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Tagged with “irish traditional music” (19)

  1. Alan Woods - Jenny Put The Kettle On

    Jenny Put the Kettle On is a series of informal chats and tunes with traditional gems of Leitrim in conversation with host, Vincent Woods. Vincent interviews several musicians, singers & dancers from Leitrim and surrounding areas that have had a significant & valuable impact on the traditional arts in the locality through their music, song, dance, research or collecting.

    The series got it’s name from a tune that uilleann piper Stephen Grier documented in his collection when residing in Gortletteragh, Co. Leitrim in the 1850s.

    This first interview, featuring Alan Woods, was held in the Baronial Hall at Lough Rynn Castle on Sunday the 9th of February 2020.

    https://www.buzzsprout.com/1407781/6014647

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  2. Trip to the Cottage - May 30th, 2016

    Great music from Stockton’s Wing - Paul Roche, Kieran Hanrahan, Maurice Lennon, Tony Callanan & Tommy Hayes. Songs from Curly Sullivan & Jack O’Carroll. Music also with Raymond Rolland, Kit O’Connor, John Joe Doyle, Paddy & Kevin Taylor, Benny O’Connor, Brendan McGlinchey, Rodger Sherlock, Liam Farrell, P.J. Hynes, Brian Green, MacDara Ó Raghallaigh, David Power, Willie Kelly, Mick & Kathleen Conneely, Johnny McDonagh, Michelle O’Sullivan, Deirdre McSherry & more!

    http://www.radiokerry.ie/podcast_series/trip-to-the-cottage/

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  3. Copperplate Podcast 202

    Copperplate Podcast 202 presented by Alan O’Leary August  2016

    1. Paddy Glackin:   Top It Off.        Glackin

    2.Caladh Nua:        Humours of Ballyloughlin Set.            Happy Days

    1. Eilis Kennedy:   Nead na Lachan.                               Time to Sail             Damien Mullane:       The Orphan.                    

    2. Liz & Yvonne Kane:            3 & A Deer/Pangur Ban.   Side By Side

    3. Joe Derrane/Seamus Connolly/John McGann:                  Dash to Portobello/McFarley’s/Geeghan’s Reel. The Boston Edge

    4. Teada: Tom Connor’s HP/The Joy of My Life/Handy With The Stick   Teada

    5. Mick Sands & Clive Carroll: Lough Erne’s Shore. The Ominous & The Luminous

    6. Peter McAlinden: The Piper Through The Meadow Straying. Happy To Meet

    7. Niamh ni Charra:               The Belles of South Boston         Happy Out.

    8. Goitse:                 Ireland’s Green Shore.                     Inspired by Chance

    9. Mulcahy Family:  Galway Rambler/Morning Dew/Boston Irish Reel.

    10. We Banjo 3:        Chair Snapper’s Delight.                     String Theory

    http://alanoleary.libsyn.com/copperplate-podcast-202

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  4. The Musical Priest radio documentary

    Radio documentary by Seán Corcoran on Richard Henebry (1863-1916) of Portlaw, Co. Waterford, Ireland, pioneering folk song collector and musicologist. First broadcast by Waterford Local Radio (www.wlrfm.com) 7pm Sun 29 Dec 2013.Funded by the Broadcasting Authority of Ireland with the Television Licence Fee. Sound design by Ronan Browne.

    https://soundcloud.com/rollingwave/the-musical-priest-radio

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  5. The Music Keepers: Traditional Irish Music in North America - Brendan Tonra

    Interview with composer and musician Brendan Tonra at his home in Boston, Feb 2009.

    Part of a 12 part series on traditional Irish musicians in North America. Funded by the Sound and Vision Scheme - Broadcasting Commission of Ireland - Connemara Community Radio

    Sound by Grainne O’Malley Research - Patrick Ourceau Produced by Ita Kane-Wilson

    ===
    Original video: https://soundcloud.com/ita-kane-wilson/the-music-keepers-brendan
    Downloaded by http://huffduff-video.snarfed.org/

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  6. “The Boys of the Lough” - Studio 360

    Michael Coleman’s recordings from the early 1920’s set the standard for all the traditional Irish music that would follow. Coleman emigrated from County Sligo, Ireland, to New York City in 1914 at the age of 23. In New York, recording companies were eager to sell records to immigrants nostalgic for the music of home. Coleman became one of the first Irish musicians to be immortalized on the shellac of a 78 rpm record.

    Coleman played a style of fiddle music particular to county Sligo. “The Sligo style is upbeat, it’s very rhythmic, uses a lot of ornamentation,” says Brian Conway, a musician from New York who plays Sligo-style fiddle.

