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CD Review: “Current Affairs” by RUNA

RUNA's latest

RUNA’s latest

When someone Irish-born describes something as “class,” they mean it’s brilliant, well done, magnificent and all of the other Thesauraus synonyms for “great.” I explain this so you know what I mean when I say that “Current Affairs,” the latest release from the Philadelphia-based Celtic band, RUNA, is class.

It’s the cap of an amazing year for this group, made up of vocalist Shannon Lambert-Ryan, her husband, Dublin-born guitarist Fionan de Barra, Canadian percussionist Cheryl Prashker, Galway native and multi-instrumentalist Dave Curley, and Kentucky-born fiddler, Maggie Estes White. In 2014, RUNA won top group and top traditional group in the Irish Music Awards and an Independent Music Award for Best Song in the World Traditional Category for “Amhrán Mhuighinse” from their last CD, “Somewhere Along the Road.”

They’re also booked at Celtic festivals from coast to coast and Canada, though with this CD, they could certainly diversify. Never afraid to color outside Celtic lines, RUNA could book folk and bluegrass festivals—maybe even the occasional jazz gathering–thanks to their artful blending of these seemingly contrasting musical influences on “Current Affairs.”

For an eclectic music lover like me, this is heaven. “Current Affairs” is like a warm, delicious stone soup, made with a little luscious bit of this and that from the group’s musical DNA. De Barra comes from a musical family and honed his skills busking in Dublin, later making his professional debut in “Riverdance,” the show that ushered in a renewed interest in Irish folk music. Lambert-Ryan learned to step dance at Philadelphia’s Irish Center, but is as at home with folk, classical, and musical theater as she is with Celtic music. Cheryl Prashker studied classical percussion at McGill University but she’s equally adept at everything from rock and roll to klezmer and jazz. Dave Curley is a traditionalist who also plays with the trad band, Slide Ireland. And RUNA’s latest killer fiddler—they appear to have a direct line to “killer fiddler” central—is Maggie Estes White, who brings her Kentucky bluegrass roots to the mix, which serves as a reminder that those roots also reach back to Celtic lands.

Also on “Current Affairs,” three Grammy award-winning guest artists: accordion player Jeff Taylor (Paul Simon, Elvis Costello) who has been a friend for years; Ron Block (Alison Krauss & Union Station), a multi-instrumentalist who plays alternative country, bluegrass, and writes gospel music; and Buddy Greene (Kentucky Thunder), who plays guitar, harmonica and, like Block, has his roots in gospel.

But you’ll also hear the spirit of Pete Seeger who died the night that RUNA recorded one of the songs he often sang, “The Banks Are Made of Marble,” by New York State apple farmer Les Rice who wrote the tune and lyrics in 1948, though it could serve as the theme song for the Occupy movement. There’s also a song, “Black River,” from Amos Lee, another Philadelphia musician, that has a touch of Negro spiritual about it, and one from English folk singer Kate Rusby, known as “the first lady of folkies” in the British Isles. Her lilting, lyrical song, “Who Will Sing Me Lullabies” seems to have been custom written for Lambert-Ryan’s classic folk soprano voice.

Lambert-Ryan and de Barra contribute an original song to the mix, “The Ruthless Wife,” loosely based on the story of Lambert-Ryan’s great-great grandfather, a Philadelphia cop who was killed in the line of duty just outside his beat near the Northern Liberties neighborhood. “We’ve taken liberties and poetic license with the story because there are too many details and it would go on forever,” said Lambert-Ryan when I spoke to her this week.

The basic story: Her great-great grandfather, James Allen Lambert, who was known as a ladies’ man, was separated from his wife and living with a young woman half his age named Rosie Gallagher. When Rosie found out he’d been killed, she was so distraught that she took poison, then thought better of it, and hired a cab to take her to Hahnemann Hospital where her lover’s body was taken. It was, alas, too late—for the both of them.

“When the city went to give me great-great grandmother his pension, she told them, ‘I don’t want that man’s pension,’” said Lambert-Ryan. “It’s a crazy story and we laughed about it for years. When Fionan and I decided to write a song for the CD, we were trying to come up with something and we looked at each other and said, ‘This is a really good story. We don’t have to look any further.’”

