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Jeff Meade

Music

Rebel Yell

Derek Warfield still has a lot to sing about.

I’m not sure if Derek Warfield has a bumper sticker, but if he does, it probably says: “Hell, no, I ain’t forgettin’.”

I’m not about to suggest that, after decades of hatred and bloodshed, the warring parties in Northern Ireland are holding hands and singing “Kumbaya.” But the Irish Republican Army laid down its arms two years ago. The Democratic Unionist Party and Sinn Féin formed a government in May. There is still a long way to go, God yes, but things at least seem to be headed in the right direction in the North.

All of which makes you wonder what Derek Warfield, a founding member of the Wolfe Tones—the legendary purveyors of Irish rebel anthems—has to sing about these days.

With his Sons of Erin Band, Warfield took the stage at the Philadelphia Irish Center on Friday night to answer that musical question. His answer? Well, of course, Warfield still draws heavily on the standards, like Cockles and Mussels and the Wild Rover.

There are some great instrumentals, too, plenty of jigs and reels to get the blood pumping. Warfield has a wonderfully talented backup band—including the brother-sister act of Damaris Woods (tenor banjo) and Jim Woods (accordion and bodhran). The band has a bright, fresh sound. It’s a nice match for Warfield at this phase of his career.

But it’s not all “Will Ye Go, Lassie, Go.”

Peace process or no, Warfield is not about to let anyone forget the long, bloody struggle. He invokes the memory of Padraig Pearse and all the ghosts of Kilmainham Jail. Bobby Sands and all the 1981 hunger strikers are still fresh in his mind. He won’t let anyone historically reconstruct the 1988 “accidental” shooting death of Irish Catholic Aidan McAnespie at the hands of British troops.

There’s still a lot to answer for, and it’s for damn sure Derek Warfield is not going to let any of the guilty parties off lightly.

Maybe all of this dwelling on past wrongs makes Warfield an anachronism. (I would say that the nursing of ancient grudges just makes him Irish.) But for Warfield and his fans at the Irish Center, history hasn’t fully played itself out yet. Until it does, Derek Warfield will play on.

November 13, 2007 by Jeff Meade

Music

Musicians Rally for One of Their Own

From left, Mick Moloney, Jimmy Crowley, and Robbie O'Connell.

Sitting on the stage at the Shanachie Pub and Restaurant between Irish trad buddies Robbie O’Connell and Jimmy Crowley, musician and folklorist Mick Moloney recalled the time in the early 60s when he met famed Irish balladeer Danny Doyle in Dublin.

“The hardest thing about playing in pubs was getting paid at the end of the night,” he said. He recalled one barkeeper with Parkinson’s disease whose hands shook so badly that “it was four or five different grabs before you could get your money. Whenever I get together with Danny, we always talk about that.”

These days, however, Doyle, who has recorded 35 albums and performed at Carnegie Hall, The Kennedy Center, and the National Concert Hall in Dublin, hasn’t had any gigs to get paid for. In August, surgery for a carotid blockage left Doyle unable to perform. So on Sunday, Gerry Timlin, co-owner of the Shanachie, organized the benefit to help Doyle meet the bills. And before they headed to another benefit at St. Malachy’s Church and School in Philadelphia, Moloney, O’Connell and Crowley stopped in at the Ambler pub to sing for their friend. So did a gang of other performers, including McGirr and Alberts, the King Brothers, and the Malones. Bill Reid of East of the Hebrides Entertainment, emceed the event which interspersed raffle drawings with some great music.

November 8, 2007 by Jeff Meade

Music

Review: “An Nollaig,” the Eileen Ivers Christmas CD

There’s a lot to like about “An Nollaig,” Eileen Ivers’ latest CD, a celebration of Christmas in the Irish style.

You probably sense a “but” waiting in the wings. There is one, a small one—but …. let’s first talk about the good stuff. Not surprisingly, there’s plenty of it.

At the core or this recording, there is, of course, Eileen Ivers—one of the finest and most creative fiddlers playing today. As always, she has surrounded herself with some brilliant instrumentalists, including members of her band, bassist Leo Traversa, flutist and piper Isaac Alderson and singer-percussionist Tommy McDonnell.

