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The Kips Bay Ceilidh Band, an Irish Trad-fusion quartet, hailed from the Kips Bay district of New York City. The innovative group was a powerhouse of Irish-American and immigrant talent, and recorded three albums, Kips Bay Ceilidh Band (1993), Into the Light (1996), and Digging In 2000.

Band members included Pat Kilbride on guitar, cittern, and vocals, John Whelan on button accordion and keyboards, Steve Missal on percussion and vocals, and Richard Lindsey on bass guitar.

Various special guests on their two albums included John McGann on electric guitar, mandolin, and dobro, fiddler Tony De Marco, Joanie Madden on tin whistle and flute, and the band’s producer, John Simon, on keyboards and percussion.

The latest release from folk-siren Kate Rusby, ’The Girl Who Couldn’t Fly’ is her most personal and revealing album to date. Now (in her own self-mocking words) a “sprightly old lady of 31, The Girl Who Couldn’t Fly is Kate’s sixth solo album. Her dedication to the most pure version of English folk music has transformed the genre. Because of Kate, “English Folk Music” is no longer considered a dirty phrase among fans and critics. She makes folk music for people who never thought they would like folk music. The Girl Who Couldn’t Fly is a blend of traditional folk tunes and new originals. The same graceful, timeless feel of the songs Kate digs out of dusty old books can be found in her own compositions. A casual listener would be hard-pressed to distinguish one from the other.

When Kate enters the studio, the unwavering test she sets herself is simple enough: how to make a record of music she adores. Critics who shriek for something different might as well whistle in a gale-force wind. “Some people will like it, and some won’t,” says Kate. “I’d never in a million years expect everybody to like my music. But anyone who tells me I need to change direction or whatever can bog off. This is the music I make, and I make it like this because I want to.”

Anyone who has followed Kate’s progress from her first solo album, Mercury Prize-winning ’Hourglass’ in 1997, to the accomplished maturity of ’Underneath The Stars,’ will quickly fall in love with ’The Girl Who Couldn’t Fly.’ From the infectious opener, a sultry arrangement of the traditional “The Game Of All Fours”, to the bonus track, “Little Jack Frost”, written for a BBC cartoon, it oozes quality, enthusiasm, and equal parts fun and heartbreak. Roddy Woomble from Idlewild, Kate’s current rock listening, was roped in to share vocal honors on an anguished ballad of breaking love, titled “No Names.”

Perhaps the album’s most striking feature is Kate’s development as a songwriter. Of the 12 tracks, she composed 7 of them, along with writing new tunes for 2 of the traditional ballads included on the album. Don’t get the idea that this represents a major departure. Although it may have crept up on some, Kate is no beginner at composing music. “I have written music for as long as I can remember,” she says. “In the past, most went in the bin. But there have been several of my own songs on different albums. My first love is the older, story songs. You really can’t beat a good, long murder ballad! That means most of the songs I write are story-based. I suppose that’s why they sound like traditional songs. I think ’Old Man Time’ (on ’Hourglass’) was the first I had written out of that mold, and there have been three or four since.”

The input on ’The Girl Who Couldn’t Fly’ from John McCusker, Kate’s producer and fiddle player, was crucial to her creative process. As well as playing fiddle, all manner of other instruments, and producing the album, John collaborated with Kate to arrange all its tracks. Between the two of them, they drew on the talent and passion of a brilliant team of musicians ranging from Ian Carr, ace guitarist and dab hand at table tennis (the band’s new therapy of choice when touring), to brass bandsmen from the Coldstream Guards.

After putting in the CD, many fans will take out the booklet. Once they’ve stopped gawking at the stunning artwork by former Blur guitarist Graham Coxon, will wonder about the album title.

Well wonder no more. The truth is, Kate really can’t…fly, that is. Or at least, not comfortably. Of the title, Kate said, “It just came out of my mouth one day, and it sounded nice. I hate flying as much as ever. Since the last time I toured in America, I have flown only once – a short flight to Spain when we hired a big villa for a family holiday. “It was the first time my nephews had flown, so I thought I might get carried along on their enthusiasm and not even notice that I was on a plane. They played with me lots to take my mind off it, but I still hated it.”

Kate has tried hypnotherapy, read books about planes and their safety records, but none of it seems to help. The girl who couldn’t fly feels lucky that her music can travel the world without her.

The first album by enchanting young Irish vocalist Pauline Scanlon, 2004’s Red Colour Sun, introduced the world to a singer with a disarmingly pure tone, ravishing interpretive abilities, and a wide-ranging set of influences that had already coalesced into a mature, unique sound. Available August 15 on Compass Records, Hush is a powerful, impressive step forward. Throughout Hush, Scanlon further explores elements outside of her native Irish tradition, while simultaneously reaffirming her roots in that tradition and illuminating the vast influence Irish music has had on other genres. Scanlon’s musical partner, former Lúnasa guitarist Donogh Hennesy, ingeniously shapes the instrumental landscape, bridging formidable musical gaps with endless facility and grace. “This album,” Scanlon says, “is as much his as it is mine.”

Pauline Scanlon’s deep roots in traditional music inform every note she sings — in the masterful sense of drama with which she unfurls ballads and the aching tenderness she brings to songs of loss and regret. Born into a family of singers and musicians in Dingle, County Kerry, Ireland, Scanlon was discovered at an early age by broadcaster, writer, singer, and musicologist Tony Small. Mentoring the young singer, Small shared with her his own broad repertoire of traditional tunes, and organized her first concert when she was just thirteen. Not long afterward, Scanlon left Ireland, spending her teenage years traveling through Europe and Australia. On the road, she performed with local musicians at every stop, discovering new traditions and, equally important, new ways in which her own musical heritage could interact with other forms. She also couldn’t help but be influenced by the sound of modern popular music around her — the visceral yet ambient grooves of Massive Attack, the confessional intimacy of Tori Amos.

