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McComiskey and Conway solo albums top the trad list for 2008

February 17, 2011

By Staff Reporter

Against this volatile economic backdrop, the quality of Irish traditional recordings remained encouragingly high in 2008. It was especially hard to rank the best of them, and I have no doubt that shuffling the order here could produce an equally persuasive list. But in the interest of put up or shut up, I put up this ranking of ten, standing above all other albums last year and belonging in every trad music enthusiast’s library.

1. “OUTSIDE THE BOX” by Billy McComiskey (Compass Records Group 7-4488-2): Twenty-seven years of waiting for a follow-up solo album to his “Makin’ the Rounds” (1981) might have created an expectation beyond reach, but Billy McComiskey’s “Outside the Box” confidently meets that expectation. The Brooklyn-born, Baltimore resident, whom I describe as “Irish America’s premier B/C button accordionist” in my essay for his CD, lets his personality shine through. Using a four-voice gray Paolo Soprani box, McComiskey plays music that’s muscular yet finessed, sensitive yet never fey, imaginative yet ungimmicky, and fun-loving yet sobering. Guests such as Liz Carroll, Joanie Madden, and Mick Moloney join him to vary and deepen the appeal of his recording. But my favorite tracks are McComiskey with just Brendan Dolan on keyboards or album producer John Doyle on guitar, mandola, or bouzouki. What further distinguishes this recording is the absolute beauty of McComiskey’s own compositions, including the reels “Keogh’s/Maggie Lynn’s,” the waltzes “The Diamond/Sleepless Nights,” and the jigs “Nora Sweeney/Elizabeth Cullen.” An essay from Mick Moloney and tune notes from Myron Bretholz in a 14-page insert featuring several vintage photographs round out an album that delivers on all fronts.

2. “CONSIDER THE SOURCE” by Brian Conway (Clo Iar-Chonnachta CICD 173): Choosing between this second solo album by fiddler Brian Conway and the second solo album by Billy McComiskey for the top spot in this list was unnervingly difficult. Both are outstanding, and what makes the selection even more vexing is that this solo CD by Conway is better than his first, “First Through the Gate,” which was the Irish Echo’s No. 1 trad album of 2002. Born in the Bronx and now living in White Plains, N.Y., he performs here with more detail, subtlety, playfulness, and punch. Brian Conway has never been more comfortable in his own musical skin than on “Consider the Source,” to which I contributed an essay. The jigs “Keys to the Convent/The Knockawhinna/Teviot Bridge” trace the compact invention with which he climbs in register and then nimbly descends, all the while holding firm to the melodic spine. “Matt Hyland,” sung by Dan Milner, and “Highland Mary,” sung by Niamh Parsons, illustrate an oft-overlooked aspect of his fiddling art: skillfully nuanced support for singing. Joined by such guests as Billy McComiskey, Joanie Madden, and Brendan and Felix Dolan, Brian Conway gives us his finest musical achievement to date.

3. “CROSSROADS” by Mairtin O’Connor, Cathal Hayden, and Seamie O’Dowd (self-issued MCSCD001): Arriving near the end of 2008, this album captures the trad “power trio” of button accordionist Mairtin O’Connor, fiddler/banjoist Cathal Hayden, and multi-instrumentalist/singer Seamie O’Dowd in tantalizing form. Hard-charging trad tunes include “Farrell O’Gara/The Galway Rambler/Tim Dillon’s/Come West Along the Road/The Glass of Beer” and “The Humours of Tulla/Last Night’s Fun/Cooley’s Reel/The Wise Maid.” For sheer swing, it’s hard to beat “Catwalk,” one of several O’Connor tunes on the CD, and O’Dowd’s singing of “Barley and Grape Rag” favorably compares with the original version by its composer, the late Irish bluesman Rory Gallagher. The level of imagination and risk-taking by all three musicians makes this “Crossroads” meeting an utter joy.

