I was delighted to write this feature piece for the ‘Donegal News’ recently supporting the hard-work, communal spirit and creativity of people in Gaoth Dobhair, Falcarragh and the Rosses in hosting their respective festivals.
For such a small rural area, often there are more diverse cultural activities – dance, theatre, sporting events, concerts, to be name but a few – than in major urban areas.
Delightfully, making choices as to which to attend can be the biggest challenge.
How can small boxes of air that fit neatly between one’s hands create the haunting rhythm of a heartbeat, the roar of an angry sea and the chanting of cloistered monks at prayer?
Ask the talented, five-member ‘Irish Concertina Ensemble’ who captivated a packed audience earlier this week at Teach Hiudái Beag, a popular traditional music venue on the main street of Bunbeg in the Donegal Gaeltacht (a region that features prominently in new suspense novel ‘Pretty Ugly’ (Easons, Gallaghers/Matt Bonners Bunbeg, Amazon) and where the Irish Writing Retreat takes place every year).
Such wondrous music left me bemused about how such a rich diversity of melodies can emerge from such a tiny bellows-buttons-reed instrument. The ensemble, with members from different Irish counties, was one of many performances at this week’s ongoing annual ‘Scoil Gheimhridh’ (Winter School) in Gaoth Dobhair (the festival continues right through Sunday, so buy your show tickets now).
Composed of Tim Collins, Padraig Rynne, Micheal O’Raghallaigh, Caitlin Nic Gabhann and Edel Fox – the musicians brought this popular, cozy pub to a hushed and appreciative silence. So exhilarated were affable pub manger and owner, also himself a fine musician, Hugh Gallagher, my wife, Columbia, myself and others, we gave them a hearty and well-deserved standing ovation.
Boxes of air that produce mellifluous music.
Drawing on a wealth of melodies, some old, some new, some composed for other instruments such as the fiddle, flute and uilleann pipe, the group displayed the surprising and immense versatility of the concertina.
Not only were there versions of tunes by such iconic instrumentalists as Turlough O’Carolan, (1670–1738), a blind Irish harper and composer, but also their own compositions. Highlights among the latter were a series of mellifluous waltzes in honor of Kathy, a friend and admired social activist who died from cancer, and also a dreamy melody inspired by watching the sunrise with Oisin, the young child of one of the group members.
The opening night of the festival was a veritable cabaret of myriad talents at Ionad Cois Locha in memory of well-respected community and media leader, Seamus Mac Géidigh, broadcaster and manager of RTÉ Raidió na Gaeltachta‘s northwest service in Donegal, who recently passed away.
Such is the interest in preserving local Irish heritage, fiddle player and teacher Róisín McGrory who is also co-founder of the Inishowen Traditional Music Project established in 1999 to preserve the music of the region, also performed at the festival.
Another highlight of this week’s festival and music school so far has been the double-bill of Carlow-based brothers Diarmuid and Brian Mac Gloinn who perform as ‘Ye Vagabonds’ and star fiddle-player and ‘Hobbit-lookalike’ Frankie Gavin, who played alongside bouzouki-mandolin player, Brendan O’Regan. The former, resembling young, bearded troubadours, moved effortlessly from ballad to toe-tapping melodies, from the ‘Lowlands of Holland,’ a soft air about a man lost at sea, which they learned from Donegal-native Paddy Tunney, the same county their mother hails from – Arranmore Island – to a lively finale that included ‘The Lark In The Morning.’ They sang songs in both English and Irish.
While he strikes a remarkable resemblance to one of my heroes, the hobbit, Bilbo Baggins, the affable Gavin’s blinding bursts of speed reminded me more of ‘The Fiddler of Dooney,’ the character in the W.B. Yeats poem of the same name whose fiddle playing ‘made folks dance like a wave of the sea.’
(l to r) Frankie ‘Bilbo Baggins’ Gavin and Brendan ‘Speedy Fingers’ O’Regan display their ample talents at Teac Jack.
To say Gavin’s bow tripped lightly over the strings would be a severe understatement. Skipping, dancing, somersaulting even, would be much more appropriate descriptions – from hornpipes and reels to jigs and highlands; from Donegal composition, ‘Strike the Gay Harp’ to ‘The Old Grey Goose;’ from tunes by well-known Irish musical ambassadors such as fiddler Tommy Peoples and music collector and uilleann pipe player, Séamus Ennis; to others learned from fellow musician, Dermot Byrne; and still others he performed previously with French violinist Stéphane Grappelli in a ‘Jigs and Jazz’ show.
Gavin’s ludicrously fast fiddle-playing may have seemed eye-to brain-to-fingers neurologically impossible but when he picked up the flute he really put the emotional brakes on his packed audience at Teac Jack in Glassagh (which also features prominently in ‘Pretty Ugly‘), leaving them glassy-eyed with his version of the classic slow air, ‘Boolavogue,’ about Father John Murphy and the Wexford uprising during the Irish rebellion of 1798.
Not only, but the founder of the well-known group, DeDannan, is also a natural raconteur and effortlessly entertained his listeners with an assortment of jokes, ranging from lion-tamers to one-clawed lobsters. Alongside him, ‘Speedy Fingers’ O’Regan displayed his musical virtuosity with a simply brilliant solo of his own competition on mandolin.
The festival’s energetic and committed organizers deserve great praise.
