Congratulations to the Catskills Irish Arts Week, which celebrates its 30th anniversary this week. The lineup of instructors has some very talented, noteworthy folks and there is something for everyone. All the best to the Week’s organizers and everyone going up for the craic – it promises to be a great time and I’ll see you up there!
In the media player this week is Elaine Reilly’s new album “Epiphany – Irish Traditional Music on the Tenor Banjo.” We’ve had a good streak of fine banjo albums of late and I have to say this one might top the heap. Reilly is a next level banjoist – something of a “player’s player” even – but her approach isn’t so technical that it loses touch with an extraordinary musicality that makes her music really easy to enjoy. Sound intriguing? Then read on!
Reilly hails from Granard, Co. Longford. She cites Peter and Angelina Carberry as having had a far-reaching influence on her music, she won the senior All-Ireland in 2014, and she’s a widely respected performer and teacher who has appeared on television and has taught at places like Scoil Eigse, the Willie Clancy Summer School (where the album was recently launched) and elsewhere.
“Epiphany” is her solo debut and a dazzling one at that. Reilly’s playing sets a high bar and joining her are three truly great players who round out the album’s sound, backers Brian McGrath on piano and Brian Mooney on bouzouki, and accordion/melodeon Daithí Gormley, who is featured on a pair of tracks. It’s an auspcious set of musicians, for sure.
On first listen, a few things immediately stand out about Reilly as a banjo player. The first is the tone she’s able to pull. She’s clearly in full control of her instrument and brings the best sort of sound out with her playing, bold, full and not unlike Angelina Carberry’s. The clarity in her right hand technique reveals both the inviting lilt in her flow and the layers of nuance in her left hand. Reilly is an outstanding musician and her playing absolutely cooks.
When I dig into the tunes themselves, I’m struck first by Reilly’s great good taste. She’s made some really discriminating choices that give the album a smart, studied feel. But it’s the execution that I feel gives this album its brilliance. Sets of reels like “Leddy From Cavan / …,” “The Fergus Reel / …,” or “Miss Lyons Fancy /…” are all exceptionally well played and have a magnetism that really draws the ear. Each one possesses magnificent drive and creativity, and the rhythm that is as good as it gets.
Reilly brings this elevated approach to all the tracks here. The hornpipe set “Seán Quinn’s / …” is not only great because she’s grouped some interesting, not-often-played tunes, but she’s done them brilliantly, with tons of lift. “The Grouse on the Hill /…,” a set of jigs, is outstanding as well, again for both the selection and performance.
The two tracks that feature Gormley are particularly noteworthy. He adds melodeon to “The Tap Room / …,” and button accordion to “The Jig of Port Fleadh / ….” I find the combination of button and free reed instrument to be a great one sonically, but they way Reilly’s playing articulates with Gormley’s is brilliant.
In her testimonial in the album’s liner notes, star banjoist Angelina Carberry, had this to say: “Elaine Reilly’s much anticipated debut CD, ‘Epiphany,’ will bring sheer joy to tenor banjo players, musicians, and Irish music lovers far and wide.” And you know what? That’s really the shape of it – it’s a sentiment upon which my words can’t really improve. “Epiphany” is indeed a tremendous album of traditional Irish music played on the tenor banjo by an utterly superb musician. The music here sparks joy for me, both as a banjo driver and as a lover of Irish music, and I don’t think I’d be alone there in that opinion. I give this one a “wholeheartedly recommended, eleventeen thumbs up, rush out and pick it up,” because it’s a great album – you will not be disappointed. For more, visit https://elainereilly.bandcamp.com.