Returning to Ireland and settling in Galway, Scanlon was soon introduced to maverick accordionist, fiddler, and bandleader Sharon Shannon. Shannon was taken with Scanlon’s singing upon hearing her in a local pub session, and eventually invited Scanlon to join her band the Woodchoppers as a guest vocalist. Performing with Shannon in the UK, Ireland, France, Spain, Italy, Norway, Japan, Finland, and Australia proved to be the ultimate training-ground for Scanlon, who drew inspiration from Shannon’s renowned willingness to expand the boundaries of traditional Irish music.

In Galway, Scanlon also met then-Lúnasa guitarist Donogh Hennessey, who helped to bring her musical vision into focus, contributing greatly to Red Colour Sun as a musician and songwriter. Produced by drummer John Reynolds (Sinead O’Connor, the Indigo Girls, Hothouse Flowers), the album placed Scanlon’s voice in a variety of settings, ranging from purely traditional to more eclectic, contemporary surroundings. Original songs, co-written by Scanlon and Hennessey, were joined by intense traditional material and illuminating interpretations of songs by Americans such as Willie Nelson, Peggy Seeger, and Don McLean.

Recorded at Compass Sound Studio in Nashville and unlike the shifting track-by-track bands that marked Red Colour Sun, Hush was made by a remarkable core band consisting of musicians from America, Ireland, and England, whose backgrounds range from bluegrass to jazz to country music. The rhythm section of Hennessey’s guitar, the supple bass of Danny Thompson (Pentangle, Richard Thompson Band), and ace Nashville session drummer Kenny Malone (here playing a mix of standard trap set, percussion, and deconstructed drum kits) are capable of delivering rollicking uptempo backdrops and stark, slowly-unfolding ballads with equal precision. Fiddler Stuart Duncan, one of the most recorded musicians in the bluegrass and country universe, is a fascinating addition to the studio band. Not an Irish fiddler by trade, Duncan still has a deep understanding of the haunting modal qualities that define the genre. To that understanding he brings a bluegrass-born rhythmic drive and intensity.

The opening “Wearin’ the Britches” confidently introduces this volatile fusion of traditions and musicians, with Thompso’s jazz bass vamps and Dunca’s grassy double-stops elevating Scanlon’s soaring vocal and pushing her to levels of immediacy not heard on Red Colour Sun. Again differentiating it from the previous project, Hush’s repertoire is rooted in Scanlon and Hennessey’s arrangements of traditional songs. While most of the traditional material hails from Ireland, Hush also featuring a pair of ballads, “Rain and Snow” and “The Demon Lover,” that figure strongly in both the Appalachian and Irish canons. “The Demon Lover” is a particularly powerful performance, with Scanlon’s crystalline tones answered by the rugged vocals and banjo of special guest Darrell Scott.

While the supporting cast of Hush is indeed illustrious, their contributions never overshadow Scanlon’s gifts. Still not yet thirty, she holds her own with this heavyweight ensemble, and reveals a new level of depth and passion to her singing. She gives more of herself to each performance, bravely displaying a vulnerability and sensitivity that makes even the oldest traditional ballad immediately relevant. Hush is a rare album from a rare talent: rooted yet adventurous, timeless yet contemporary, inviting yet sweetly heartbreaking.

Frequent headline performances by Téada at major music festivals throughout the US, Canada, Europe, Israel and Australia has seen Irish Music Magazine’s “Best Traditional Newcomers 2003” evolve into one of the busiest Irish touring acts worldwide with an established reputation for knock-out live shows. Recent performances have ranged from a 30,000-audience headlining appearance alongside Carlos Nunez in Brittany, to closer to home Irish festivals such as Kilkenny Arts Festival.

The new CD/DVD from Teada, Inne Amarach (In-ay A-moor-ak), which is Irish for “Yesterday/Tomorrow”, brilliantly showcases their uncanny ability to blend the modern with the traditional. Although no words are spoken, stories are certainly being told through the eleven sets of reels, jigs, marches, polkas and slips. Outstanding and electrifying tracks include the hornpipes on “The Ebb Tide/Peter Wyper’s” and the slip jog/hop jig set starting off with “The Tenpenny Piece.” The accompanying DVD is an additional window into the band’s influences, live performance style, and their connection to Sligo.

Founded by Sligo fiddler Oisín Mac Diarmada, Téada first came together in 2001 to make an appearance on the innovative Irish television series ‘Flosc’. The young musicians shared a passion for a deeply traditional approach, and following an initial gig opening for the Sharon Shannon band at Dublin’s Celtic Flame festival in February 2001, Téada was off and running. Their self-titled debut CD in 2002 brought popular and critical raves, with THE IRISH TIMES applauding the band for “keeping the traditional flag flying at full mast.”

Most of the group’s members grew up in rural Ireland, assimilating the tradition through local classes and by listening to older musicians. With Téada, the group strives to capture some of the rawness and individuality of the solo artist within a modern group context. Oisín, on fiddle, was joined in the band initially by John Blake on guitar and later flute, Seán McElwain from Monaghan on banjo and bouzouki, and Dubliner Tristan Rosenstock on bodhrán. Following a growing popularity, particularly in the US, which had seen the band becoming a full-time worldwide touring act by early 2003, the band sound was augmented greatly by the joining of Co. Laois accordion-player Paul Finn. The end of 2004 saw founding member John Blake depart the band for other pursuits as Sligo flutist Damien Stenson became the most recent addition to the line-up.