    It was a tradition passed down from mentor to student, not on paper. “The music is not played as it’s written on sheet music,” says Fiona Ritchie, producer of the public radio show The Thistle and Shamrock. “When you had no way of recording it, the only way to memorialize it was to put it on sheet music, and then it loses that sense of rhythm that can only be captured by hearing it.”

    So when Coleman recorded the song “The Boys of the Lough,” he was crystallizing a tradition. “This was really a turning point for Irish music, because music could travel out from the communities where it had just been a natural, unremarkable part of life,” Ritchie says.

    Ritchie credits recordings by Coleman and other Irish emigrants with saving traditional Celtic music. “Once you partnered up these early recordings with radio, you had the music coming back to its home again and reinvigorating the music,” she says. “So many of these communities had been depleted, with young folks going away and taking their music with them.”

    Coleman was prodigiously talented, and thanks to those early recordings, his influence hasn’t waned. “Michael Coleman’s influence on traditional Irish music could be compared to Miles Davis in jazz, the Beatles in rock ‘n roll,” Conway says. “His influence is still felt today by those who may never have actually listened to Coleman play, but just through what they’ve learned from other people.”

    http://www.studio360.org/story/the-boys-of-the-lough/

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  7. A Conversation with Irish Step Dancer Kevin Doyle

    Traditional or folk artists do their art whatever it is—quilting, singing, or dancing from pure love.

    Often working full-time jobs and raising families, they still find the time to pursue their craft.

    This is the case for Irish step dancer Kevin Doyle, the one-time grocery store manager and bus driver is also one of the best traditional step dancers in the Northeast.

    This year, he’s been named a 2014 National Heritage Fellow by the National Endowment for the Arts.

    Here’s his remarkable story.

    http://www.prx.org/pieces/129475

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  8. A Conversation with Irish Fiddler Seamus Connolly

    Seamus Connolly is a teacher, scholar, and, as you heard, a remarkable irish fiddler. By his mid-twenties, Connolly had won the Irish National Fiddle Championship ten times, a feat that is still unequalled. Since emigrating to the United States in the 1970s, Seamus has performed at numerous festivals throughout the country, including the National Folk Festival, Smithsonian Folklife Festival, and with three of phenomenonally successful Masters of the Folk Violin tours organized by the National Council for the Traditional Arts.

    Connolly’s recordings including his two solo CDs, Notes from my Mind and Here and There, as well as The Boston Edge with 2004 NEA National Heritage Fellow Joe Derrane and John McGann. Since 2004, Connolly has been the Sullivan Artist in Residence at Boston College’s Center for Irish Programs where he had previously directed the highly acclaimed Gaelic Roots Summer School and Festival. Not surprisingly he is the recipient of many awards—and , he’s added a national heritage fellowship—which is a lifetime honor presented to master folk and traditional artists by the national endowment for the arts.

    I traveled to Maine to visit with Seamus when he was awarded the heritage fellowship. I began by asking Seamus to explain what makes Irish fiddling, Irish Fiddling?

    https://beta.prx.org/stories/122663

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  9. RTÉ.ie Radio 1: Documentary on One - After the Fleadh

    A documentary on the 1969 Fleadh Cheoil na hireann was held in Cashel, Co. Tipperary and this is the story of what happened that year.

    The Fleadh Cheoil (Festival of Music) is an Irish music competition run by Comhaltas Ceoltóirí Éireann.

    There are various stages to the competition. In Ireland there are county and provincial competitions leading to the All-Ireland Fleadh. In Britain there are regional then national stages of qualification for the All-Ireland. North America has two regional qualifying Fleadh Cheoil. The Mid Atlantic Fleadh covers the US eastern seaboard, eastern Canada and the Maritimes. The Midwest Fleadh covers the rest of North America from Cleveland, Chicago, St. Louis, Atlanta and Detroit to San Francisco.

    Competitions are divided into the following age categories: under 12, 12-15, 15-18, and over 18 (senior).

    The first national festival of Irish traditional music was held in Mullingar in 1951. At its inaugural meeting in September 1951, CCÉ came up with the title of Fleadh Cheoil, aiming to make this a great national festival of traditional music. The fleadh has been held in many different venues.

    In the years that followed, the number of would-be competitors grew so large that qualifying stages had to be arranged at county and provincial level. Since then, Fleadh Nua (the new fleadh), Fleadh na Breataine (an All-Britain fleadh) and regional fleadhanna in Britain, and two major fleadhanna in the USA have also become annual CCÉ events.

    From its beginning, the goal of the Fleadh Cheoil was to establish standards in Irish traditional music through competition. The Fleadh developed as a mainly competitive event, but it also included many concerts, céilíthe, parades, and sessions.

    There are numerous categories of both instrument playing, singing, dancing - each being held for all age groups.

    First broadcast 1969.

    http://www.rte.ie/radio1/doconone/radio-documentary-fleadh-cheoil-na-heireann.html

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