On the purely instrumental tracks—notably a selection of reels, “Christmas Eve/Oiche Nollag/High Road to Linton” and a grouping of jigs, “Apples In Winter/Frost is All Over/Merry Christmas”—the band simply rocks. This CD, like so many of Ivers’ previous works, defies easy categorization. Traditional Irish fiddle rubs shoulders with Afro-Caribbean drums. Here and there, you hear touches of Stephane Grappelli-influenced fiddle jazz. It all works. It always does.

A few other tunes, far less fast-paced and more soulful, are also standouts, including a Danish winter song, “The Time is Approaching,” with some lovely flute playing by Isaac Alderson. The closing tune, Ivers’ matchless reading of “O Holy Night,” will undoubtedly find its way onto one or more of the ubiquitous Windham Hill Celtic Christmas compilations, in the fullness of time.

By far the best and most memorable cut on the recording is a haunting interpretation of “Don Oiche Ud i mBeithill (One Night in Bethelehem),” with powerfully emotive vocals by Dublin-born contralto Susan McKeown. It’ll give you chills.

Now, on to the “but.” I’m less enamored of many of the vocals, but … I think it’s just me. McDonnell, for example, does a creditable job on the classic Vince Guaraldi tune, “Christmas Time Is Here.” I think I just selfishly wanted to hear more Ivers!

And I’ll admit to the same irrational selfishness on “Jesu, Joy of Man’s Desiring”—it’s a jazzy, upbeat take on Bach. Still, the choir infuses the piece with huge, full-throated energy. (If anything describes Eileen Ivers’ approach to music, that does. I mean, what choice did they have?)

You may be more of a fan than I am of the singers and the arrangements. But even if you’re not, there’s enough pure Ivers on this CD to make it all well worthwhile.

November 8, 2007 by Jeff Meade

Music

Joyful Noise

Fiddlers Dana Lyn and Athena Tergis share post-show refreshments with Tergis's daughter Vivienne.

Mick Moloney couldn’t recall precisely how many years he and his musical friends have staged their annual benefit for St. Malachy School in North Philadelphia. It really seems like forever. It’s well over 20 years, anyway.

And yet, at the same time, nothing about Moloney’s music ever feels old. If anything, this year’s concert—under the watchful eye of pastor John McNamee, assorted angels and a small gathering of saints—sounded as fresh, full of energy and divinely inspired as ever.

How could it not? First, you have Moloney—himself a one-man band and a living, breathing repository of Irish music, history and culture. Accompanying Moloney this year as special guests were the durable veterans Robbie O’Connell and Jimmy Crowley. Representing the younger generation were fiddlers Dana Lynn, Athena Tergis and Philly’s own Brendan Callaghan. (And a little later on, representing the even younger generation, were locals Caitlin Finley on fiddle, Emma Hinesly on flute and Jeremy Bingaman on bouzouki.)

The church was very nearly filled with Irish music fans, parishioners and the very supportive neighbors of this church community south of Temple’s main campus, which has been described as “Philadelphia’s island of grace.”

(And with the shooting death of Philadelphia Police Officer Charles Casidy still fresh in everyone’s mind, the neighborhood can use all the grace it can get.)

“Father Mac,” who has served as St. Malachy’s pastor since 1984, thanked audience members for their goodwill offering—and it’s certainly going to come in handy. “We have 216 children in our school,” he said from the altar, just before volunteers started to take up the collection. “Only 20 of them are Catholic. Our tuition is $1,600, which is considerably less—about $500 less—than the average Catholic elementary school tuition. You help us to cover the difference between what it costs us to provide the education and what it costs the parents.”

For their goodwill offering, the audience received plenty in return. Moloney and company, lined up in front of the marble altar and surrounded by pumpkins and fall flowers, served up one great old song after another, including “McNally’s Row of Flats,” from Moloney’s 2006 CD of the same name, and endless jigs and reels. Indeed, the night concluded with “a blast of reels,” with all the musicians crowding onto the stage. The hall echoed with whoops, clapping hands and stomping feet.

If you missed it, no worries. We have photos and video.

