||A Mozart Celebration
||The Wild Goose
||The Shaskeen Reel
||The Barndance Set
||Both Sides Of The Tweed
||The Arrival Of The Queen Of Sheba (in Galway)
||Ar Eirinn Ni Neosfainn Ce hi
||Badinerie / The Rambles of Bach
||Down By The Glenside
||From Jig to Jigs
||The Broom O The Cowdenknowes
||Hardtimes Come Again No More
||The Roseland Barndance
Reels & Rock n' Roll
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
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
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
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
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
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
9. Ar Éirinn Ní Neosfainn Cé hí.
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
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
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
14. From Jig To Jigs. arr. Hession
Frankie Gavin fiddle. Rick Epping harmonica. Carl
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
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
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
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 ).