool enough for a sleeping bag or extra blanket.
Do you know Roslyn Blyn-LaDrew? She's in Philadelphia.
Absolutely. She's a brilliant teacher.
I take lessons with her over Skype.
She is just a wealth of information. Sweet personality, she sings, and she writes poetry in Irish. It's great to hear original songs in the Irish language.
Where do you see yourself going in the next few years with your Irish Singing?
Without a doubt, I'll be at this year's Banjo Burke Festival. It's Columbus Day weekend. I'll be up with the harpist, Ellen Tepper. We call ourselves The Jameson Sisters. It's nice having the harp for Irish songs. For people who haven't ever heard Irish before, they can be a little lost when they can't understand the words in Irish. Sometimes there are 5 or 10 verses in these songs. The musicality can be different, the ornamentation, the tones. At least with the harp there is music there that they can listen to and connect.
I see myself studying Irish a lot more. I love speaking with more people in Irish.
Do you see yourself going to Ireland soon?
I never seem to have enough money. Maybe it's because I spend too much money buying Gaelic books?
(We laugh together).
Actually, I will be going to Ireland next year. My brother takes tours to Ireland 3 or 4 times a year. He has got some big trip going where he needs to take two buses, so I'm signed up to be the entertainment on the other bus. He sings to the people on the bus as they are going from one place to another. It's something different for this tour.
Now I've got to try to one up him. I've got to make my bus better than his bus (Terry laughs).
Any last thoughts?
They bring a lot of great artists here for Catskill Irish Arts Week. Everyone should come and enjoy the talent!
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Click here to go to Terry Kane's Web site
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More Irish Musicians in Shamrock Road blogs:
- Len Graham
- Mary Staunton
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
Monday, March 5, 2012
Interview with Len Graham
I had the pleasure of interviewing the famous Irish singer and song historian, Len Graham during Catskill Irish Arts Week 2011:
How did you get started in music and singing?
I was born in a small village called Glenarm, which is in the Glens of Antrim up in the northeast of Ireland. My mother used to say I was singing before I could talk. She said she actually sung songs to me in the womb. I have no other recollections but of singing, singing, and more singing when I was young. My father was working in Glasgow during the war years (years of World War II) and he tried to get my mother to come over to Glasgow because he had acquired employment, which was hard enough to get in Ireland even during the war years. There wasn't an awful lot of work going but she wouldn't leave Glenarm. So I ended up spending an awful lot of time with my mother and grandmother. Both were what you would call compulsive singers so there was a lot of singing.
What age were you when you started in competitions?
I started singing very early and I started competing very early as well. Not that I was pushed by my parents to do that, it was more by my own desire. I probably was about ten years old around 1954 when my school entered me for a singing festival in Belfast. Then I started competing in the fleadh cheoils, which are festivals of traditional music. I was more into my teens at that stage, probably I was 18 or 19 when I started competing at the fleadhs. First of all the Ulster Fleadhs in counties Monaghan and Cavan and then the All-Irelands – Fleadh Cheoil na hÉireann. I retired from that in 1971 when I won the All-Ireland Senior sean-nós singing in English, as I decided I didn't want to do that anymore.
How early in your career did you meet Joe Holmes?
When I was young I sometimes sang in duet with my mother, not in harmony but in unison, and then I started singing solo a lot. There was an organization around then called the Antrim and Derry Fiddlers Association which started in 1953. They had some of the same members that started up Comhaltas Ceoltoiri Eireann in 1951. They would have some singing in between the wall to wall instrumental pieces, which was mostly fiddle playing. There are a lot of fiddle players in Antrim. They soon started calling me up for a song at these gatherings and it was at one of these nights at Dunminning near Ballymena in Co. Antrim in 1963 that this fiddler came over to me and asked for a song I'd sung, which I had learned from my grandmother. He asked me for the words of the song and he turned out to be Joe Holmes.
Joe and I formed a friendship, not just a musical friendship, but a great close friendship which ended when he died in 1978. We had fifteen years of singing songs together and going all around Ireland. I took Joe around to see singers and musicians all over Ireland. Dennis Murphy,from Sliabh Luachra, Co. Kerry, the Keanes who were sean- nós singers in Co. Galway, the Dohertys up in Co. Donegal and many more.
How much have you performed in the United States?