Band Members

Oisin Mac Diarmada (fiddle)
At 28 years of age Oisín Mac Diarmada is an honours graduate in Music Education at Trinity College, Dublin/RIAM. Growing up initially in County Clare and then later in Sligo, he began playing fiddle at age six and won the All-Ireland senior championship in 1999. Oisín released an acclaimed solo album, “Ar an Bhfidil” (Green Linnet) in 2003 and was subsequently featured in renowned US magazine “Strings”. He is also respected as a fiddle tutor and for his journalistic, lecturing and production work. THE IRISH ECHO’S Earle Hitchner calls him “one of the most gifted and creative traditional fiddlers playing today.”

Paul Finn (button accordion)
Paul Finn from Co. Laois is one of the rising stars of button accordion playing in Ireland. Known for a pulsating and rhythmic performance style, his playing featured prominently in major international touring dance productions, as well as in the indigenous session scene in Ireland, prior to his joining Téada.

Damien Stenson (flute)
Hailing from the rich musical environment of Co. Sligo, 27-year-old Damien Stenson is noted for his extensive repertoire and flowing style of playing, honed by many years of extensive musical activity. He is featured on a number of recent albums including the compilation “Wooden Flute Obsession Vol. 2”, Oisín Mac Diarmada’s solo album “Ar an Bhfidil”, along with a recent bodhrán album by Junior Davey.

Seán McElwain (guitar/bouzouki)
Seán McElwain from Monaghan brings a strong string dimension to Téada through his energetic contributions on guitar and bouzouki. Touring performances have seen Seán gaining growing accolades for his accompaniment and melodic skills. Along with developing websites for a number of leading Irish musicians, he nevertheless has found time to guest as accompanist on a number of recent albums.

Tristan Rosenstock (bodhrán)
From Glenageary in Co. Dublin, Tristan picked up the bodhrán at the age of 10. His playing encompasses a distinctive musical sensitivity, evident on a number of recordings and tours with which he has been involved. Prominent in Dublin musical circles, Tristan also possesses a deep knowledge of the Irish language.

“This record,” explains accordionist Mick McAuley of Serenade, his new duo album with fiddler Winifred Horan, “took a while to get finished.” McAuley says this with a sly undercurrent of irony in his voice, for in this case “a while” refers to the better part of ten years. Though he and Horan are best known as part of the internationally acclaimed Irish-American band Solas, their musical kinship stretches back even farther, to the bustling Irish music renaissance that blossomed in the early ’90s in New York City, where they first met a decade ago. Since then, Solas’ busy tour schedule has left little time for other projects. McAuley and Horan recorded Serenade in a series of sessions in Ireland, sometimes held many months apart. The pair maximized their time in the studio by carefully discussing the sound, songs, and styles that make up the album ahead of time. The result is a beguiling collection, infinitely musical and laced with small surprises that reveal both familiar and fresh facets of McAuley and Horan’s talent.

“Even before we stepped into the studio, we put quite a bit of time into researching the tunes and songs that went onto the album,” Horan explains. The songs composing Serenade cast a wide net, encompassing Irish folk music, wistful Gallic waltzes, gypsy swing, contemporary and traditional American music, and the French-Canadian fiddle/accordion duet tradition. McAuley and Horan’s unassailable musicianship, combined with their careful production and song selection, not only give the album coherence – they illuminate how the myriad styles interact and influence one another, giving the listener insight into Horan and McAuley’s individual styles and what they contribute to Solas.

“We decided that this album did not have to be entirely original material,” McAuley says of the track listing, which contains only four Horan or McAuley compositions among the twelve that make up Serenade. “While that’s important to some musicians, we felt that this mix makes the album sound fresh. These songs were fresh to us – we had just learned them. Then we used the original songs to glue the album together and make it feel whole.” Horan agrees, adding, “The traditional songs here are not your standard session tunes.”

Adding to the refreshing quality of Serenade is the instrumentation, which mostly features McAuley’s accordion and Horan’s fiddle backed with bass and rhythm guitar. The chance to feature their instruments so prominently raised a different set of challenges for Horan and McAuley than they face as members of Solas. “We were more free to try things,” Horan explains. “There’s only two of us – as opposed to five in Solas – so there was less approval needed. Also, when you play in a band like Solas, you spend a lot of time working on arrangement ideas – when to come in, when to back off, when to support and when to solo. For this, we really concentrated on the duet sound and blending.” The dizzying unison lines on sets like “The Ballygar Jigs” and “Jug of Punch Set” find the two instruments sounding as one, with every inflection and nuance in perfect synch.

Another welcomed sound on Serenade is McAuley’s affecting, evocative singing. He invests the traditional favorite “Adieu Sweet Lovely Nancy” with beguiling candor, letting the song live comfortably in the modern era. Conversely, he finds the folk soul deep within Neil Young’s classic “After the Gold Rush,” making the bittersweet lyric echo as profoundly as any centuries-old ballad, with Horan’s haunting fiddle and background vocals adding touching counterpoint.

McAuley’s multi-instrumentalism is also featured, as he contributes whistles, bodhran, keyboards, and guitars in addition to his well-attested accordion skills. Growing up as the second-youngest child in a large and musical Irish family, McAuley was immersed in traditional music from a very early age. Horan too grew up in a musical household, raised in New York by her Irish-raised American-born father (a jazz trumpeter and pianist) and her Irish mother. The pair met in early ’90s in New York City, when the town was at the brink of a new boom in Irish traditional music. McAuley was honing his skills in sessions, while Horan was playing with the all-female Irish Band Cherish the Ladies and in the Sharon Shannon Band, before starting Solas in 1995. McAuley joined Solas in 1998. With their driving ensemble sound, instrumental precision, and inspired arrangements, Solas quickly leapt to the forefront of the Irish traditional music, and remain one of the pillars of the genre.

