- Tico Tico
- A Mozart Celebration
- The Wild Goose
- The Shaskeen Reel
- Lord Mayo
- The Barndance Set
- Both Sides Of The Tweed
- The Arrival Of The Queen Of Sheba (in Galway)
- Ar Eirinn Ni Neosfainn Ce hi
- Eleanor Rigby
- Badinerie / The Rambles of Bach
- Down By The Glenside
- Sporting Galway
- From Jig to Jigs
- The Broom O’ The Cowdenknowes
- Goldsmith’s Lament
- Hardtimes Come Again No More
- The Roseland Barndance
Carl Hession Piano, harpsichord.
Michelle Lally Voice.
Derek Hickey Accordion.
Tim Edey Guitar.
Frankie Gavin Flute, fiddle.
Eugene Killeen Fender Rhodes, synthesizers, drums,
Patricia Kelly Strings.
Rick Epping Harmonica.
Daniel Healy Trumpet.
Ciara Murphy Flute.
Producers Carl Hession
/ Eugene Killeen.
Associate producer Frankie Gavin.
Arrangements Carl Hession (except where otherwise indicated).
Recorded, mixed and mastered at The Sound Room,
June 2005 September 2006 by Eugene Killeen.
Thanks to Edel McLaughlin at the traditional music archives for her valuable
research and help with the sleeve-notes.
Artwork inspiration is from La Rousse Encyclopaedia of music.
Album cover design Killeen / Hession.
Photography David Doyle.
Technical support Ronan McDonagh / Tommy Moran.
1. Tico Tico. arr. Killeen
Derek Hickey accordion. Frankie Gavin fiddle. Eugene Killeen percussion, drums and keyboards. Tim Edey guitars.
Written in 1917 by Zequinha de Abreu, and originally entitled Tico Tico no Farelo, this Brazilian tune has been recorded by countless artists, among them Fintan Stanley and Dermot Byrne. This recording features fleet-fingered virtuoso Derek Hickey who makes light work of the tunes technical challenges. Appropriately, for a Latin-American tune, we have included driving rhythm guitars, drums, and a feast of percussion instruments.
2. A Mozart Celebration. composed by Gavin / Hession. arr. Hession
Frankie Gavin Fiddle. Carl Hession Piano. Patricia Kelly strings.
This work was commissioned by Lyric F.M. to celebrate the 250th anniversary of Mozarts birth. The rondo from Eine kleine Nachtmusik is the basis of the composition, though we have references to other Mozart masterpieces throughout the work.
3. The Wild Goose. arr. Hession / Killeen.
Michelle Lally vocal. Tim Edey guitar. Eugene Killeen Rhodes, synthesizers, drums. Derek Hickey accordion. Patricia Kelly strings. Jackie Murphy harmonies.
This song was recorded by Kate Rusby on her 1999 album Sleepless. It is classed as traditional, and associated with Scottish folk music. Although the arrangement is quiet close to the original recording,Michelle gives the tune her own distinctive interpretation.
4. The Shaskeen Reel. arr. Hession.
Patricia Kelly strings. Carl Hession harpsichord. Frankie Gavin fiddle.
One of the most famous tunes in traditional dance music, the Shaskeen Reel was collected by O Neill in his Dance Music Of Ireland, and was recorded by legendary Sligo fiddle-player Michael Coleman in 1921. Here the tune is given a Baroque setting, beginning with a fugue and moving on to develop both parts of the tune. Carls creative string writing is, once again, much in evidence.
5. Lord Mayo. arr. Hession.
Carl Hession piano. Patricia Kelly strings.
Lord Mayo was one of Turlough OCarolans patrons, and the blind harpist often played for him and his friends at Castle Bourke,Mayos residence. The air has been recorded by Sean ORiada on his album ORiada, as well as by Donna Long on Cherish The Ladies. Supported by a light string accompaniment, Carls piano takes centre-stage.
6. The Barndance Set. arr. Hession.
Rick Epping harmonicas. Frankie Gavin fiddle. Carl Hession piano.
The two tunes here are loosely known as barndances. The first is a composition of Gavins, and arose out of an impromptu session in Norway some time ago. It was a logical choice for inclusion on this album, and a fine addition to Gavins collection of original tunes. The second piece, Poll HaPenny, is classified as a hornpipe, and has been recorded by Ronan Browne, whose playing is much influenced by that of Co. Clare fiddle-player Bobby Casey. Printed versions of this tune can be found in Pat Mitchells The Dance Music Of Willie Clancy, as well as in ONeills Dance Music Of Ireland. Frankie and Rick give a terrific rendition of both tunes, with the blues element to the fore in Poll HaPenny.
7. Both Sides Of The Tweed. arr. Hession.
Michelle Lally vocal. Frankie Gavin fiddle. Tim Edey guitar. Eugene Killeen Rhodes, synthesizers, bass.
A composition of Dick Gaughans, this song has been recorded by Capercaille, with Karen Matheson on vocal. The lyrics plead for political and social harmony between Scotland and England, and the song could be described as
8. The Arrival Of The Queen Of Sheba (in Galway). arr. Hession.
Frankie Gavin fiddle. Derek Hickey accordion. Carl Hession harpsichord, bass. Eugene Killeen drums.
Born in 1685, the same year as J.S. Bach, Handel is probably most famous for his Messiah which was first performed in Dublin in 1742. The Queen Of Sheba is a sinfonia from his opera Solomon (1749) and while it has been given a trad treatment here, the accompaniment is faithful to its original Baroque setting, with the harpsichord providing a continuo line characteristic of 17th century keyboard technique.