November 7, 2007 by Jeff Meade

People

Hibernians Salute Our Veterans

On Veterans Day, Nov. 11, the Ancient Order of Hibernians of the Notre Dame Division will host its Annual Salute to Our Veterans. The ceremony will begin at 12 noon in front of the AOH clubhouse, 342 Jefferson St. in Swedesburg, Upper Merion Township.

Father Andy McCormick, chaplain of the AOH Notre Dame division and pastor of Sacred Heart Church, will open the ceremony with a prayer. The Irish Thunder Pipes & Drums will provide patriotic music, along with vocalist Sarah Agnew.

Many VFW, American Legion and Marine Corp League veterans will also be a part in this event. Other guests will include Congressman Joe Sestak, State Sen. Connie Williams and State Rep. Daylin Leach, along with many other officials.

Guest speaker will be Christopher Young, who resides in Bridgeport. Christopher Young is a 27-year-old United States Army Ranger who has served in the 1st Infantry Division out of Fort Riley, Kansas, and the 1st Ranger Battalion, 75th Ranger Regiment, based out of Savannah, Ga. He served honorably in Operation Iraqi Freedom from November 2003 through February 2005. He has attended Army Infantry School, Airborne School, Combat Lifesaver Course, Ranger Indoctrination Program, Pre-Ranger course thru the 75th Ranger Regiment, Ranger School, Advanced Drivers’ School, and Stryker School.

In February 2007, Spc. Young was diagnosed with malignant thyroid cancer and was unable to deploy with his unit due to his condition. After a summer of surgeries and treatment, his cancer then spread to his lymph nodes. Today, Spc. Young’s doctors’ are quite confident that after a massive dose of radiation, his cancer should have been eradicated. You can find out more about Chris’ cancer and his efforts to raise money for children with cancer at http://www.rangerforacure.info

The AOH asks that everyone hang out their American flags in support of our veterans and our troops overseas and take part in this community event.

October 22, 2007 by Jeff Meade

Music

Local Pipe Bands Win With Amazing Grace

Emerald celebrates.

It’s a fair bet that each pipe band preparing to compete Saturday at the Anne Arundel Scottish Highland Games had hoped—possibly even believed—it was truly ready.

By “ready,” I mean that each band had methodically selected three to five tunes up to a year before. Each had played the same three to five tunes over and over again, for hours at a time, week in and week out, until fingers could remember the notes even when the mind forgot them. They had incurred the ire of abandoned spouses. They had willingly submitted to the searing criticism of petulant pipe majors.

All this, for a contest measured in moments. A solid year of focused effort, sacrifice and commitment—all of it riding on one all-too-brief performance in the fading Southern Maryland sunshine. Win, place, show—or crash and burn.

Fortunately, for three Delaware-area bagpipe bands, it was a day of happy endings. The Ulster Scottish Pipe Band of Devon placed first in grade 3; the Philadelphia Emerald Society Pipe Band racked up a first in grade 4; and the Cameron Highlanders Pipe Band of Lafayette Hill notched a second in grade 4. (Pipe bands are lumped into grades so that they’re more or less evenly matched with the bands against which they might compete. Grade 5 is entry-level; grades 4 and grade 3 are more advanced; and grades 2 and 1 are reserved for the scarily good pipe bands. Not surprisingly, there are lots and lots of grade 5 bands in the United States, but there are only a few grade 1 bands.)

For those whose interests do not include the trials of bagpipe band competition (what’s wrong with you, anyway?), there were lots of other activities to keep you occupied in a Celtic sort of way, including sheep dog trials, Highland athletics, haggis eating (thanks, I’ll pass), shortbread nibbling (I’m there), music, Scottish dancing and more.

The videos:

October 17, 2007 by Jeff Meade

Music

Anúna’s Lush Harmonies Come to Annenberg

The superb Irish choral group Anúna.

Picture long, flowing robes and long, flowing pre-Raphaelite hair. (Except for the guys.) Envision silken-voiced sopranos hitting notes so high, dogs two states away stop dead in their tracks and say, “Hey, what the heck was that?”

Yup. That’s Anúna.

Even though the group has been around 20 years—exactly the same age as its youngest member—it only just made its Philadelphia debut on Friday at Penn’s Annenberg Center.

It was not a full house (unfortunately), but director John McGlynn and his band of singers made the best of it.