One of the things I’ve always loved about RUNA is their fearless reinterpretation of traditional tunes, like “The Hunter Set” on “Current Affairs,” which bursts with the step-lively influence of both Celtic and bluegrass, and “Henry Lee,” a traditional song in Ireland, Scotland, and Appalachia, which they’ve imbued with jazz and rock undertones.

It’s a fresh, exciting collection that sounds like nothing else you hear in the world of Celtic music. They’re real originals. They’re a a class act and this is a class CD.

RUNA will be debuting “Current Affairs” on Friday, June 20, at the Sellersville Theatre, 24 W Temple Ave, Sellersville. Tickets are available online.

Music, News

Penn’s Landing Irish Festival 2014

Butterfly girl

Butterfly girl

You didn’t have to be Irish to enjoy the Penn’s Landing Irish Festival.

As usual, the festival down by the river drew a diverse crowd, lots of people who were all too happy to be Irish for a day.

And they picked a good day, sunny skies against the scenic backdrop of the Delaware, with pleasure boats bouncing on the rippling water. And also providing visible proof that not all men are hearty sailors, and should definitely wear shirts.

Many of the city’s top Irish bands filled the Great Plaza with music all day.

And, hey, if you wanted to dance, who was going to stop you?

Vendors sold everything from T-shirts to wedding rings, and if you wanted a cheesesteak, a pretzel, an ice cream, or a brew, it wasn’t too hard to find them.

The day started, as it always does, with an outdoor Mass on the grounds of the Irish Memorial at Front and Chestnut.

We captured the day’s festivities with a pretty hefty photo essay.

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History, Music, News

Taking the Final Step To Recover the Victims of Duffy’s Cut

The Watson brothers, Bill and Frank, show recovered bones to former Irish Ambassador Michael Collins and his wife, Marie.

The Watson brothers, Bill and Frank, show recovered bones to former Irish Ambassador Michael Collins and his wife, Marie.

Every day, Amtrak trains traveling the Keystone Corridor near Philadelphia’s Main Line rumble over the mass grave of 50 Irish immigrants who died—or were killed—while working on this stretch of rail line, the oldest in the system, known as Duffy’s Cut.

The men—from Donegal, Derry and Tyrone—and seven others had been brought to the United States by a man named Phillip Duffy to finish this wooded stretch of rail near Malvern in the fall of 1832. In less than two months, they were all dead, some as the result the cholera pandemic, others as the result of violence.

An Irish railway worker erected a small memorial to them, which was replaced by a stone enclosure in 2004. But their memory was shrouded in myth until 2009, more than 100 years after their deaths, when Immaculata history professor William Watson, his twin brother Frank, colleague John Ahtes, former student, Earl Schandlemeier, and a team of students discovered the first human bones—two skulls, six teeth, and 80 other bones. In all, the remains of seven bodies—six men and one woman—were recovered. Forensic testing suggested that some may not have died of cholera, but were killed, in all likelihood by local vigilantes fueled not only by anti-Catholic bigotry but fear that the workers would infect the rest of the community with cholera, which is normally transmitted through water and food.

Six of the seven recovered victims were re-buried in a 2012 ceremony in West Laurel Hill Cemetery in Bala Cynwyd. One, tentatively identified through a genetic dental anomaly as John Ruddy, a 19-year-old from the Inishowen Peninsula in Donegal, was buried in a cemetery plot in Ardara, on the west coast of Donegal, donated by Vincent Gallagher, president of the Commodore Barry Society of Philadelphia. The Watson brothers arranged for a Catholic burial, which they attended.

But 50 men remain unaccounted for. Except for the tracings on ground-penetrating radar scans that appear to show air rather than dirt in an area beneath the tracks which may indicate where the earth shifted as bodies decomposed. “We had planned to just have a memorial at the wall where the bodies were buried, but a number of people working on our behalf convinced Amtrak to let us dig for them,” says Dr. Bill Watson, who is eager, he says, “to end the story of Duffy’s Cut.”

