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Ian Worpole casts his eye over the latest CD offerings in the world of trad/folk music.
Lots of great CDs this month, and by way of a preamble, I’ve been thinking lately about how the great fiddlers, accordion players and, well, all those instrumentalists who make up the sound that we know and love are often great teachers as well. This phenomenon, I believe, has become an integral part of the dissemination of traditional Irish music.
From music workshops such as the famous East Durham Arts Week, where I got my start playing the tunes on my newly open-tuned guitar at a Ged Foley workshop while my fiddling pals were soaking up Kevin Burke’s wisdom next door, to private lessons and sessions led by one of these players, it’s a fantastic way to spread the musical word, interact with fans and help the bank balance a little. With that in mind, first up today is a new release from Brian Conway, the Bronx-born, Sligo-styled fiddler who was named Irish Echo’s trad artist of the year
Mick Moloney
BY MEMORY INSPIRED: MICK MOLONEY’S SONGBOOK CONCLUDES
By Marilyn Lester
(Top)Moloney, Castles (Bottom) Johnson, Doyle. . .
For fifteen weeks, the Irish Arts Center has presented segments of Mick Moloney’s Songbook, curated by Irish musician, musicologist and teacher Moloney, comprised of stories, songs and tunes from Ireland and Irish America. Moloney, who has a doctorate in Folklore and Folklife from the University of Pennsylvania, explored Irish history and culture through traditional music, thematically contextualizing the meaning of each.
Irish traditional music includes many kinds of songs: ballads, laments, drinking songs, political songs and more, mostly dating from the 18th century to modern times. Their purpose is narrative, with lyric having as much, if not more, weight as the melody. Singers of Irish folk tunes will often use a certain amount of melodic freedom and vocal embellishments to tell each musical story. Here are the last six of our installm