Serenade works similar magic, drawing its distinctive vibe from the empathy between Horan and McAuley and the sound of their respective instruments. “This album is well-connected musically to Solas,” says Horan, “and the band has already heard it and loves it.” Owing to its smaller scale and concentration on melody instruments, Serenade is an album of beguiling intimacy – elegant in its more pastoral moments, but equally rambunctious on the up-tempo selections. “I like to think that we take advantage of the technical limitations of the combination of the accordion and fiddle,” Horan reflects. “We let that be the sound, and work from there.”

Flute player, tin whistler and singer Cathal McConnell of The Boys of the Lough is one of the best-loved performers in the world of Celtic music. A true character in every sense of the word, McConnell’s free spirit and mercurial stage presence have helped make The Boys of the Lough one of the most popular and longest-running acts on the folk circuit.

As a musician, McConnell defies easy categorization. He is equal parts modern virtuoso and old-time roots musician. On the one hand, McConnell is capable of stopping a show with dazzling displays of technical virtuosity. On the other hand, he can render an old ballad or tune with a poignancy reminiscent of the great fireside musicians of the past. Sometimes serious and sometimes zany, McConnell is always full of surprises. Whether deconstructing an old tune or composing a new one, he has a flair for the unusual. Yet his experimental side is balanced by a deep love for and commitment to the tradition.

Born in Bellinaleck, County Fermanagh, N. Ireland in 1944, McConnell traces flute playing back through four generations in his family. Encouraged by his father, he was playing tin whistle at age eleven and at age fifteen took up the flute. McConnell’s early mentors were the great roots musicians of his home county – men such as Peter Flanagan, John Joe Maguire, Big John McManus, Tommy Maguire, Tommy Gunn, Eddie Duffy and Mick Hoy. He was exposed to other playing styles by listening to 78s and by traveling the length and breadth of Ireland, collecting rare tunes from old musicians in out-of-the way places.

Through the years, McConnell has developed his own style of flute playing – at once earthy and robust, yet with a hint of plaintiveness. This plaintiveness owes much to his ethereal singing style. Indeed the line between vocalist and instrumentalist often blurs with McConnell. The two modes of music making co-exist in a rich, synergistic cross-fertilization.

In 1962, McConnell won the All-Ireland championship on both the flute and tin whistle. Five years later he founded The Boys of the Lough with Robin Morton and Tommy Gunn and never looked back. He has been a professional musician ever since.

Despite over thirty years on the road as a performer, McConnell has never become jaded about playing or singing. Music is his passion and he approaches it with undiminished enthusiasm. It is not uncommon for him to reach for an instrument before breakfast and continue to play well into the evening. On greeting a friend or acquaintance, he will often produce a tin whistle from his pocket and entertain the companion with his latest composition or discovery. Not content to rest on his laurels, he is constantly learning, revising, experimenting and growing. Yet he always returns, as he does on this new album, to the music of his native Fermanagh and the neighboring counties of the province of Ulster.

On Long Expectant Comes at Last, fourteen out of nineteen tracks have a Fermanagh or Ulster connection. Some of these are fresh treatments of well known classics. Others are rare gems, never recorded before. As always, McConnell’s inimitable vocals, flute and whistle playing shine throughout.

Together with special guests Richard Thompson, John Doyle and Winifred HoranColm Murphy of De Dannan, Joanie Madden of Cherish the Ladies, Dave Mattacks, Big John and Valerie McManus, Linda Thompson, Andy Statman (both of Solas), and Susan McKeown among many others, McConnell delivers a seamless set of songs, jigs, reels and airs that deftly interweave elements of traditional and modern Celtic music. With technical brilliance and integrity, he brings forth a collection of music that embraces the traditions of his home and sets a new standard for the traditional Celtic recording.

“Alyth McCormack loves singing, and lets you know that with out telling you. You can hear it in her voice. She is from Lewis, sings (but not all exclusively) in Gaelic, and often performs with harp and fiddle – but she’s not a folkie. Her musical education and influences are too widespread to sit in that, or any other ghetto. Minimalists like Reich, the sweeping eclecticism of Adams, sophisticated rock, modal jazz and role models like June Tabor or Marta Sebestyen have taken her down a path where she can sing unaccompanied in a Hebridean hall one day and with a metropolitan fusion samba band the next. She is at home on stage and brings to her music – whether with the close harmony vocalists in Shine or full jazz/rock rhythm section in Sunhoney – a still centre”
– Norman Chalmers, The List, August 2003

A voice described as having “spun glass fragility belying a sinewy strength” and as “transcendentally timeless and effortlessly contemporary”, it is McCormack’s non-complicated conviction with which she communicates with her audiences that ensures she is one of the most exciting singers on the Celtic scene. Her vocal talent and her understanding approach give her an ability to cross over diverse singing styles making her comfortable performing with a variety of artists.

She was born and raised and immersed in the culture of the Island of Lewis of the northwest coast of Scotland. McCormack began performing locally at a young age and then took her talent out on the road. She’s toured extensively in various bands and projects throughout Germany, Spain, Italy, Estonia, North America, the UK, Brazil, Ireland, Switzerland, Greece, Austria, Budapest, Norway and Sweden. During this time she recorded with various artists, appearing on 16 albums to date, and in 2000 released her first solo CD An Iomall (The Edge) on Vertical records.