4. “THE HOME RULER” by Catherine McEvoy (Clo Iar-Chonnachta CICD 172): Born in Birmingham, England, to parents from Roscommon, current Meath resident Catherine McEvoy infuses plenty of soul into the close-to-breath music she plays on her second solo album. (Her solo debut was released in 1996.) McEvoy’s fluid, rhythmic, roll-ornamented, beautifully phrased and paced flute work is rooted in the Sligo-Roscommon style, yet there’s a sweet surrender in the subtle whirlpool she swirls especially in reels, which make up 19 of the album’s 30 tunes. Her playing proves that freshness and liveliness need not rely on wildness and velocity.

5. “LIVE AT ST. JAMES CHURCH, DINGLE,” by Beal Tuinne (Tara CD 4022): For highly accomplished singing and songs in Irish, this concert recording absolutely glistens. The lyrics are drawn from “Fothar na Manach,” a book of poems by the late West Kerry writer Caoimhin O Cinneide, and adapted to music composed by Shaun Davey. Matching the material is Beal Tuinne’s talent: singer and accordionist Seamus Begley, singer and whistle and flute player Eilis Kennedy, guitarist Jim Murray, concertina and accordionist Eoin O Beaglaoi, singer Daithi O Se, singer and banjoist Lawrence Courtney, harmonium and synth player Shaun Davey, and his wife, Rita Connolly, whose voice remains one of Ireland’s loveliest.

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6. “ROSSINVER BRAES” by Ben Lennon and Tony O’Connell (Clo Iar-Chonnachta CICD 174): In this impressive album Kiltyclogher, Leitrim, native fiddler Ben Lennon, now in his 80s, finds an inspired partner in Glin, Limerick, concertinist Tony O’Connell, who’s nearly half a century younger. Any consideration of age dissolves in the youthful vigor both musicians give to their playing. Lennon draws out the melodic richness of a tune while executing ornaments with enviable control, and matching him in tempo and touch is O’Connell, who understands and follows Lennon’s preference for playing unpantingly.

7. “WIND & REEDS” by Paudie O’Connor and John O’Brien (self-issued PBCD 1976): On this CD devoted mainly to Sliabh Luachra music, Ballyhar, Kerry, button accordion and whistle player Paudie O’Connor and Artane, Dublin, uilleann pipes and whistle player John O’Brien establish themselves as a terrific tandem. Their performance on box and pipes of “The Scartaglen/Kiss the Maid Behind the Barrel” reels is exhilarating.

8. “THE SPECTACLE BRIDGE” by Michael Hynes and Denis Liddy (self-issued; no cat. no.): This second album by the two North Clare instrumentalists is even better than their first, “Waifs and Strays,” from 2003. Flutist Michael Hynes and fiddler Denis Liddy play traditional music with deceptive ease, letting the melodies flow naturally. Their pace and precision are exemplary.

9. “WELCOME HERE AGAIN” by Martin Hayes and Dennis Cahill (Compass Records Group GLCD 1233): The first two albums made by fiddler Martin Hayes and guitarist Dennis Cahill, “The Lonesome Touch” in 1997 and “Live in Seattle” in 1999, were each distinguished by a rapturous medley of tunes bordering on sorcery in its effect. On “Welcome Here Again,” a shorter-burst approach (14 of the 18 tracks consist of a single tune apiece) will only burnish the duo’s reputation for tight, telepathic playing.

10. “Flame on the Banks” by Maeve Donnelly with Tony McManus (self-issued; no cat. no.): Originally from East Galway, Clare resident fiddler Maeve Donnelly follows up her self-titled solo debut in 2002 with another gem. Accompanied by Scottish guitar wizard Tony McManus, who now lives in Toronto, Donnelly has never been better. Her rendition of “Panhandle Swing” is a smile-inducing hoot.

Where to get them
All ten of these recordings are available at Custy’s Traditional Music Shop, Francis St., Ennis, Clare, Ireland, 011-353-65-6821727, www.custysmusic.com, custys.ennis@eircom.net.

Next week: Traditionalist of the Year 2008, plus albums ranked 11-30.

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