Nerds Fly North!
Self-Produced Celtic Recordings
by Celtonerd Steve Winick

Howdy, readers! You may have noticed a little lacuna in Nerd columns lately. Well, this Nerd flies north for the summer! Now that fall is here, though, I have another satchel of CDs to let you know about. Here goes!

My top pick this time out is Providence [Rolling River RRCD 001 (1999)], the debut album from the Dublin-based traditional band of the same name. Judging from the picture of denim-clad youthful musicians on its cover, and the accolades from respected colleagues in the press kit, I expected a whiz-bang, speedy band like Solas or Danú. While such a band would have been welcome, I find to my delight that Providence is more measured, more old-fashioned if you will, and more satisfying for it. Sets of jigs, reels, and barndances alternate with songs sung in the strong and pure voice of Joan McDermott. McDermott, a former member of the Fallen Angels (whose alumni also include Mary Black and Máire Breatnach), handles lyrics in both English and Irish Gaelic. Highlights include the ballads "Seven Gypsies"and "City of Baltimore" as well as the aching lament "Ochón Ochón Mo Chailín." The instrumentalists include John Wynne, a multiple all-Ireland winner, on flutes and whistles, Meabh O'Hare on flddle, and Mícheál Ó Raghallaigh on concertina and accordion, backed by Paul Doyle's subtle guitar and delicate bouzouki. The group's sound recalls Nomos and 1980s De Danann, but it's also got some of the straight-ahead unpretentiousness of a good ceili band. Their CD is a delightful listen, and reveals a band with virtually unlimited potential. [The Blackbird Agency; blackbird@torchlake.com]

Another pleasant revelation in the band category was The Yellow Bustard [self-produced (1999)], the debut by Traonach, a session band based in upstate New York. Anchored by elder statesman Ed McGowan on fiddle, the band also includes Joel Cowan (concertina), John Byrne (uillean pipes, whistle, harmonica), Mark Bickford (accordion, concertina, guitar), and Scott Whitham (bodhrán). On this CD, they are joined by Cherish the Ladies' guitarist Mary Coogan as well. The playing is very much old-school Irish music, very gently handled. They take as their catchphrase Sean McGlynn's sage words to Billy McComiskey about Irish music: "there is nothing, nothing you can do to improve this music." Respectful as they are, though, they don't fossilize the tunes and play them as though it were 1926 (even if McGowan was taught briefly by James Morrison). Instead, these are tunes played as the more traditional of our Irish bands today (Moving Cloud, say) would play them. A deep knowledge and love of the music, some interesting tunes of both the famous and the obscure variety, and a palpable zest for playing make this album a fun listen for traddies. [traonach2@hotmail.com; traonach2.members.easyspace.com]

I'll make a similar claim about the next two albums I'll talk about, by Justin Murphy and Beth Patterson. Both musicians are members of the Louisiana-based Irish band The Poor Clares, but each also has a budding solo career, as evidenced by their recent solo albums. Patterson's disc, Hybrid Vigor [Little Blue Men Records LBM 102], contains a half-and-half mixture of original and traditional songs and tunes, with both Celtic and Cajun roots. Though Patterson mostly plays Celtic these days, she hails from Lafayette, Louisiana, in the heart of Cajun country, and got her start with the band Renaissance Cadienne. This background shows in her handling of the traditional songs "Je M'Endors" and "Mardi Gras." Both of these sound like a Cajun singer trapped in an Irish band (and I mean that in a good way!). One features Patterson's bouzouki and the other uillean pipes played by guest musician Eoin Duignan. The Celtic material, both traditional and original, is rooted in old music, but influenced by new. Her "mambolkas" are great examples of dance tunes that cross the folk/pop and Celtic/Latin divides with ease. Versions of old standards like "Ye Jacobites by Name" and "Heather on the Moor" provide a touchstone in the established repertoire, while new numbers like "Steer by the Stars" and "Hauling Coffee" provide quality and novelty together. Patterson's deft touch on bouzouki is complemented by both well-known and lesser-known guests like Duignan (uillean pipes), Clare Fitzpatrick (fiddle), Jason Marsalis (percussion), Jimmy Crowley (bouzouki) and, last but not least, Murphy on flutes and whistles. [www.poorclares.com/recordings.htm]

Murphy's own album, Mana [self-produced (2000)], is similar in its incorporation of both old and new tunes. Since Murphy's a flute player, there's very little vocal music on it (though Betsy McGovern does guest on a beautiful version of "Green Grow the Laurels"). Instead, it's mostly instrumentals, including jigs and reels, airs and hornpipes, with a waltz and some Breton dance tunes thrown in. Particularly nice is an unusual piece by O'Carolan titled "Thomas Leixlip the Proud". Not only is it one of the great harper's lesser-known planxties, but Murphy has built a sweet baroque arrangement around a ukulele played with subtlety by the brilliant Irish guitarist Gerry O'Beirne. Like this piece, a lot of this CD is daring without being flashy, and that's a major reason why I like it. The other reason: The lift and verve he gives tunes like "Tell Her I Am" and "The Bodacious Fruit," the power of his playing on "The Cameronian," and the sensitivity of his airs make Murphy one of the best flute players around. This album is another major step toward more widespread recognition. [Justin Murphy/ 926 Ridge Top Lane/ Gordonsville, VA 22942]