She has appeared at various festivals: Celtic Colours, Celtic Connections, The Edinburgh International Festival, The Lammertree Festival, The Hebridean Celtic Festival and in 2001 performed with her trio as part of “Distilled-Scotland Live in New York.” McCormack is currently collecting material for a new solo album which she is hoping to have recorded later this year, and is presently touring mainly with her own band. For further info on McCormakc and what she’s up to you can visit her website at www.alyth.com

“..a dozen tracks over 42 minutes are enough to convince me that Alyth McCormack is someone worth going out of my way to listen to…”
– The Irish edition, Philadelphia

“Some of Alyth’s songs are in Gaelic the language of her native Lewis but her thoughtful arrangements and her subtle, intimate delivery speaks volumes in itself” – Sue Wilson, Songlines

“Traditional Gaelic songs with modern arrangements; some are spare some feature tasteful arrangements that recall a post-era Bjork. No matter what the format her voice is spine tingling.” – New York, Time Out

“Recent performances by this young Lewis singer, showcasing material from her debut solo album An Iomall have forcefully endorsed her fast-growing reputation as one or today’s most exciting talents in the world of Gaelic song.” – The Scotsman

Wired, the new album from flautist, piper, and composer Michael McGoldrick, is more than just the long-awaited follow-up to his groundbreaking 2000 album Fused. It is the culmination of musical pursuits first hinted at by his formative days in Manchester – pursuits that have defined him as one of the most vital and inventive musicians in today’s British Isles folk renaissance.

On any of his chosen wind instruments (he commands a small army of flutes, pipes, and whistles), McGoldrick combines peerless technique with a musically rich sense of dynamics and texture. These sensibilities – equally apparent in his performances, compositions, and arrangements – add depth and power to whatever project he contributes to. Further, they insure that the traditions that are the bedrock of his art remain simultaneously timeless and strikingly immediate. Wired, released in January 2006 by Compass Records, is the ultimate example of his open-ended approach, with McGoldrick’s fluid, soulful performances and compositions seamlessly melded with a startling variety of rhythmic backdrops. From spacious jazz trappings to surging Indian percussion, electronic loops to bluegrass banjo, Wired brilliantly harnesses the rhythmic momentum of Celtic folk music while bravely pushing into new sonic realms.

A co-founder of best-selling Irish instrumental outfit Lunasa and current member of Celtic favorites Capercaillie, Michael McGoldrick has played a great part in expanding the audience for British Isles instrumental music. The relationship between Irish traditional music and more contemporary forms is something he has explored since the earliest days of his musical career. Born to Irish parents in the British city of Manchester, he was swept up in the city’s active Irish music scene as a youth. At the age of 15 he traded his bodhran for flutes and whistles, and proceeded to win several prestigious All-Ireland Championships. While still in school he founded the popular and influential Celtic-Rock band Toss the Feathers, with whom he first came to international prominence. His 1995 duet album with Toss the Feathers’ fiddler Dezi Donnelly, Champions of the North, won BBC Radio Two’s Young Tradition Award, making him the first wind player to receive the honor.

The ambitious fusion that characterized Toss the Features combined with McGoldrick’s proven abilities in traditional forms soon made him much in demand as a session player in a variety of musical contexts. He was featured alongside Youssou N’Dour and John Cale on Alan Stivell’s 1998 album 1 Douar, and also contributed flutes and whistles to the first two albums by British folk sensation Kate Rusby. In 1999 he appeared on the Afro-Celt Sound System’s album Volume Two – Release, in addition to Karan Casey’s Seal Maiden.

In 1998, McGoldrick was asked to join the popular Scottish folk band Capercaillie, an invitation he accepted. Working on several albums with Capercaillie developed his rapport with producer, arranger, and keyboardist Donald Shaw. Shaw, who in addition to Capercaillie’s albums has produced projects by Karan Casey and Karen Matheson, and McGoldrick collaborated extensively on McGoldrick’s 2000 solo debut album Fused. It became an instant favorite thanks to its daring combination of Irish traditional forms with trance and electronica beats and textures. Following the release of Fused, McGoldrick continued to pursue more eclectic concepts with Capercaillie and in his session work, while maintaining his reputation as a fine traditional player with the albums First Light (a 2002 collaboration with fellow flautist John McSherry) and Tunes, a 2005 release featuring McGoldrick alongside Irish accordion ace Sharon Shannon, fiddler Frankie Gavin, and guitarist Jim Murray.

The result of three years of focused composition, recording, arranging, and sonic experimentation, Wired takes the many threads that define McGoldrick’s music and splices and re-connects them in intriguing new ways. The ingenious electronic element captured on Fused is still palpable, but now expertly intertwined with an even wider range of organic sounds from around the globe. A British Council trip in 2004 allowed McGoldrick to collaborate with musicians from Bangla Desh, inspiring him to include slithering tabla as one of Wired’s most distinctive rhythmic components. Opener “Wired to the Moon” features a loping 5/4 groove, haunting electric guitar, throbbing tabla, smoky brass, and a supple funk backbeat all supporting McGoldrick’s immediately recognizable flute and (as the track unfolds) pipes. It serves as an overture to the album as a whole, hinting at the themes and textures that will be explored in further detail throughout.

Joining McGoldrick on his explorations are old Toss the Feathers mate Dezi Donnelly on fiddle, producer Donald Shaw handling keyboards and programming, veteran bassist Ewen Vernal, tabla master Parvinder Bharat, trumpeter Neil Yates, and Shooglenifty’s James Mackintosh on drums, among others. World-renowned fiddler and producer John McCusker (Kate Rusby, Cathie Ryan) and Grammy™-winning newgrass banjo player Alison Brown also enliven the proceedings on select tracks.

Wired has met with instant critical acclaim in the UK. In a five-star review in the Sunday Herald, writer Sue Wilson proclaimed, “If there’s any justice, Wired should be up for next year’s Mercury Prize.” While the mix of styles and vibrations encompassed by Wired is indeed refreshing and astonishing, it is not surprising that music so exciting and inventive has emerged from the visionary imagination of Michael McGoldrick.

