These three instrumental Irish albums have come to me recently from Compass Records(http://www.compassrecords.com). They're all good music with good musicians...and it's hard to write about all three at the same time because I have common things to say about all three!

Éamonn Coyne
Through the Round Window
Compass (2002)
http://www.eamonncoyne.com

Through the Round Windowis the first solo album by Edinburgh-but-originally-Irish sideman Éamonn Coyne, who plays the Banjo. The banjo is unique not only because of its characteristic plunky tinniness, but also because relatively few Irish musicians choose to master it. On this acoustic album, the banjo takes the lead, fronting button box, whistle, and other typically Irish instruments. Most of the tunes on the CD sound Irish, some being in traditional style and some along jazz and contemporary paths. Éamonn has had some American artistic adventures with Bela Fleck for example, and the banjo has an American origin as well, hence is found here a bit of unexpected Americana. Through the Round Window is far the most stylistically adventurous of the three Compass albums that I intend to review here.

Many of the tunes do follow the traditional path, right out of the sessions, though less sloppy coming from a studio. These are fun, quick dance tunes, in the methodical Irish style that Balkan dancers find dull because they cannot catch the fun and soul. In fact, Balkan dancers may doze through the whole album, but that's their problem. Traditional is how Round Window opens, with two tracks, the triple fret "Connaught Jigs" and then "Whistling Reels," with Pat Marsh taking over on bouzouki for a while, and Michael McGoldrick on the flute. Other tracks are different. A Donegal mazurka seems light and Scandinavian to me, with Éamonn on mandolin. As he moves on the banjo strings, with his fast three note ornanaments, he also moves from instrument to instrument...but luckily always comes back to the banjo like the home note in a tune!

Along the other road are some pieces which seem very American to me, including an "a capella" "Nine String Susannah," played in duet with Alison Brown. This set likely seems American because it is composed of three American tunes! It is also in its own way the closest to an art piece; although done in a very stark, traditional way, it could be compared to a black and white photo of three old trees in a field, with the the sky behind. Kevin Doherty, apparently from Donegal, sings two of his own songs with American voice, "Mary J" and "Long Roads," the latter a blues song with Éamonn on national steel guitar, a contrast from those jigs! A surprise set is "Highlands," beginning with a sort of funky highland called "the cat that kittled in James' wig" leading into a loungey jazz interlude. Other tunes are at various points along the spectrum.

Alan & John Kelly
Fourmilehouse
Compass (2002)
http://www.blackboxmusic.ie/

"Fourmilehouse is traditional music served straight up, with no need for studio sweeteners, or sleight of hand," the liner notes read. This album by the Co. Roscommon Kelly Brothers is solidly traditional, or at least as traditional as it gets when you add in things like bouzouki and Arty McGlynn's guitar! If the sounds of the many sessionish recordings on Shanachie and Green Linnet are pleasing, then you will welcome this recording into your pub! John plays flute and whistle and Alan is one of the relatively uncommon players of piano accordion in the realm of Irish music. I had the fortune of interviewing him a few years ago at the North Texas Irish Festival and can testify that he is a pleasant and forthcoming young man, despite being a Uncommon Roscommon! (You can read the interview transcript at http://www.columbiagypsy.net/alankelly.htm ).

All of the tracks on Fourmilehouse contain traditional dance tunes or tunes composed in the vernacular by people who have played a lot of traditional dance tunes: Liz Carroll, Paddy O'Brien, Arty McGlynn.. I sure can't tell the difference! All of these nicely perky numbers are heavy on accordion and whistle and flute, the reason for which should be obvious. Arty McGlynn keeps time on many of the tracks and sometimes if you stand in a certain place in relation to the speakers, you will mistake his rhythm guitar for an egg shaker! Most of the tunes aren't recording-worn, and most of the dance tunes do sound similar, though some might have a bit of bodhrán or piano or banjo. A few are more tricky. In the set of reels, "Jer Quigley's/The Bunch Of Green Rushes," there appears a diaphanous spice of reggaeish rhythm, a subtle Jamaican vacation. In the final track, a very quick set of reels called "Sonny Brogan's Easter Sunday"/"The Glentaun" there arises a less defined contemporary influence.

"The Parting Glass/The Duke Of Leinster" combines an air and a slow reel, and provides an opportunity to examine the sound of Alan's little keyboard accordion. If you read the interview, you will find that it provides Alan a smoother sound, as if for a Scots player, because the note changes aren't dependent on change of bellows direction. To me it sounds less primitive, more processed. "The Parting Glass" provides a great opportunity to hear Alan's volume changes and vibrato unyoked from John's omnipresent wind instruments, before he goes into the pick-uped tempo of the slow reel. The next track, a set of reels, is similarly uncoupled from flute and a treat for accordion enthusiasts..

Niall & Cillian Vallely
Callan Bridge
Compass (2002)

Originally from Armagh in Ulster, Niall Vallely plays concertina and his brother Cillian plays uilleann pipes and low whistle. Their first album together, Callan Bridge is in many ways like Fourmilehouse, full of traditional Irish tunes with only a little real contemporary influence. Guitar is played for rhythm, this time by either Paul Meehan, Donal Clancy, or John Doyle. Almost all the tracks are traditional dance tunes..

With all the dance tunes, one track that really stands out is Cillian's slow air solo, "An Buachaill Caol Dubh" (The Dark Slender Boy), learnt from Leo Rowsome. The wail and drone make such a lonesome sound! Niall's solo is, probably incoincidently, "An Buachaillin Ban" or "The Fair-Haired Boy." I like the deft lightness of the ornament in this melodic little air about Bonnie Prince Charlie. In fact, even with banshee pipes, most of the dance tunes do have a deft lightness; the few with Cillian on low whistle are especially cheery and pretty. "Muirrann's Jig" was written by Cillian upon the occasion of his daughter's first birthday and, played with the accompaniment of John Doyle on "bouzouki-guitar," brings images of green leaves at springtime. There are no tunes at breakneck speed, though Niall's "The Singing Stream" for instance can be quite perky, and the dances are not very different from each other in style and instrumentation. Caoimhin Vallely plays piano on the hornpipe "The Humours of Tullycrine" with some contemporary effect. Callan Bridge is nothing more or less than a pretty and straightforward album for people who like Irish music!

gennett at gorge dot net

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