The problem is that unearthing the long-dead Irish immigrants will be expensive. Not the work itself. An Irish immigrant named Joe Devoy, founder of ARA Construction in Lancaster (as well as the music venue Tellus 360) is donating the equipment and labor—roughly $30,000 worth—to do the earthmoving over the 40 days of the project. But Amtrak is charging upwards of $15,000 in fees, largely in labor costs for engineers to review the exhumation plans and monitor the work, which must be paid upfront before any work begins. Watson and his small nonprofit organization don’t have it.

That’s why a group from Philadelphia’s Irish community, including Irish Immigration Center Executive Director Siobhan Lyons, Irish Network Philadelphia President Bethanne Killian, Irish Memorial Board President Kathy McGee Burns, and musician Gerry Timlin, are launching a fundraising campaign, the centerpiece of which is a musical fundraiser on Sunday, June 15, at Twentieth Century Club84 S. Lansdowne Avenue in Lansdowne.

Along with Timlin, performers will include John Byrne, Paraic Keane, Rosaleen McGill, Gabriel Donohue, Marin Makins, Donie Carroll, Mary Malone, Den Vykopal and others. Makins and Donohue perform their version of the song, “Duffy’s Cut” on irishphiladelphia.com’s CD, “Ceili Drive: The Music of Irish Philadelphia.” The event, which includes food and drink and raffles, costs $25. Tickets are available online.  S

ponsorships are also available via the Duffy’s Cut website. Among the current sponsors: ARA Construction (Joe Devoy), Kris Higgins, The Friendly Sons of St. Patrick, Bringhurst Funeral Home and West Laurel Cemetery, Wilbraham, Lawler, and Buba, The Irish Memorial, The Irish American Business Chamber and Network, the Philadelphia Ceili Group, The Delaware Valley Irish Hall of Fame, Mid-Ulster Construction, Infrastructure Solution Services, Kathy McGee Burns, AOH Notre Dame Division and the Joseph E. Montgomery AOH Div. 65, www.irishphiladelphia.com, “Come West Along the Road” Irish radio show on AM Radio 800 WTMR, Lougros Point Landscaping, The Vincent Gallagher Radio Show on WTMR, Curragh LLC Newbridge Silerware, Magie O’Neill’s Irish Pub and Restaurant, Con Murphy’s Irish Pub, The Plough and the Stars, Tir Na Nog Bar and Grill, Conrad O’Brien, and Brian Mengini Photography.

Watson doesn’t know eactly why the 50 men were buried apart from their seven co-workers (who included a woman who tended to the men’s laundry). “The theory is that the bodies were moved in 1870 by a man named Patrick Doyle who was a railroad gang leader when they were found during an expansion of the tracks to accommodate locomotives and larger vehicles,” he explains.

Doyle may have put a fence near the graves, which was replaced in the early 1900s with a granite block enclosure by a mid-level railway official named Martin Clement. His superiors wouldn’t permit him to erect a plaque explaining the significance of the enclosure.

Clement eventually became president of the railroad. His assistant was the Watson brothers’ grandfather, who kept the file on the Duffy’s Cut incident which the two men discovered in 2002 when going through some family papers. It was only then that they realized that there had been 57 dead immigrants buried in and around Track Mile 59. Only seven were ever mentioned. Apparently, between the time Clement worked in the railroad’s middle management till he became its president, he had become convinced of the need to keep the matter secret.

“And of course we now know why—there were murders, and fingers would have pointed at the railroad,” says Watson. A diary kept by a local woman of the time mentioned the cholera epidemic, “but that disappeared,” says Watson. “Probably because it would have embarrassed the people who were leaders in the community.”

Janet Monge, a physical anthropologist and curator of the The University of Pennsylvania Museum, plans to examine the bones recovered from this second mass grave, just as she did the other seven, though Watson says she may not be able to be as accurate.

“We may not know as much about these bodies as we do the others because Janet thinks there may be a greater range of decomposition—they may have decomposed at a faster rate than the others,” he says. Watson is anxious to say goodbye to the Duffy’s Cut site, but not because he’s tired of being a history professor doing the work of archeologist. There’s more archeology in his future. Sleuthing has turned up several other nearby sites, including one in Spring City, where Irish immigrants were buried, victims of the same cholera epidemic—and possibly, anti-Catholic violence—as the Duffy’s Cut victims. “And we can’t go there until we’re finished with Duffy’s Cut,” says Watson.