“Sharon Shannon defines casual brilliance. She plays accordion with carefree fluidity, virtuosic but not flashy. She performs traditional Irish music with a contemporary freshness and an ear to compatible ethnic influences…subtle and sublime music.” – The Boston Globe

“Sharon Shannon has the energy and stage presence of rockers and the unpretentious traditional roots of a pub musician…as exciting a live band as you’ll find coming out of post-Celtic-revival Ireland.” – Dirty Linen

“The fact that she’s risen to the cusp of pop stardom without betraying a single note of her traditional roots makes her success even more amazing.” – j poet

The career of accordionist/fiddler Sharon Shannon, which began with the internationally acclaimed Irish folk/rock group the Waterboys in 1988, has blazed a fearlessly eclectic path beginning in traditional music but emerging somewhere entirely new. While never losing sight of her roots in Irish folk music, she has undertaken a musical journey which includes collaborations with Bono and Adam Clayton, classical violinist Nigel Kennedy, reggae legend Denis Bovell, the Kodo drummers of Japan as well as Steve Earle, Jackson Browne, Emmy-Lou Harris and Alison Krauss. Her cross-global collaborations have lead to successful concerts the world over, including performances in the UK, Europe, Japan, Australia, the United States, Canada, and Africa.

Having spent most of 2002 recording and touring with Sinead O’Connor, Shannon’s new album Libertango finds her rediscovering the role of the female voice in her music, while continuing to feature her remarkable touring band. Sinead O’Connor contributes two songs, one an ancient Irish religious chant, the other a beautiful version of Scottish folk song “Anachie Gordon.” The late Kirsty MacColl contributes a cover of Astor Piazolla’s “Libertango,” while the traditional “All the Ways You Wander” gets a stunning performance from current Sharon Shannon Band vocalist Pauline Scanlon. Libertango also features traditional Irish singer Roisin Elsafty, who comes from a Connemara/Egyptian family and sings an original song written by her mother Treasa and Donal Lunny in Gaelic and Arabic, “An Phailistin”(“Palestine”).

The diverse instrumental material on Libertango includes original material by Sharon, Irish and Scottish reels and jigs, the Latin flavoured “Whitestrand Sling,” and even a haunting cover of Fleetwood Mac’s instrumental hit “Albatross.” Shannon’s trademark accordion work continues to dazzle with its nimble precision, and is complimented by a wealth of musicians including longtime collaborator and legendary producer Donal Lunny, drummer and producer John Reynolds (Sinead O’Connor, The Indigo Girls), old Waterboys soul mates Steve Wickham (fiddle) and Trevor Hutchinson (double bass, now with Irish instrumental powerhouse Lunasa), and jazz saxophonist Richie Buckley (best known for his work with Van Morrison).

Taken as a whole, Libertango is a perfect encapsulation of Shannon’s gifts, simultaneously extolling her virtues in instrumental, vocal, traditional, and contemporary contexts. When considering the amazing range of her work, it should come as no surprise that Shannon hails from Clare, on the West coast of Ireland, an area historically steeped in music. She began playing music as a young child, and while still in her teens was asked by director Jim Sheridan (My Left Foot, The Field) to provide the music for his stage production of Behan’s The Hostage. She began her career as a recording artist in l989, when the Waterboys’ producer John Dunford gathered together a wide variety of musicians to accompany Waterboys frontman Mike Scott on the 1990 Room to Roam album. Sharon was asked to join the band by Mike Scott shortly after.

By l99l, Sharon had completed her self-titled debut album, which included performances from Stephen Cooney, Trevor Hutchinson, U2’s Adam Clayton, Mike Scott, and Hot House Flowers’ Liam O’Maonlai. The album, a stunning cocktail of Portuguese, Cajun, Swedish, Scottish and French-Canadian influences, rapidly secured a place in the history books by becoming the most successful Irish traditional music album ever released. Hailed as the “traditional album of the nineties” it was described by New Musical Express as a crossover record which “was creative, deft, and lovely.”

While the inclusion of two of Sharon’s tracks on the groundbreaking all-female Celtic compilation A Woman’s Heart (which sold a staggering 500,000 copies) helped to further increase her profile, it was The Late Late Show (Irish National Television) tribute to Sharon which included all the guests from her debut album that made Sharon Shannon a household name. Viewed by over one million people this show firmly established Sharon as one of Ireland’s leading musicians.

The release of her second album Out the Gap further stretched musical boundaries, reflecting the many influences she had absorbed while maintaining her own unique style. She expanded her musical versatility further by teaming up with veteran dub reggae artiste and producer Denis Bovell. Recorded almost exclusively in Brixton, London, Out the Gap featured a Jamaican rhythm section alongside a collection of Irish and English musician. The lead track, “The Mighty Sparrow” (in honor of the diminutive Caribbean singer) was a favorite with Irish radio.

In l996 Sharon was among a host of international musicians, which included Bono and Adam Clayton, Elvis Costello, Neill and Tim Finn, Mark Knopfler, Kate Bush, Liam O’Maonlai, Brian Kennedy, Christy Moore and Sinead O’Connor, to appear on the EMI album Common Ground. During that summer, she returned to the studio to record her third album, Every Little Thing, which featured a collaboration with the great vocalist/songwriter Kirsty MacColl. Released in February l997, a dance remix of a track called “The Bag of Cats” released as a single stayed in the Irish top 20 pop charts for six weeks.

Her fourth album, Spellbound, was released in September 1998. This useful and impressive compilation featured new material, live tracks and tracks taken from her previous albums. During the same year, Sharon was asked by classical violinist Nigel Kennedy to join a combo of musicians to perform his Jimi Hendrix Suite in some of the major European cities. On her own over the past few years, Sharon has toured extensively in the U.S. and Europe, also visiting Australia, New Zealand and Hong Kong and Japan. Her increasing popularity in the U.K. has brought her music to an ever-growing audience. She has played for Irish President Mary Robinson, for Lech Walesa in Warsaw and for President Clinton in the White House. Sharon also accompanied President Mary McAleese on her Australian State visit.

