The ’Cap’ of Kevin Burke’s Solo Canon: Fiddler’s Second Solo Recording Rank
November 10, 2008
The ’Cap’ of Kevin Burke’s Solo Canon: Fiddler’s Second Solo Recording Ranks FirstCEOL
- By Earle Hitchner
What do the Beatles’s "Sgt. Pepper’s Lonely Hearts Club Band" in 1967 and Irish traditional fiddler Kevin Burke’s "If the Cap Fits" in 1978 have in common?
The first partially influenced the second.
Before I explain why, I want to expose, once and for all, a dirty little secret about the impact of the Bothy Band, of which Burke was a member, on Irish traditional music from the middle to late 1970s. It was rock-and-roll. A key, usually overlooked ingredient in the enormously influential sound of the Bothy Band was its rhythm, and that came from Donal Lunny on bouzouki and guitar and Micheal O Domhnaill on guitar.
I can hear all the trad-heads and purists out there screaming "sacrilege" and "heresy." But in a recent interview I did with Lunny, now residing in Japan, he admitted that rock-and-roll shaped his attitude and approach to the Irish traditional music performed by the Bothy Band. Besides, how could an Irish acoustic trad band be heard or stand out amid the Stones, the Who, the Kinks, and other rock groups then dominating popular music? And what would be different or distinctive about the Bothy Band in the wake of previous Irish traditional ensembles?
Again the answer is rhythm, affecting choice and order of tunes, attack, energy, embellishment and improvisation, instrumental layering and density, and overall imaginative execution and sonic power. Of course, it didn’t hurt that Burke, Lunny, Micheal and Triona Ni Dhomhnaill, Matt Molloy, Paddy Keenan, and Tommy Peoples (Burke’s predecessor on fiddle) were among the best Irish traditional performers on the planet and, as a sextet, constituted an Irish traditional supergroup at a time when that term was used far more judiciously and begrudgingly than today. And I do mean "begrudgingly": many older, hard-core Irish traditional musicians still scoff at claims for Bothy Band ascendancy and strength within the close-knit trad community back then.
By 1978, the year "If the Cap Fits" was released on Dublin’s Mulligan Records, Kevin Burke had already recorded with the Glenside Ceili Band and Christy Moore, issued his "Sweeney’s Dream" solo debut in America, and made two studio albums with the Bothy Band in Ireland. But Burke’s musical interests weren’t bound by Irish trad alone. In his note on the back cover of the original "If the Cap Fits" LP, he mentions "negro bluesmen," and it was not a facile reference. On BBC radio in London, he listened to the blues of such musicians as Robert Johnson, Son House, and Roosevelt Sykes, and he was also smitten by the slide and bottleneck guitar playing of Ry Cooder, with whom he guested on Arlo Guthrie’s "Last of the Brooklyn Cowboys" album in 1973.
Like Lunny, Burke additionally listened to rock. "When I first listened to ’Sgt. Pepper’s,’ I was impressed by how the Beatles made many of their songs flow into each other without coming to a dead stop," he told me. "I thought I’d try something like that for my solo album. So there’s a glimmer of ’Sgt. Pepper’s’ influence on that long set."
The "long set" is an 11-tune, 16-minute medley concluding "If the Cap Fits," which marks its 30th anniversary with a special new remastered Compass edition CD that features a lengthy new essay by me. (At Burke’s request, I omitted the Beatles’ influence in my CD essay, but I feel no such constriction here in "Ceol.") Throughout the unbroken flow of his fiddling, he gets a little help from his friends, including Gerry O’Beirne on slide guitar, who enter and leave in a manner akin to a real session, which was the point of this long set for Burke. It is a jaw-dropping track combining skill, invention, and stamina in equally potent portions.
I am just as impressed by Burke’s achievement on the other seven, far shorter tracks (none is longer than 4:22). Each of them is an exquisitely conceived and chiseled performance, capturing the fiddler at the apex of his trademark silkiness but also injected with Sligo-style yeastiness.