Anúna is currently flacking a new CD and DVD, “Celtic Origins,” and PBS stations all over the country are promoting the heck out of that performance for fund-raising purposes. No complaints there. Anything that gets the local PBS programmers off the odious André Reieu can only be a good thing.

Anúna’s live performance turns out to as thrilling as what you see on the PBS special. It’s better, actually. In live performance, Anúna takes full advantage of the whole theatre. At the show’s beginning, voices come at the audience out of the dark from all directions, rising and falling, filling the hall with superb, complex harmonies. Eventually, after a bit of mystical meandering, all the singers do wind up on stage, and pretty much remain there for the duration of the show.

In Philadelphia, the group performed several cuts form the new CD and DVD, including “Greensleeves,” “Scarborough Fair” and “I Dreamt I Dwelt in Marble Halls,” the latter performed beautifully by the smoky alto Miriam Blennerhassett, the group’s choral mistress and a founding member of Anúna.

There were also some tunes from previous CDs, including the wonder “Winter Fire and Snow,” “Dúlamán,” “Riu Riu,” “Siuil A Ruin” and the haunting “Piè Jesu.”

Small though the audience was, it was hugely appreciative, rewarding the group with a standing ovation. Anúna returned the gesture with a blazing performance of the tongue-twisting “Fionnghuala.” (If you think saying it is hard, try singing it.) If you have no idea what “Fionnghuala” is or what it sounds like, head on over to our YouTube channel for a video I recorded (not a very good one, I’m afraid) during the group’s summer promotional tour at the Center City Borders.

And, if and when Anúna shows up in your neck of the woods again, catch this very polished and memorable act.

October 16, 2007 by Jeff Meade

Music

Happy Harpers Head for the Hills

It's a full house on Saturday night.

Who knew harpers needed an escape?

I mean, there they are, playing one of the most restful musical instruments on the planet (unless Harpo’s playing), and yet they need an escape? Why, your average Celtic harper could teach Perry Como to relax. (Yes, I know … given that the old crooner has been dead the past six years, it would be hard to be more relaxed.)

But I digress.

The point is, harpers from throughout the Delaware Valley (and probably beyond) are about to head to the Poconos for their 15th Annual Harpers Escape Weekend. It takes place Oct. 12-14 at The Country Place Retreat and Conference Center in White Haven.

It’s not actually an escape from anything other than the distractions of everyday life. It’s really more like a total-immersion retreat for people who love and play the Celtic harp, at all levels. In a series of small classes led by some of the world’s finest players and teachers, including Grainne Hambly, Bill Jackson, Kathy DeAngelo, Debbie Brewin-Wilson, and Sharon Knowles, harpers will get a chance to hone their skills—and just spend time with other people who are as passionate as they are about this lovely, ancient instrument.

DeAngelo and Brewin-Wilson hatched the idea.

“Debbie and I were sitting around playing harps one weekend in 1992 and trying to rehearse for a gig but we were constantly interrupted by various household events,” says Kathy. “We thought it would be a great idea to escape for a weekend where we’d only be playing harp. We figured if we could get a few other people to join us it would be a lot of fun. We initially convinced some of our students and some total strangers to trek down to Cape May.

“Little did I know that, when we did the first weekend in 1993 at a small B&B down in Cape May with nine other players, that it would turn into a regular tradition. The Harpers Escape was a pioneering event and the model for many other harp weekends.”

The Escape has had several venues over the years, including Spring Lake, N.J., and Ocean Grove, where until last year it was headquartered at the Manchester Inn. But the Escape keeps growing, so this year, the harpers head to the hills.

“We have more space this year and more teachers and hopefully we’ll get more people to come—but we’re still dedicated to having small classes,” says Kathy.

Almost 60 percent of the attendees are alumni, she adds. Pretty clearly, the experience resonates. “Our motto has been ‘harp till you drop,’ and we mean it,” Kathy says. “We try to get the ‘shy’ players to not feel so self-conscious about playing and just realize that they can have a good time playing. We have everybody from inexperienced players to really experienced players—all giving each other encouragement and taking joy in the instrument and the music. Everybody has something to contribute.”

October 5, 2007 by Jeff Meade

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