In July 1999 she played with Donal Lunny’s brilliant Coolfin ensemble around Ireland as part of their warm up tour for a show with the Kodo Drummers from Japan, which took place in the RDS, Dublin. She has also guested on the band’s album Coolfin. Released in autumn of 2000, Sharon’s remarkable album, The Diamond Mountain Sessions continued her pursuit to fuse Irish music with a wide range of international influences. Her own accordion and fiddle playing was as full of virtuosity as ever, but this time she was accompanied by stirring vocal performances from the likes of Steve Earle, Jackson Browne, John Prine and Dessie O’Halloran.

The album went triple platinum in Ireland, and was critically acclaimed internationally. Sharon and her band the Woodchoppers toured for a year worldwide, and it was a recording of the band’s performance in Galway that gave Sharon her next album. Released in December 2001 on her own Daisy label, Live in Galway captured Sharon and the Woodchoppers in typically fiery form.

After joining Sinead O’Connor on tour for most of 2002 (to promote O’Connor’s traditional album Sean-Nos Nua, on which Sharon contributes accordion), Sharon formed a scaled-down version of the Woodchoppers comprised of guitarist Jim Murray, Mary Shannon on banjo and mandolin, and vocalist Pauline Scanlon. Together they form the core of Libertango, due out in the US on September 14 on Compass Records. While musician credits vary from track-to-track, the album is a consistent and invigorating distillation of Sharon Shannon’s amazing career.

Conjuring a unique but universal language from that most ubiquitous of instruments, the acoustic guitar, Tony McManus has both extended and transcended the parameters of contemporary Celtic music. Ranked by peers and predecessors alike alongside the guitar world’s all-time greats, his fiendishly dexterous, dazzlingly original playing draws on traditions from the entire Celtic diaspora – Scotland, Ireland, Brittany, Galicia, Asturias, Cape Breton, Quebec – along with still further-ranging flavours, such as jazz and east European music. Long applauded for his uncanny ability to transpose the delicate, complex ornamentation characteristic of traditional bagpipe or fiddle tunes – even the phrasing of a Gaelic song – onto his own six strings, McManus is increasingly being acknowledged also as a pioneering figure in bridging the realms of Celtic music and other guitar genres.

Born in 1965 in Paisley, near Glasgow, his surname the legacy of an Irish grandfather, McManus was introduced to traditional music via the family record collection. Having first tried his hand at the fiddle, whistle and mandolin, he took up the guitar aged ten, although subsequent academic inclinations got him halfway through a PhD in maths before the music won out. After rapidly making his name as an unusually fluent and sensitive accompanist, he took the solo plunge with a triumphant main-stage debut on the final night of Glasgow’s inaugural Celtic Connections festival in 1994, supporting Capercaillie in front of a 2500-strong crowd.

Since then, McManus’s ascent into Celtic music’s international premier league has been simply unstoppable. His first, self-titled album was released in 1996, a formidably accomplished calling-card that earned widespread critical acclaim. Its mainly Scottish and Irish material was rounded off with a taste of eclecticism to come, an arrangement of Louis Armstrong’s Wonderful World that remains one of his most often-requested numbers. Jazz-tinged and improvised stylings were boldly in evidence on 1998’s Pourquoi Quebec?, recorded in Quebec with leading Breton and French-Canadian musicians Alain Genty (fretless bass) and Denis Frechette (piano).

Abetted by an increasingly crowded and globe-trotting live schedule, the album underlined McManus’s growing reputation as a truly prodigious talent, equipped by his deep-rooted grounding in traditional music to articulate its idioms and nuances with rare empathy, while seamlessly incorporating influences from further afield. His skills are also in constant demand by fellow musicians. To date, he has featured on over 50 albums by other artists, including Kate Rusby, Alison Brown, William Jackson, Brian McNeill, Liz Doherty, Colin Reid and Catriona Macdonald, in addition to innumerable live guest appearances. Other current collaborations include his celebrated partnership with master Scottish fiddler Alasdair Fraser – as captured on their breathtaking 1999 album, Return To Kintail – and duo or trio work with the aforementioned Alain Genty, and Breton guitarist Soig Siberil.

Admiration for McManus’s intricately concocted, precisely honed style, however, extends far outwith the Celtic domain. He remains the only non-classical player to be invited three years running to the Dundee International Guitar Festival, from 1997-99, while the Royal Scottish Academy of Music and Drama has enlisted his skills to host seminars for their classical guitar students. Jazz virtuoso Martin Taylor booked him for the inaugural Kirkmichael International Guitar Festival in 1999, while more recently he has performed at the Bogota Guitar Festival in Colombia (directed by Cuban composer Leo Brouwer and Urugyan guitarist Eduardo Fernández) and the Chet Atkins Convention in Nashville. He has also released two highly-praised instructional videos on Stefan Grossman’s world-renowned Guitar Workshop series, with hands-on teaching, also assuming an increasingly important place in his schedule. 2002 will find Tony teaching at both the Fingerstyle and Flatpicking weeks of Steve Kaufman’s Acoustic Camps in Knoxville, Tennessee.

This breadth of mastery and vision is now revealed in yet more abundance with the February 2002 release of his stunning third album, Ceol More. Featuring artfully sparse, subtle accompaniment from Capercaillie’s Ewen Vernal (bass) and Salsa Celtica’s Guy Nicolson (tablas), its eleven tracks continue to extend his musical explorations both within and beyond the Scottish tradition. The title is a pun on the Gaelic phrase ceol mhor, or “big music”, referring to the noble piobaireachd tradition of the Highland bagpipes, a form rendered here with hauntingly stark grandeur in Lament for the Viscount of Dundee. Other tracks range from Burns’s Banks and Braes to Charlie Mingus’s Goodbye Pork Pie Hat, with Breton and French-Canadian material again featuring prominently alongside Scottish and Irish tunes. Having opened with a tenderly lyrical sean nos song air, Sliabh Gheal gCua na Feile, the album closes in exquisitely contrasting – though equally spine-tingling – fashion with a 17th-century Jewish hymn-tune from eastern Europe, Shalom Aleichem, a greeting to the angels traditionally sung before the Sabbath. Eagerly anticipated by guitar fans worldwide, Ceol More resoundingly confirms McManus’s standing as one of today’s most gifted and groundbreaking instrumental artists.