9. Ar Éirinn Ní Neosfainn Cé hí. arr. Edey.
Tim Edey guitar.
This beautiful slow air was written by Earnán de Regge and has been recorded by many artists including The Dubliners, Aylish Kerrigan and Con Greeney. Tim plays the tune with a delicate rubato and uses some unusual harmonic structure and voicings. A truly fine interpretation from one of the great modern guitarists of the traditional idiom.
10. Eleanor Rigby. arr. Hession
Frankie Gavin fiddle, flute. Carl Hession piano. Daniel Healy trumpet. Patricia Kelly strings.
This well-known Beatles tune dates back to 1966. A feature of the original song was the sympathetic string arrangement, written by George Martin. In this setting, the song is treated as a single jig, one of the most popular dance-forms found in Irish music.
11. Badinerie / The Rambles of Bach. arr. Hession.
Frankie Gavin fiddle. Derek Hickey accordion. Carl Hession harpsichord. Patricia Kelly strings.
Badinerie is the final movement from Suite No. 2 in B minor. Bachs music has been given unusual interpretations from time to time, notably Walter Carlos synthesized arrangements and Jacques Loussiers jazz treatments. Here we present a trad setting of the
12.Down By The Glenside. arr. Hession / Killeen.
Michelle Lally vocal. Tim Edey guitar. Patricia Kelly strings. Frankie Gavin flute. Eugene Killeen Rhodes, synthesizers.
This song was written by Peadar OCearnaigh, an uncle of Brendan Behan, and a poet / songster and soldier in the Irish National Revolution (and the man who also composed the Irish national anthem, The Soldiers Song). The song is also known as The Bold Fenian Men, a reference to the Fenian movement which supplanted Young Ireland in the 1860s. The arrangement is in a modern, semiclassical style, resembling an art song, and with a plaintive and sympathetic vocal by Michelle.
13. Sporting Galway. composed and arranged by Carl Hession.
Frankie Gavin fiddle. Carl Hession piano, harpsichord, bass. Patricia Kelly strings. Eugene Killeen drums.
A newly composed three-part reel, featuring an introductory section that moves from 7/4 time to 8/4, and interspersed with touches of Baroque harpsichord, which return after the second playing of the reel.
14. From Jig To Jigs. arr. Hession
Frankie Gavin fiddle. Rick Epping harmonica. Carl Hession piano.
This track is based on the slip jig Moll Roe, and two single jigs,Will You Come Home With Me and The Woods Of Limerick. In its dance-form, the slip jig is very graceful, though less popular in its tune-form to the single jig. The combination of fiddle and harmonica creates a wonderful sound, especially in the hands of such competent musicians. Moll Roe has a few different titles, and was recorded on Irish Pipers, Vol.II. Will You Come Home With Me and The Woods Of Limerick are associated with Willie Clancy and Martin Connolly.
15. Inishbofin. composed and arranged by Carl Hession.
Patricia Kelly strings. Carl Hession keyboards. Ciara Murphy flute.
Inishbofin, off the north-western shores of Connemara, is a tranquil place that has managed to retain all its island traditions. This piece was written for full orchestra, but is here given a chamber setting, and features Ciara Murphy, a former pupil of Carls at Coláiste Iognáid, Galway.
16. The Broom O The Cowdenknowes. arr. Hession / Killeen.
Michelle Lally vocal. Frankie Gavin Flute.Tim Edey guitar. Eugene Killeen Rhodes, synthesizers. Jackie Murphy harmonies.
This song was published by John Playford in 1651 and subsequently used in The Beggars Opera. Cowdenknowes mansion and estate is just south of Earlstown in Berwickshire. Frankies haunting flute introduction sets up another fine vocal track, with Jackie Murphy from Co. Carlow on backing vocals.
17.Goldsmiths Lament. arr. Hession.
Frankie Gavin fiddle. Patricia Kelly strings. Carl Hession synthesizers. Eugene Killeen hammered dulcimer.
This beautiful slow air, written by accordionist Séamus Shannon, is a lament for the poet Goldsmith. Although a recent composition, the piece has the same greatness and rich melodic structure found in the big songs from the tradition.
18.Hard Times Come Again No More. arr.
Hession / Killeen.
Michelle Lally vocal. Daniel Healy trumpet. Carl Hession organ. Frankie Gavin fiddle. Eugene Killeen synthesizers, drums. Patricia Kelly strings.
A Stephen Foster song, written in 1854 around the time he began arranging his most popular tunes (such as this one, and Jeanie With The Light Brown Hair) for guitar accompaniment. This version has an emphatic military-band feel, featuring Daniels brass-parts, as well as snare and side-drum elements, while Michelles vocal underlines the solemnity of the setting.
19. Roseland Barndance. arr. Hession.
Derek Hickey accordion. Frankie Gavin fiddle. Tim Edey guitar. Carl Hession piano.
This barndance was written by the legendary Boston accordion player Joe Derrane, and recorded, with Carl, on Joes 1996 album Return To Inis Mór. The title is a reference to Roseland Studios in Moate, Co.Westmeath, where that album was recorded. (The town of Moate is named for the remarkable mound of Móta Gráinne Óige which rises beside it). A feature of the tune is the chromatic movement, especially in the third part, which illustrates Joes skill, as a composer (and as a performer).