Music

The Sligo-Bound 6 Bring Out Their Sunday Best

Livia Safko, with Haley Richardson waiting in the wings.

Livia Safko, with Haley Richardson waiting in the wings.

“We’re always nervous. We just have to make sure that the worst we do is pretty good.”

It doesn’t seem like such a heavy burden for fiddler Alexander Weir, 15, of West Chester. It least it didn’t seem that way on Sunday when Alexander and five of his friends who are headed to the All-Ireland music championship this summer played at a big fund-raiser in their benefit at Molly Maguire’s in Downingtown, emceed by Terry Kane.

But playing at a fund-raiser is one thing. Standing in front of judges in Ireland, judges who are accustomed to hearing the best players in the world—most of them with the advantage of competing on their home turf—that’s another thing. But two of the Sligo-Bound 6 are world champs from last year—under-12 fiddler Haley Richardson, and Emily Safko, also in the under-12 category, on harp. These kids are used to competing, and they’re all dazzling players. You never know what might happen.

Alexander might be pretty typical of most of the kids. Competing in Ireland isn’t something he thought he’d be doing when he took up the Irish fiddle. He started playing violin at 3, and at 5 he took up Irish fiddle. He’d already been Irish dancing, and he thought it might be fun to play dance tunes. “I was just trying something out,” he says. “I thought it could be something to do in my spare time.”

It’s turned into something more than that, but Alexander’s parents are really just taking it all one day at a time. To qualify to go to Ireland, all of the kids—Emily, her sister Livia on fiddle, Alanna Griffin, a fiddler and concertina player, Haley, Alexander, and Keegan Loesel on whistle and uilleann pipes—had to place first or second in the Mid-Atlantic Fleadh Cheoil. It’s not clear who will still be playing at a competitive level years from now, so Alexander and his friends are just focusing on right now, and supporting each other—as they have for years, even though they got into Irish music at different stages, and even though there are age differences.

“Alanna is 18 and the younger ones are 10 or 11, but they’re all respectful of one another. It’s so fabulous that they have each other. They encourage each other. That’s one of the best things about Irish music,” says Alexander’s mom Katherine Ball-Weir.

And there is also this parental side benefit, she laughs: “When our friends are out on a cold, wet soccer field, we’re in a pub with a pint in front of us.”

You can find out how much fun it was, for parents and kids. Check out our photo gallery. And there’s a neat little video under that.

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Music

Review: “Echoes of Home” by Phil Coulter

coulterhomeWe’ve just suffered through one of the worst winters in memory. I still have a 50-pound bag of rock salt standing by in the garage. I don’t believe it’s really over.

I’ve been listening to “Echoes of Home: The Most Glorious Celtic Melodies,” a relatively new release by the prolific Phil Coulter. It’s a collection of lush, tranquil and very thoughtful piano solos—with a little help from some heavy hitters like Moya Brennan, Billy Connolly, and one of our favorites, Finbar Furey. And I found myself thinking—this album would have been just the ticket on one of those cold, snowy nights. A splash of whiskey, the lights down low, a warm sweater—and Phil Coulter playing away quietly in the background.

Most people describe what Coulter does as New Age. It’s easy to dismiss the genre as just a bit of tinkly mood music. Sometimes, really, that’s all it is. Singularly unsatisfying. Anyway, it’s not my everyday, go-to genre, but—as on those blustery nights—nothing else that fills the bill quite as well.

“Echoes of Home” is understated. And it’s a recording of piano solos, so of course it’s not overly orchestrated. If you didn’t know what you were listening to, you’d think Phil Coulter wasn’t working very hard. But it takes a deft hand to take relatively complex musical themes and transform them into something light, airy, almost fragile—like spun sugar sculpture.

The album opens with “The Flower of Magherally,” and it sets the tone for everything that comes after it. (There are 15 tracks.) Coulter doesn’t get in the way of the tune. He sits back and lets the tune’s inherent sweetness stand on its own.