They include Conor Byrne, accomplished flute player who was mentored by west Belfast musician Frankie Kennedy (who tragically died from cancer at a young age and for whom the festival was originally named after); Cathal Ó Gallchóir, who is also manager of local community center, An Crannog in nearby Derrybeg, where varied activities ranging from yoga to Irish language and music classes take place; their excellent, friendly support team; and special guests such as fiddle player, music teacher and journalist, Martin McGinley, who opened the festival this year and who conducted a most interesting, light-hearted and insightful afternoon interview with Gavin at PobalScoil Gaoth Dobhair (more on that, including naked Danish concert-goers and sessions with Jagger and Co. of The Rolling Stones in an enlarged festival review on World Itineraries later this weekend).
Cathal Ó Gallchóir introduces festival musical performers.
‘Scoil Gheimridh’ has now rightly become a prominent feature of national Irish cultural life. Students and teachers, men and women, schoolchildren and retirees, both national and international, lovers of instruments ranging from the bodhrán, an Irish hand drum, to fiddle, flute, uilleann pipes, accordion, concertina and even traditional sean-nós singing and dancing, gather every year in this beautiful north-western region known as the ‘Forgotten County’ to attend classes taught by leading musicians and to enjoy the many concerts and seisún.
Here, in this most northerly region of Ireland, interest and pride in the native Irish language, Gaeilge, and the rich cultural heritage of their forebearers remains impressively strong, especially in the face of the fickleness and superficiality of modern-day life.
The festival ends this weekend with a concert tonight (Friday, 8.30pm) by Dublin four-piece band, Lynched, at Teac Jack; an exhuberant New Year’s Eve celebration at Club CLG Gaoth Dobhair with Kerry-based Polca4 and local band, An Crann Óg; and two seisiún mór (big informal music/dance sessions) at Teach Hiúdaí Beag Saturday and Sunday, plus the classes.
Sponsors of the annual winter school include The Arts Council of Ireland.
Dressed in checked shirts, caps and denim dungarees with big colorful handkerchiefs sticking out of back pockets, American musicians at Letterkenny’s Regional Cultural Center (RCC) this week looked as ready for harvesting corn (or producing moonshine from it) as hosting a concert.
Fortunately, it was the latter and what a knee-slapping hoedown the evening turned out to be courtesy of the Tennessee Mafia Jug Band, combining a mix of musical talent and fine stagemanship with good humor, including some zany ‘instruments.’
With an impressive number of CDs behind them, the five-member group are so at ease on stage, they often decide at the last minute which song they’ll play next, which lends their concerts a delightful sense of spontaneity, such as when they ended this week’s show with a lively rendering of that all-time Irish classic, ‘It’s a Long Way to Tipperary.’
As evidenced Wednesday evening at the RCC, their inventory of songs and tunes is diverse, ranging from romantic ballads to spine-chilling ghost stories to comical tales of ‘tooth picking time in false-tooth valley’ and revengeful chickens as in ‘Ghost Chickens In The Sky.’
Add to the mix, the well-honed skills of Dan Kelly on fiddle; smiling Ernie Sykes on bass and voice; bald-pated, nimble-fingered John Tomlin on mandolin and voice; versatile band leader Troy Boswell, known professionally as Leroy Troy, playing claw hammer-style banjo, harmonica and washboard and voice, as well as Mike Armistead on guitar and voice.
Concert-goers were also treated to the amusing sight of Troy teasing a tune out of a plastic milk jug and a water bottle and Sykes producing the same from closed hands on the song, ‘Sick, Sober and Sorry,’ and then later hilariously miming a chicken.
Among the song highlights of the evening were a touching ballad entitled ‘These Hands’ and the carefree ‘Chug-a-Lug,’ about aforesaid moonshine, written and recorded by American country artist Roger Miller, both sung by Sykes; the ghostly tale and bluegrass classic, ‘Bringing Mary Home’ written by Chaw Mank, Joe Kingston and John Duffey and sung by Tomlin; as well as ‘Miller’s Cave,’ a Don Williams melody and the hilarious and probably most confusing song yet written, for which a family diagram is required, ‘I’m My Own Grandpa,’ both sung by Troy. Instrumentally, Troy’s prowess on the scrub board on ‘They Cut Down The Old Pine Tree’ was a delight, as was the group’s interpretation of the Hank Williams song ‘A Mansion On The Hill.’
The evening’s concert was ably opened by singer-guitarist Nashville-born George Harper, who sang a variety of songs from his ‘I’ll Be Back’ and ‘No Smokin In Here’ albums including the lively ‘Overland Express’ and a traditional folk song with the amusing kick-line ‘sugar tit a mile wide and six feet long.’ Northwest Ireland wasn’t left out of his repertoire either, with ‘Why Do I Go To Sligo,’ a song about the pretty girls of that particular town, written after a previous gig there. His voice and Tomlin’s mandolin playing on the love ballad, ‘A Stone’s Throw Away’ made for a perfect combination.
Considering Letterkenny lies in the peripheral end of Ireland, about three-hours away from Dublin where music groups often congregate, great credit goes to RCC director, Shaun Hannigan and his colleagues there, as well as Donegal County Council Arts Officer, Traolach O’Fionnain, for bringing so many diverse bands to play. Last week I enjoyed a marvelous performance by ‘Hot Club of Cowtown’ and the series of US country concerts ends next Friday (Nov. 11) with singer-songwriter-musician, Maine-born Jude Johnston performing alongside Linley Hamilton and Dave Keary. After that it’s something different – a Swiss jazz trio, Vein, with New York saxophonist, Greg Osby, on Thursday Nov. 17, and acoustic guitarist Pierre Bensusan from France, the very next day, Fri. 18.