Shane MacGowan’s recent passing was a huge blow to Irish music. An electric performer and one of the all time legends, MacGowan not only took liberal inspiration from traditional repertory but his music has become something of a traditional music itself. The world’s momentous loss was mourned and celebrated this past weekend in Nenagh, where MacGowan’s funeral was held and spectacularly attended by an A-list cast of friends and family. There were some astonishingly beautiful tributes given during the service, but none, perhaps, as poignant as the Christmastime classic “Fairytale of New York” as performed by Glen Hansard and Lisa O’Neill. Surrounded by a who’s-who of brilliant musicians, Hansard and O’Neill took this favorite and gave us a version for the ages. It elevated the season and surely would have made MacGowan proud.
Speaking of Christmas, I’ve been keeping my eye open for cool gift ideas that might appeal to this column’s readers and have come up with a few suggestions. The first is a collection of limited edition fine art prints from Dara Vallely, the great visual artist who co-founded and is artistic director of the Armagh Rhymers. The collection includes four prints, three of which, “Brown Bull,” “Cúchulainn In The Landscape,” and “The Route of the Táin Bó Cuailgne,” first appeared in “Laoch na Laochra,” Réamonn Ó’Ciaráin 2017 book telling the full story of Cúchulainn that included many of Vallely’s paintings. (The book is brilliant and available in both English and as Gaeilge, see https://siopa.gael-linn.ie/en/laoch-na-laochra for more). The fourth, “The Christmas Rhymers,” depicts a group of musical characters that one might see during the revels of Christmastime rhyming. They’re gorgeous prints that embrace and celebrate Ireland’s mythic past and cultural present. Visit the Rhymers’s website to learn more, https://armaghrhymers.com/
The second idea is a set of six specially designed, limited edition broadsheets made for “The Women, We Will Rise,” Karan Casey's acclaimed theater-based song cycle that “asks questions about the women of Ireland, past, present and future.” Song titles include “Constance Georgine,” “Down in the Glen,” “Blow Trumpets Blow,” “Agnes Ryan of the Hotel,” “My Name It Is Kathleen Clarke,” and “When the Swallow is on the Wind.” These would be brilliant gift for fans of Casey’s music or for those fascinated by the female narrative in the folk tradition. The full set of broadsides, which also can be purchased individually, are available at https://www.crowvalleymusic.com/.
Finally, there’s “Mná Na bPíob Uilleann, Volume 1,” a new album issued by Na Píobiarí Uilleann that documents seven outstanding women who are using their music to elevate the uilleann piping tradition. They come from different parts of Ireland – and indeed, the world – and the music that is shared here reflects a few different styles and approaches to uilleann piping. It’s an excellent collection.
The featured pipers are Emer Mayock, Rita Farrell, Muireann Ní Shé, Claire Fennell, Marion McCarthy, Maeve O’Donnell, and Pamela Schweblin. Readers may remember Mayock (who comes from Ross) for the albums she made with piper Mick O’Brien and fiddle player Aoife Ní Bhriain exploring the Goodman manuscripts from Mayo. (That group won a Gradam Ceoil Award in 2014 for their efforts.) Farrell who was born in London and remains based there, has performed widely, including at Scoil Samhraidh Willie Clancy. Ní Shé comes from Ballinhassig and in 2021 was awarded the Tomás Ó Canainn Gradam Ceoil for excellence in Traditional Music Performance. Fennell comes from Dungarvan and O’Donnell from Dungannon; both are fine young pipers who have appeared on earlier CDs. McCarthy, who is also based in London, grew up with deep ties to traditional music: her father Tommy McCarthy was a well respected piper who played with Bobby Casey, one of her earliest champions. Finally, there’s Schweblin, who is based in Buenos Aires, Argentina. A student Cillian Ó Briain, Brian McNamara, Gay McKeon, and Joe Doyle, she is a tireless advocate of the instrument and teaches students throughout Latin America.
The breadth of music here is impressive – it’s fascinating hearing the varied styles and each musician has something to recommend. Mayock, in particular, contributes with great strength. She does some stately playing on the chanter and I particularly like the tasteful way she approaches her regulator work, especially on “Tony Moran’s / ….” An outstanding player. Speaking of regulators, O’Donnell’s uses them to stunning effect in her rendition of “Air: An Bonnán Buí,” which is well done and quite moving – a great track from a robust piper. Ní Shé shines on another of the album’s excellent airs. “The Bright Lady” is finely done with superb touches in the melody. She’s paired it with an unusual but brilliant minor key setting of the jig “Garrett Barry’s” which completes a memorable and haunting pairing. Then there’s Schweblin, whose music I’m happy to learn about, as her tracks are uniformly strong. My ear is especially drawn toward “The Maids Of Ballinacliffy / …,” which starts off boldly and features some crisp, controlled piping and great rhythm. The regulator work on all three of her tracks is very nice as well – great piper to become acquainted with!
“Mná Na bPíob Uilleann, Volume 1” is a super collection and would make a wonderful, affirming gift for any young woman musician or uilleann piper in your life. But it’s also an album for anyone who just loves warm, pure drop playing – it’s the kind of stuff that’ll warm the hearts of traditional music fans! For more info or to purchase, visit Na Píobiarí Uilleann’s website. The album is also available for download here.