For people who like their Celtic music played with continental flair and American abandon, and also enjoy tunes from outside the Celtic realm, I recommend Musique à Danser [self-produced Sl100] by Serge Laîné and Isla Ross. As the title suggests, it's entirely made up of dance music, but it's not limited to instrumental tunes by any means. Instead, it's filled with both tunes and songs intended for dancing. The material comes from different regions of France, as well as England and Québec. The largest number of selections come from Brittany, which justifies their inclusion here, but Celtic music fans should keep an open mind with this one; it also contains music from central and southern France, which doesn't sound like your typical jig-and-reel sets. The singing is all done in Laîné's sharp, clear voice, and the main instruments employed are melodeon (by Laîné) and hurdy-gurdy (by Ross), but the album also showcases cabrette (a French bagpipe), whistle, fiddle, bass, and percussion, all played with aplomb and arranged with a great feeling for musical texture. People who enjoy Blowzabella will want to hear this duo's take on "Scottische Blowzabella," and fans of Tri Yann from Brittany, Bachas Mont-Joia from Nice, Lo Jai from Limousin, La Bottine Souriante from Québec, and Malicorne from France will hear familiar tunes, words, and arrangement ideas. For people who haven't heard any of these groups, Musique à Danser can even serve as an introduction to French and Breton music—but I warn you, it may be addictive! [(512) 452-8369]

Another Celtic fusion CD, Come Dance and Sing [Zygoat Records 1001 (1999)], comes from the American band Celtibillies. As their name jokingly implies, this group mixes Celtic music with American old-time music (what used to be called "hillbilly music"). This is an enjoyable listen, filled with standards from both Irish and American traditions. Songs include the African-American spiritual "Follow the Drinking Gourd," the Anglo-American ballad "Wind and Rain," and the traditional Irish "Roddy McCorley" and "Little Beggarman." They also perform tunes from the Celtic and Appalachian traditions on banjo, fiddle, hammered dulcimer, bouzouki, bodhrán, and other instruments. The best tunes are the ones that feature Jack Hinshelwood's robust, strongly bowed and drone-rich fiddling in the lead, but all the selections are engaging. [3708 Old Town Road/ Shawsville, VA 24162; hinshel@roanoke.infi.net]

No Nerd column is complete without a nice balladeer album. This time it comes from Bill Craig, a former member of the Irish Rovers who is based in Ontario. Craig's CD Full of Moon [self-produced BC 208 (1999)] contains a set of standard Celtic and Canadian songs, including "The Curragh of Kildare," "I Once Loved a Lass," "Jamie Raeburn," and Carrickfergus," along with Lennie Gallant's "Island Clay," Jamie Snyder's "Evangeline," and Ron Hynes' "Sonny's Dream." Craig's arrangement ideas come from well-known performers, as well: Garnet Rogers and Archie Fisher, the Tannahill Weavers, and others. What saves it from being a rehash of every balladeer album out there is quality; Craig has a rumbling baritone voice reminiscent in different places of Cyril Tawney, Stan Rogers, and Tommy Makem, and he does an excellent job with virtually every song. His straightforward guitar techniques include forceful strumming and gentle flatpicking, and various guests add fiddle, pipes, piano, accordion, and other instruments, all tastefully. Three unusual songs also keep things lively: the traditional "Tarry Flynn," Christie Hennessy's faux Child ballad "The Vision," and the Bill Craig original "The Coast Road," extolling the virtues of a road in Northern Ireland. The result is a gentle album of folk favorites with a few surprises thrown in. [P.O. Box 22569/ 300 Coxwell Avenue/ Toronto, ON M4L 2A0/ Canada; bcraig@interlog.com]

A somewhat less-successful ballad album, Greenhouse's I Lie Awake [Jackalope JKLP 1247], presents pleasant but somewhat mannered versions of Celtic ballads like "Roger the Miller," "As I Roved Out," "The Blacksmith," and "Star of the County Down." Tasteful guitar playing and dramatic singing are the foundations on which these performances are built. But lead singer Patricia Casey's vocals sound a bit overwrought in this acoustic setting; perhaps she needs more of a Loreena McKennitt-style dense atmosphere to bring out her best. [Jackalope Records/ 3385 Dartmouth Drive/ Santa Rosa, CA 95405]

Finally, we get to the strangest CD to come my way in some time, Battle Songs of the Toucan Pirates [self-produced TCD 1776 (1999)] by the Toucan Pirates. The album's cover describes its contents as "Traditional Irish instrumental music with authentic pirate sound effects," and I can't argue with this assessment. Concertina, banjo, mandolin, guitar and whistle bounce through pleasant but unspectacular versions of various traditional jigs, reels and hornpipes while in the background people shout "Arrrrh" and "Shiver me timbers!" At times, you can hear waves, seagulls, wind, bells, and creaking wood. No doubt these are authentic pirate sounds, but they don't really make this album shine. Instead, the whole thing becomes musical wallpaper, or a musical backdrop to the story in the sleeve notes (which needs to be better written if it's to be the main attraction). In short, what this CD needs is oomph from the instrumentalists, not arrrrh from the pirates! [Toucans Steel Drum Band/ 224 30th Avenue East/ Seattle, WA 98112; info@toucans.net; www.toucans.net]

Toucans, though, make me think… maybe it's time for this brightly-colored Nerd to fly south for awhile.