Arty McGlynn was born in Omagh,
Co. Tyrone, into a family steeped in traditional music, his father
played the accordion and his mother the fiddle, and by the age of
five Arty was playing reels proficiently on the accordion.
When his mother bought him his first
guitar at the age of eleven, Arty began to delve into the playing
of great jazz guitarists such as Wes Montgomery and Barney Kessel,
and by the time he turned fifteen, he was already playing professionally.
The late sixties saw him move further
afield, trips to UK and USA, moving from band to band and adding
the pedal steel guitar to his musical arsenal along the way. But
by the mid seventies the endless run of one nighters had begun to
lose their appeal and Arty was beginning to look for something more
real, something that would excite him again.
There followed a phase in his life
where rather than play "what he was told to play", by whoever controlled
the purse strings in the dance band, he began to have more control
over his artistry. It was now that he started to focus his attention
on the very different world of Irish traditional music. In 1979
he recorded his first solo album, "McGlynn's Fancy", which was the
first recording ever in which the guitar is played in an authentic
traditional style, and as such has been hailed as a classic in the
traditional music world. His reputation was now spreading in a whole
Arty subsequently became one of the
most sought after musicians in the country, playing and recording
with the likes of Christy Moore, Paul Brady, Donal Lunny and Liam
O'Flynn. He played as a member of such prestigious groups as Planxty,
Patrick Street, De Danann and the Van Morrison Band.
In 1989, Arty and his wife fiddle player
Nollaig Casey released their first duet album, "Lead the Knave"
to great critical acclaim, and in 1990 they were awarded the Belfast
Telegraph Entertainment Media and Arts Award for excellence in the
field of Folk Music.
Arty is equally in demand as a live
performer, recording artist and producer. The album "Barking Mad"
by the group Four Men & A Dog, which Arty produced, was voted Folk
Album of the year by Folk Roots Magazine. He produced Christy Hennessy's
album, "The Rehearsal", which remained in the Irish charts continuously
for eighteen months and also collaborated with Frances Black on
her first two solo albums, "Talk to Me" and "The Sky Road", both
of which have topped the charts in Ireland and have been critically
received in the UK. and America.
Arty has composed music for several
television documentaries and together with Nollaig arranged and
played music for the sound track of the Irish feature film "Moondance"
as well as "Hear My Song", in which they also made an appearance.
More recently Arty played on the sound track of the film 'Waking
Ned Devine' where the music was composed by Shaun Davey.
In July 1995 Arty and Nollaig released
their long awaited second album titled Causeway on Tara Music, which
was enthusiastically received by critics and music-lovers alike.
The album, that was two years in the making, contains nine sets
of original tunes which range from soft and gentle to strong and
vibrant and display a unique love and understanding for the music
and its origins.
In 1997 Arty suffered a severe setback
when he broke his wrist while on tour in the USA, however a quick
recovery has seen him back playing with all his immense skills,
after only a few months. As well as performing live throughout Europe
with Liam O'Flynn he also co-produced with Liam, Liam's new album
The Piper's Call. In the last year, in addition to an intensive
touring schedule with Liam, he has worked with world renowned producer
Jim Rooney on the new Sean Keane and Charlie Landsborough albums
and produced and played on the new Alan Kelly album Mosaic.
Reviews & Quotes
"The man's artistic authority
Brian Friel, Author & Playwright
"It would be difficult to name anyone playing
music who is the equal of Arty McGlynn for subtlety and complexity
of harmonic invention."
Kenny Mathleson - The Scotsman
"I first saw Arty play twenty years ago, he stunned
the crowd that night with the brilliance of his guitar playing of
traditional tunes and went on to become one of today's major figures
on the Irish music scene. "
Neil Johnston - The Belfast Telegraph
"To say McGlynn provided accompaniment would be
a crime of oversimplification. His fleet unison lines gave the jigs
and reels huge momentum and his chordal patterns, full of bass lines
which resolved in his own good, come in an apparently infinite variety."
Rob Adams - The Glasgow Herald
"Almost 20 years since he first played this venue
(Belfast's Harp Folk Club, McGlynn's picking of tunes was hugely impressive,
a terrific demonstration, not only of the impact this player has made
to the use of guitar in traditional music, but of the unfazed consistency
of his innovation."
Fintan Vallely - Irish Times