Produced by Donal Lunny, "If the Cap Fits" has never sounded cleaner, crisper, or more stirring than this new Compass remastering from the original quarter-inch analog tapes in 1978. Thirty years later, it remains a monumental accomplishment and the solo summit of Kevin Burke’s recording career so far. It is a must addition to any reputable home library of Irish traditional music.
[Published on November 5, 2008, in the IRISH ECHO newspaper, New York City. Copyright (c) Earle Hitchner. All rights reserved. Reprinted by permission of author.]
For more information on Kevin Burke and "If The Cap Fits", please click here
Compass Records Group signs Missy Raines
November 06, 2008
Nashville, TN - (November 6, 2008) - The Compass Records Group is thrilled to announce the signing of Missy Raines
, "superstar bluegrass bassist" (The Free Lance-Star) and seven time recipient of the International Bluegrass Music Association’s award for Bass Player of the Year. Now fronting her hot new band The New Hip (featuring Michael Witcher, Ethan Ballinger and Dillon Hodges), a "startlingly gifted quintet" (Jon Weisberger, The Nashville Scene), Raines is poised to have her longtime dream realized: an album that fuses bluegrass virtuosity with jazz-tinged grooves and a song-driven sensibility.
A beloved figure in bluegrass and a pioneering force in acoustic music, Missy Raines’ adventurous musical spirit has always been her compass. Launching her career with experimental bluegrass outfit Cloud Valley, Raines toured the country with Eddie and Martha Adcock before lending her bass skills to the Masters (Adcock, Kenny Baker, Josh Graves and Jesse McReynolds). In 1995 Raines joined Claire Lynch’s popular Front Porch Band and there developed a successful performing and recording partnership with band mate Jim Hurst. A stint with the Brother Boys opened Raines’ eyes to the value of spontaneity and immediacy in her musical approach.
Missy Raines and The New Hip will release their first full-length album, Inside Out
, on Compass Records on February 10, 2009. Recorded in Nashville and produced by Raines, members of The New Hip, and Ben Surratt, Inside Out
features special guest appearances by Matt Flinner
(mandolin), John R. Burr
(piano) and Megan McCormick (guitar, vocals).
Compass Records’ co-founder Alison Brown and Missy Raines
Solas "For Love and Laughter" Review - The Aspen Times
November 03, 2008
Solas, “For Love and Laughter” produced by Seamus Egan and Solas (Compass)Solas
, a Celtic-music band comprising American and Irish musicians, has often looked backward, to Irish instrumental tunes, for material. But the band has often reflected its own times emotionally. Their 2002 album “The Edge of Silence” featured songs of unease — including the opener “Darkness, Darkness,” and “Black Annis,” about a child captured by a witch — conveying a distinct 9/11 tone.
“Another Day” and “Waiting for an Echo,” from 2003 and 2005, respectively, seemed to be a collective deep breath after the heaviness of “The Edge of Silence.” “For Love and Laughter,” released in August, might be the final piece of the relaxing exhale. Filled with perfectly honed fiddle tunes and waltzes, a cover of Rickie Lee Jones’ escapist fantasy “Sailor Song,” and the complex, but ultimately upbeat “Merry Go Round,” the album will have listeners dancing jigs. The album also marks the first with a new lead singer, Irish-born Mairéad Phelan. “For Love and Laughter” ends with fiddler Winifred Horan’s stirringly romantic “My Dream of You.” The overall feeling is one of optimism — tempered, sure, but definitely looking for the bright side.
Something tells me to enjoy this relative sunshine while it lasts. I have a feeling their next release will be a return to the edge. I look forward to it; whichever side they work, Solas — whose name comes from the Irish word for “light” — is worth paying attention to.
For more information on Solas and to hear samples from and purchase For Love and Laughter
, please click here