You might also appreciate Coulter’s take on “Minstrel Boy.” I play drums in an Irish pipe band, and if I never hear “Minstrel Boy” again, it will be too soon. I mostly liked Coulter’s version. “Minstrel Boy” is an anthem, one of the earliest patriotic songs. That approach has its place, but that’s about the only approach you ever hear. In Coulter’s case, “Minstrel Boy” becomes more of an air than an anthem. It’s a nice rendering, but ultimately manipulatively and obviously sentimental. Not so much spun sugar as saccharine.

Coulter redeems himself on several other tracks, including “David at the White Rock,” a traditional Welsh air. It’s a particularly evocative and inventive performance. There were moments where it was easy to believe you were listening to a Regency era piano sonata. (Think Jane Austen.) It’d the best, most fully realize piece on the album.

Now let’s talk about the second best—although, frankly, it could be a tie. Finbar Furey plays both low whistle and uilleann pipes (not at the same time), and in this moody little piece, Coulter takes a back seat and let’s Furey’s performance shine through.

Another collaboration didn’t work out as well. Moya Brennan’s performance on harp in “The Lass of Aughrim” seems like an afterthought. At the very end, she chimes in with a bit of gratuitous humming. She’s wasted on this track.

While we’re on the subject of tracks I didn’t much care for, let’s add “The First Time Ever I Saw Your Face.” I don’t care that it’s not Celtic. But it matters very much that it adds nothing new. It’s a plodding, straightforward—too straightforward—rendition of a tune that most of us already know too well. As performed by  Roberta Flack on her classic album “First Take,” it’s a classic. If you can’t do it better, don’t bother. (Michael Bolton, take note.)

Those are really the only false notes on what is otherwise, as the title suggests, a glorious collection.

The album ends with a spare and lovely “Farewell to Inishowen.” Coulter is accompanied by Paul Brady on low whistle. It’s a gentle, crystalline coda, more prayer than piano solo.

And if you’re not well and truly relaxed and completely at peace with the world by then, well, it might be time for another small whiskey.

Dance, Music

Just Singing AFTER the Rain

Fiddler Maura Dwyer of the John Byrne Band ... surprise!

Fiddler Maura Dwyer of the John Byrne Band … surprise!

It was the Philadelphia Fleadh that almost didn’t happen.

Last Friday, Pennypack Park in the Northeast—the site of Philly’s huge festival of music, dance and culture, scheduled for the very next day—was a waterlogged mess. The Pennypack Creek, which winds through the park, had overflowed its banks after a week’s worth of heavy rain.

C.J. Mills is a partner, with Frank Daly, in American Paddy’s Productions, which put on the festival. It was the second. Mills summed up the situation in a nutshell:  “There was mud and water everywhere.

”At that point, Mills and Daly knew they had their work cut out for them.

“If this festival had been one day earlier,” said Daly, “I don’t know if we could have pulled it off.”

For one thing, he said, the stage surrounding the main stage—right on the banks of the Pennypack—was a sea of shoe-sucking mud. It’s hard to dance in mud.

City workers with heavy equipment—along with Mills, Daly, family and Fleadh volunteers—labored all day Friday in the muck, trying to get the park ready for the hundreds of visitors expected to flood into the festival, so to speak, on Saturday.

Through it all, Daly and Mills kept the faith.

“We put in a request about six months ago,” Mills said. “We had no doubt that it was going to be sunny and 73. Weather insurance is expensive, so we prayed a lot.”

All that praying worked. Saturday dawned sunny and clear, and you’d never have guessed that there’d ever been a problem. And the second Philadelphia Fleadh went on right on schedule. (Massive amount of photos, below.)

Walking down the winding path into the park, you could hear the music pounding out of the Ed Kelly Amphitheatre all day—The Mahones, The John Byrne Band, The Birmingham Six, Burning Bridget Cleary, The Shantys, and we could go on—14 bands in all, compared to nine last year.

And there were plenty of people strolling, and in some cases dancing, down that path. Daly and Mills weren’t sure precisely how many, but early afternoon they were certain that the second Fleadh was turning out to be a bigger draw than the first. “Attendance is definitely higher than last year at this time,” said Daly. “Last year, we had 3,000, and we think we’re going to do more this year. And we’re running on schedule—which is a shock.”