“These guys get it, and Tripswitch is an instant contender for Instrumental Album of the Year—McSherry in the hunt again! Brill.”
– LIVEIRELAND.COM

The pairing of John McSherry on Uillean Pipes and Dónal O’Connor on fiddle brings together two of Ireland’s most celebrated musicians on the scene today.

John McSherry – Hailed as one of the finest exponents of the art of the Uilleann piping in the world today, he’s called “a true master” by Irish Music Magazine and has taken piping to new heights with his unique style. His sense for improvisation has even been compared to that of the great jazz legend John Coltrane. John was a founding member of Irish super-group, Lúnasa and released the duo CD, At First Light (Compass 4430) with musical comrade Michael McGoldrick. At First Light received the award for 2001 Best Traditional Album of the Year from Irish American News.

Dónal O’Connor – Son of the celebrated fiddler Gerry O’Connor (Skylark, Kinvara) and renowned singer Eithne Ní Uallacháin (Lá Lugh), Dónal O’Connor has inherited a great musical legacy of at least five generations of fiddle playing and countless generations of traditional singing. Highly regarded as a fiddle player, the Irish Times calls him “immaculate” “electrifying” and “…born out of naked talent and consummate professionalism.” Recent collaborations have included tours with Michael McGoldrick (Capercaillie, Flook, Lúnasa), live festival performance with Karan Casey (Solas), T.V. Performances with the legendary Sligo Flute player Séamus Tansey and recording work with Brian Kennedy and Máire Brennan of Clannad.

“If there’s a better Irish album released in 2006 I’ll willingly dance naked in Trafalgar Square with a ferret on my head. But only if Tripswitch is playing in the background.” – Geoff Wallis, Songlines

From his early days with his family band Tamalin to his role as a co-founder of Lúnasa, to his recent solo work, Uilleann piper John McSherry has helped to reinvent Irish music, bringing to it urgency and precision matched with an ambitious, sophisticated rhythmic sensibility. That immediacy and sophistication is heard throughout Tripswitch, McSherry¹s new collaboration with young fiddler Dónal O’Connor. Tripswitch mates the pair’s virtuosity and mastery of traditional forms with a fluid, jazz-inflected sense of rhythm casting this ancient art into an exciting new context. McSherry and O’Connor are joined on Tripswitch by Austerian Musician of the Year – Rubén Baba (guitars, bouzouki), as well as McSherry’s brother Paul (guitars), guitarists Tony Byrne and Giles LeBigot, and Shaun Wallace (percussion).

As the son of internationally renowned fiddler Gerry O’Connor and acclaimed vocalist Eithne Ní Uallacháin, Dónal O’Connor comes from a line of traditional musicians spanning back through countless generations. He first encountered John McSherry when asked ­ at the age of 21 ­ to participate in the prestigious Music Network Tour of Ireland, where he was joined by McSherry, the brilliant Scottish guitarist Tony McManus, and vocalist Gabriel McArdle. As both a solo artist and supporting musician he has toured throughout Europe and the United States, including performances in his parents’ group Lá Lugh. Recently, he produced his father’s 2004 solo album Journeyman, and has performed or recorded with Karen Casey, Séamus Tansey, and Brian Kennedy and Máire Brennan of Clannad. O’Connor has also served as a presenter for BBC Radio, and his credits there include BBC Northern Ireland’s ten-part music series An Stuif Ceart.

Deemed a true master piper by Irish Music Magazine, John McSherry hails from Belfast, and is apart of a well-known musical family there. He took to the Uilleann pipes early on, and earned two All Ireland Championship titles by age fifteen. At eighteen he was the youngest musician ever to win the coveted Oireachtas piping competition. He formed the group Tamalin with his siblings, which quickly won acclaim for their forward-thinking fusion of Irish music with elements of rock, Cape Breton music, and sounds from beyond the western world. McSherry is also a first-call session musician, recording with artists ranging from Nancy Griffiths to Clannad to Dónal Lunny’s genre-dissolving Coolfin project. In concert, his versatility and adventurousness has lead him to perform with Sinead O’Connor, Ornette Coleman, and many others. His duo album with fellow Lúnasa co-founder Michael McGoldrick, At First Light (also available on Compass Records), was named Best Traditional Album of the Year by Irish American News.

Despite their formidable individual accomplishments, it is the clarity, focus, and unity of their sound that makes Tripswitch such a thrilling collaboration. Whether soaring in close-knit unison passages or darting around one another in hair-raising counterpoint and harmony, O’Connor and McSherry demonstrate remarkably telepathic empathy. The progressive, escalating rhythmic settings O¹Connor and McSherry devise with their supporting musicians serve to push their playing further into the stratosphere. Opening set “Rose in the Gap” begins with a churning rhythmic backdrop for the titular march, then shifts via a thrilling unaccompanied passage into a pair of reels impeccably delivered at high velocity, complete with a spot-on rhythmic modulation. A set of Castilian dance pieces set in 5/8 time (Spanish 5’s) are hauntingly modal, yet rhythmically spry and demonstrate the rarely-acknowledge impact the Moors had on European music.

While the uptempo selections are riveting, the quieter moments ­ such as the slow-jig set “Commonalty Set” and the slow reel title track ­ speak more directly of the passion that exists at the core of Tripswitch. “Tight as a drum and as louche as a bordello queen,” wrote Siobhán Long in the Irish Times, “Tripswitch is a collection for the wide open road, fuelling the miles long after the tank runs dry.”