I was over to the United States in 1976 for the first time when I was sponsored by the Irish American Cultural Institute. The Smithsonian wanted Joe and I over for one of the US Bicentennial Celebrations the same year, but Joe was in his seventies by then and didn't feel like taking on the trans-Atlantic journey. On that first US Tour which lasted for nearly four weeks, I think I did twenty-one lectures/recitals in twenty-four days, so I couldn't think of coming back again at that time. But I have been coming over to the US since 1976 for different festivals and events, such as the Smithsonian Folklife Festival, Catskills Irish Arts Week, Milwaukee Irish Fest and various universities and events. I haven't visited all the states, but I've seen a lot of them.
So you grew up singing songs in English? Did you hear much Irish spoken when you were young?
The Glens of Antrim was what you could call a Gaeltacht “the day before yesterday.” The Irish language had died out recently. Irish is still spoken, but most of the Irish speakers have gone to the Donegal Gaeltacht to learn Ulster Irish. Irish had been spoken recently in the Glens of Antrim and my mother heard native Antrim Irish spoken back in the early part of the twentieth century. The last native Irish speaker in that area died in the 1960s. A man called MacAuley from the nearby glen of Glenann, and when he died there was an obituary saying he was the last Antrim native speaker of Irish and that was I believe in 1964. There are a lot of Irish speakers in the North of Ireland and there has been a big revival in the language in recent times with a big demand for Irish medium schools. But to this day the closest Gaeltacht to the Glens of Antrim are the Western Isles of Scotland and at their closest point the distance is only twelve miles. Scots Gaelic is just a different dialect of what was all one language.
The roads into the Glens of Antrim weren't built until the time of the famine in the mid nineteenth century and they were built as famine relief schemes. Before that it was much easier to go to Scotland than it was to go to Ballymena or Belfast as crossing the mountains over rocky roads was difficult whilst all you had to do was jump on a boat on a good day and you'd be over in Scotland in no time at all. I used to love the Lammas Fair in Ballycastle in North Antrim. It's gotten quite commercial now, but every August the boats would come from Rathlin Island and some of the Western Isles of Scotland and there would be music, singing, selling of animals, and all sorts of fun which went on for several days. That's a fair that's been going on for centuries and there’s another old fair in Co.Kerry called the Puck Fair and that's been going on for years and years as well.
What is your favorite song to sing?
Some of those early songs I learned from family and neighbors have a special place- like The Murlough Shore which came from my grandmother. The Keanes, Sarah and Rita, the aunts of Dolores when I first met them in the 1960s sang another version of this song called – The Moorlough Shore, which they got from a 78 rpm gramophone record made in New York by Joe Maguire from Co. Fermanagh in the 1930s. It's a different version from what I sing. Dolores Keane was the first singer in De Dannan and on their first band album Dolores sang – The Rambling Irishman which she got from me. I in turn got a fragment of the song in the 1960s from Joe Holmes from Killyrammer, Co. Antrim and managed to track down another three verses from the daughter of the man that Joe had heard sing it from in the early years of the last century.
For years I searched all over Ireland and beyond for more verses of the song and then a version with extra verses turned up in the Ozark Highlands under the title of – New York Bay. The collector was Max Hunter and he collected the song from Bertha Lauderdale in 1961 and Max transcribed – Lough Erne as Lauairen, but it is without a doubt the same song. More recently a three stanza fragment turned up in the parish records of St. Patrick’s Church, Armstrong County, Pennsylvania and here the song is attributed to Jerry Monaghan who left Ireland in 1790.
You've done a lot of research on songs. What experiences have you had with that?
Yes, it's been a fascination of mine, all my life. It's been a total fascination and I've been interested in the history of songs and singers as long as I remember. It gives me no end of pleasure when I come across a fragment of a song in the song tradition over here in Ireland, to begin a search in all the archives and libraries here and beyond to try and fill in the gaps and return it to the traditional music community.
I recall Joe Holmes again singing me another tantalizing fragment of a Co. Down song – My Love Nell and then coming across it on a nineteenth century song sheet in the Library of Congress. There are numerous examples – versions and more versions. A song taught in the local primary school in Mullaghbawn, Co. Armagh in the 1930s – Kitty Finnegan from Carrickadreen turned up on a nineteenth century New York broadside ballad and in this case the words were very similar to the Irish one, but the young lady in the US version is from Abington Green (Georgia) instead of Carrickadreen.