A new feature this year probably boosted attendance this year, Mills said. A Feis—an Irish dance competition hosted by the Celtic Flame School of Irish Dance—drew about 120 dancers, but also a host of family, friends and fans. Kids, mostly girls of all ages in curls and sparkly dresses, took to the stage in a sunlit meadow surrounded by tall trees. So much nicer than a musty hall somewhere.

More bands played in their very own sunlit meadow just across a wooden bridge from the Feis. No amphitheater in this case, just a stage, but that meadow was filled with folks in lawn chairs—and more than a few up on their feet, dancing away.

Traditional musicians churned out their own brand of Irish music in an overheated tent, but no one seemed to mind the temperature.

Ten vendors peddled their T-shirts, hats, jewelry, kilts, glassware, gifts and more throughout the grounds, and if you wanted great food or, say, a cold brew—no problem. There was plenty to go around.

The whole show ended with an 8 p.m. show featuring lead fiddler Mills’ and lead singer Daly’s own band, Jamison.

Getting a good cross-section of the Irish community in on the act was a priority this year, says Mills.

“You have the Philadelphia Ceili Group, you have punk rock,” he said. “Every aspect of Philly Irish, we tried to hit it. We wanted to get all of those groups in here today, including parts of the Philly Irish-American world that I’m not a part of.”

It was a lot to manage, but the whole operation went off with clockwork efficiency. Calls over their walkie-talkies kept them running, but Daly and Mills actually seemed relaxed.

“We have a ton of volunteers. By the second year, it’s become a machine, already wound up,” said Daly. We learned everything last year. We felt then like we were making something out of nothing. We learned every part of it—dealing with bands, dealing with volunteers, dealing with public relations. Other people saw what we did, and they wanted to jump at it this year.00

“This is bigger than C.J. and me now. This year, other people are running us.”

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Music, News, People

Fleadh Winners Are Sligo-Bound

The Sligo-bound six: Bottom, Emily and Livia Safko and Haley Richardson; top, Alanna Griffin, Keegan Loesel, and Alexander Weir

The Sligo-bound six: Bottom, Emily and Livia Safko and Haley Richardson; top, Alanna Griffin, Keegan Loesel, and Alexander Weir

Eight young traditional Irish musicians from the Philadelphia are have qualified to compete in Sligo, Ireland, in August at the Fleadh Cheoil na nEireann—the All-Ireland music championships.

Two world champions from last year’s Fleadh in Derry, fiddler Haley Richardson of Pittsgrove, NJ, who was the under-12 fiddle champion, harpist Emily Safko of Medford, NJ, who placed first in under-12 in harp,  will be returning to compete against dozens of other qualifiers from around Ireland and the world August 11-17.  They earned their berths at the recent Mid-Atlantic Fleadh in Parsipanny, NJ, sponsored by the Comhaltas Ceoltoiri Eireann, an organization that supports Irish music, dance and culture worldwide.

Richardson placed first in under 12 fiddle, under 12 fiddle slow airs, and under 15 trio with two other solo qualifiers, Keegan Loesel and Alexander Weir. Emily placed 1st in both Under 15 Harp and Harp Slow Airs and her sister, Livia, placed first in under 12 concertina and second in under 12 fiddle slow airs.

Also Sligo-bound are Keegan Loesel, 14, of Kennett Square, who plays uillean pipes and whistles and walked away with a first in Under 15 Whistle slow airs, third in Under 15 Whistle, first in Under 15 uilleann pipes slow airs, second in under 15 uilleannn Pipes, first in under 15 duet with fiddler Alexander Weir, and first in Under 15 Trio with Haley Richardson & Alex Weir; Alexander Weir, 15, of West Chester, who brought home a  first in under 15 fiddle slow airs, first in under 15 duet with Keegan Loesel, and first in under 15 trio with Loesel and Richardson; and Alanna Griffin, 18, who also fiddle and concertina, placed second in under 18 concertina.

There will be a fundraising brunch on May 18 at  Molly Maguire’s Pub, 202 East Lancaster Avenue, in Downingtown to help defray the traveling costs of the “Sligo-bound Six,” as they’re calling themselves, with a concert and session. Plans are also underway for two other fundraisers, one in Sewell, NJ, and the other in Philadelphia.

Three other local harpists also won places in their divisions—Caroline Bouvier, 8, of Merchantville, NJ, placed third in the under 12s in her first year of competing; Kerry White, 16, of Vorhees, placed third in the 15-18 age group; and Katherine Highet, 27, placed second in the over 18 group.

The three are students of Kathy DeAngelo who, with her husband, Dennis Gormley, was inducted in the Mid-Atlantic Comhaltas division’s Hall of Fame  during the Fleadh. DeAngelo and Gormley have worked with the other qualifiers in The Next Generation, a program they started with Chris Brennan-Hagy to foster the skills of youngsters interested in performing Irish music. The group meets every second Sunday of the month at the Irish Center in Philadelphia.

“The Hall of Fame event was amazing,” said  DeAngelo this week. “We were so surprised and thrilled to see such a large turnout of friends, family, and supporters from the South Jersey and Philadelphia area.”

When they performed, they made sure it was Philly style. DeAngelo explains:

“We  first played a set of reels that we learned from the playing of Ed McDermott [a Leitrim-born Irish traditional musician who settled in New York and later, New Jersey; De Angelo was his student]. Next we had several members of the Next Generation (Alanna Griffin, Mike Glennan, Patrick Glennan) and our friend Bob Glennan join us for a set of jigs composed by Junior Crehan, in a nod to our late friend Liz Crehan Anderson who was a founding member of the Delaware Valley Comhaltas Ceoltoiri Eirann.

“For our third number, we had more Next Gen musicians (Kerry White and Alex Weir) join us and we acknowledged Kevin McGillian in the audience, another Hall of Famer from the Philadelphia area. We launched into a set of reels we taught the youngsters that we learned from Kevin, and which they performed on the “Ceili Drive” CD by irishphiladelphia.com, the Travers and Tinker’s Daughter set. It was awesome,” she said.

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Music

Help Bring a Hot New Band to the Philadelphia Ceili Group Festival

FullSet

FullSet

It’s time to pay the piper.

And the fiddler, accordion player, flutist, guitarist, and bodhran player.

In short, the entire band known as FullSet.

You can bring this exciting ensemble of scary-good young musicians to the 40th annual Philadelphia Ceili Group Festival in early September … but the time to raise the cash necessary to hire the band is running short.

The Ceili Group is racing to meet a tight deadline to raise a minimum of $4,000, a substantial chunk of which is required to hire FullSet for the Ceili Group, a three-day extravaganza of Irish music, dance and culture, and one of the highlights of the Philadelphia folk scene.

“We have to have the goal raised by April 1 in order to book FullSet,” says Ceili Group Rosaleen McGill, the Ceili Group member who heard about the band and suggested featuring them at the festival. “Right now, they’re on a contingency. If we can’t meet the goal, we’ll have to release them.”

To bring in the bucks, the Ceili Group is turning to crowd-funding—typically, raising small amounts of cash online with the help of a large number of contributors. There are many crowd-funding websites. The Ceili Group is using a site called indiegogo.

“This is the way a lot of people are raising funds like that,” says McGill. “It’s a reasonable goal. I really trust in our community to help us raise the money and support the festival. The Ceili Group has touched a lot of people. We have a history of 40 years, bringing musicians over to Philadelphia before they hit it big. FullSet is affordable. They’re just coming up. They were up in Bethlehem at the Celtic Connections Festival last year. We’re hoping to tap into anyone who saw them up there.”

There’s another reason to bring FullSet to Philly, aside from their formidable performance skills. They also happen to be great teachers, says McGill. One of the highlights of the festival is the opportunity for up close and personal musical instrument instruction by performers. Some of the world’s finest Irish traditional musicians have shared their knowledge at the event, so making the musicians of FullSet available for workshops to is a real bonus.

Another great musician, the world-renowned singer Seán Keane, has already been booked.

Aside from the money required to hire FullSet, McGill says the Ceili Group hopes to apply some of the website contributions toward improving festival publicity.

“Last year, when we had a grant (from Pew), we did a lot of ads, and they seemed to really get people in the door. That’s another thing we were really going for. The more money we raise, the more if those ad opportunities we can get.”

As of today, the Ceili Group has raised $750 toward its goal, with 39 days left in the campaign. You can help close the gap. Visit igg.me/at/pcg40thfestival