My Uncle, my mother's brother, was also a singer. My father, my mother, they were all musicians and singers. There was a fiddler in the family and a hammer dulcimer player. Yes, there was a famous relation of ours called John Rea, who made many BBC Radio programs and recordings for a Topic Records in London. His mother and my grandmother were full cousins. He was a tremendous hammer dulcimer player and he was born the same year as my mother in 1915. She remembered going around to his home as a wee girl as he lived just around the corner from us in Glenarm. She told me that he would be standing on an upturned butter box and the dulcimer balanced on two matching boxes on the kitchen table when he was no more than six or seven. So from the time he was in his teens he was broadcasting on the local radio from way back in the 1930s. He had music for dances and performed regularly with his father, who was a champion fiddler at concerts and dances all over the north of Ireland. Yes indeed, a lot of outstanding musicians came out of the Glens of Antrim.
My Uncle Willie presented me, when I was in my teens, with a shoe box full of songs he'd collected. He'd taken them down from family and neighbors and he'd taken the trouble to collect a series that had been published in a local newspaper, the Northern Constitution, and the collector was a man called Sam Henry. He published a song every week between 1923 and 1939. A good number of these were in the shoe box. He must have cut them out every week. There were some gaps. Then I heard in my late teens that Sam Henry had bequeathed two scrap books to the Central Library in Belfast and to the Library of Congress in Washington, D. C. I went to the Belfast collection and made copies, and filled in the gaps. There were songs that weren't in the Sam Henry collection that my uncle had collected. All together there were a lot of songs, a huge collection, over 800 songs. The University of Georgia Press in Athens, Ga., in 1990 published the whole collection. It's been out of print and they were fetching big money on the Internet. I’m told it's been recently reissued. It is called - Songs of the People, by Sam Henry, edited by Lani Herrmann. She did a wonderful job in giving lots of information, sources, and where other versions are to be found, etc.
Tell us about your book, please!
I brought a book out recently called – Here I Am Amongst You on Joe Holmes (1906-78). It was something I intended to do for years and I finally got a publisher after taking the manuscript around to numerous publishers here in Ireland. So I was delighted when the highly regarded Four Courts Press in Dublin published it in 2010. (See: http://www.fourcourtspress.ie/product.php?intProductID=963 ) I launched it at the Milwaukee Irish Fest in 2010 and at the Catskills Irish Arts Week along with a talk in 2011. I tried to follow the standard set by Lani Herrmann, by not just bringing out a memoir, but also to show where these songs could be found and discuss other versions, particularly the versions found in collections in the U.S.
What's been the role of those in the United States in keeping the songs going?
People were coming over from Ireland to North America for centuries and were arriving long before the famine in the mid nineteenth century. They left their DNA in the way of songs in the Appalachian Mountains, the Ozark Highlands, up in Canada and other parts. I tried to show how they are all connected. I actually was able to find more verses of songs in North America sometimes to what I had collected in Ireland. Yes, sometimes fuller versions of ‘old country’ songs turned up in the Appalachians, the Ozarks and other locations. Some of them came over here in the eighteenth century with some of the early settlers and they stayed largely unchanged and were handed down from generation to generation and were like time capsules when discovered.
There was a wonderful letter by the famous English folksong collector called Cecil Sharp. He did a lot of work in England and then he went over to the Appalachians in the early years of the twentieth century. He had filled books with ‘old country’ folksongs, much better and fuller versions than he had collected in England. In 1917 he wrote to Russell Smith at Knoxville, Tennessee after he had just returned from the mountains, joyful over a fruitful folksong collecting trip – “These missionaries with their schools! I’d like to build a wall around these mountains and let the mountain people alone. The only distinctive culture in America is here. These people live. They sustain themselves on the meanest food. They are not interested in eating, but they have time to sing ballads.”
What's your most recent CD?
I made my first solo album (LP) for Topic Records of London in 1975 and since then I have featured on many recordings – solo and in collaboration with other singers, musicians, poets and storytellers. My most recent recordings are two CDs brought out in 2010 called - Over the Hills and Far Away and another one called – Here I Am Amongst You, which is a companion sampler for the Joe Holmes book. I wanted to bring out recordings with the book, but the publisher wasn't interested in handling CDs. I hope at some stage to get the whole Len Graham Song Collection up on the Internet and make it accessible to everybody. So stay tuned!
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Len Graham and Brían Ó hAirt are competing for a KickStarter grant at: In Two Minds: Irish singing collaboration w/Len Graham/
Len Graham has a web site at: http://www.storyandsong.com/
More Irish Musicians in Shamrock Road blogs:
- Mary Staunton
- Brían Ó hAirt (Brian Hart)
- Bernadette Nic Gabhann
- Aoife Clancy
- Matt and Shannon Heaton
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