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Ireland’s Loss, Our Gain

Laurence Banville grew up in the tiny townland of Ballykerogue, a few miles from the Kennedy family homestead of New Ross in County Wexford. For the first few years of his life, Banville’s family owned a pig farm. “That’s before my dad became a builder,” he recalls, “until I was about 5 or 6. I do remember the smells and all that.”

We all have to start somewhere and, although the farm really played a minor role in Banville’s early life, that was his beginning.

Laurence Banville

Laurence Banville

Banville has come a long way from Ballykerogue, and not just in air miles. Today, this son of a rural Irish contractor is an attorney with the Center City Philadelphia firm of Willbraham Lawler & Buba, specializing in asbestos defense litigation. He has a bachelor of law degree from University College Dublin and was admitted to the New York state bar in 2009. Banville works on New York asbestos cases from Philadelphia. He is also the founding chairman of the nascent Irish Network-Philadelphia.

That he would wind up practicing law, and in the United States, is not much of a surprise to Banville. He wasn’t drawn to the law at first, but it wasn’t long before the cool logic and fact patterns of the law began to appeal to this analytical young man.

“When I went looking at all the various degrees that were available in the country, I found the program at University College Dublin, which was business and law combined,” he says. “I figured it was a safe option. I was curious about law, but obviously I’d never studied or practiced it before, so (if things didn’t work out) I decided I could always fall back on the business side of things. But after sitting in a few courses, I found the law more interesting than the business.”

Banville would go on to graduate from the program with honors in 2008. but early on in his academic career, it was clear that Banville wasn’t likely to return home to Ballykerogue for a small local practice dealing in wills and probate, traffic accidents and property transactions.

In 2006 he landed a spot in a prestigious exchange program at the Université catholique de Louvain in Belgium (classes were in French), and he stayed on for a summer associate posting at the huge international law firm Cleary Gottlieb Steen & Hamilton in Brussels. Next up, in 2007, a stint as summer associate at Ireland’s prestigious commerical law firm Matheson Ormsby Prentice in Dublin.

Somewhere along the way, he found time to create a small company called Roasted Promotions, described as “an Irish partnership offering student-focused advertising in Dublin’s entertainment industry.”

Laurence Banville was one busy young fella. But it was his international experience that most opened his eyes to future possibilities. “”Ever since I went to Belgium,” he says, “I knew I wouldn’t stay in Ireland. I really like living in other countries with different cultures and different diversity.”

It was while at Cleary Gottlieb that someone told him he ought to investigate the practice of law in the United States. So, in 2008, he sought and earned another summer associate position, this time at the Westmont, N.J., firm of Brown & Connery. And shortly thereafter, the bar exam in New York.

It was love that brought him to Philadelphia. His girlfriend Brooke Holdsworth lived here, so he sought a position in the city … and that brought him to his current firm, and the asbestos work.

Believe it or not, even though various federal agencies started banning asbestos in the late 1970s, there’s still plenty of asbestos litigation. “There’s a 40-year latency period with asbestos, he says. [That’s the time between exposure and the onset of mesothelioma, a cancer attributed to asbestos exposure.] Currently we are seeing more secondary exposure cases, like wives who washed the clothes of their husbands who worked with asbestos.”

At this early stage of his career, asbestos law is the focal point, but Banville is open to whatever comes next. “I’m pretty flexible. I’ve practiced in a number of different areas of law–antitrust, mergers, corporate takeover work.”

it was probably only a matter of time before the Irish-born attorney made his way into the Philadelphia Brehon Law Society–an organization of lawyers and judges of Irish descent. “The only support group I had in Philadelphia was the Brehons,” he says. “If it weren’t for the law, I wouldn’t have known where to go for support.”

And then, back around St. Patrick’s Day, Banville helped form another welcoming organization when he joined with several other Irish and Irish-Americans to create Irish Network-Philadelphia (IN-Philly), a local chapter of an organization to which he had belonged in New York. “When I was in New York, it (the Irish Network) was one of the first events I went to,” he says. “I liked the diverse ‘boots to suits’ nature of the group and the laid-back attitude toward networking that the group in New York had. They were very welcoming, and that was really helpful. So when I was asked to look into seeing whether an Irish Network would be good for Philadelphia, I thought it would be a great idea.”

Obviously, Banville is far from alone in guiding IN-Philly through its formative stages. But with someone with such a strong creative spirit and drive at the helm, IN-Philly is bound to be just what Banville predicts: one great idea.

Edel Fox
Music, People

Trad Music’s Newest Shining Star

Edel Fox

Edel Fox

To describe the concertina playing of Edel Fox is really to describe the woman herself: joyful, masterful, brilliant, engaging and effortlessly seductive.

At 24, her accomplishments and accolades are beyond the pale…and completely justified. The release of her first solo CD, “Chords & Beryls” coincides with her sixth summer spent touring the States, an annual tradition since she began playing and teaching at The Catskills Irish Arts Week. This year, Fox and Connemara fiddlers Liz and Yvonne Kane embarked on a collaborative concert tour that found them in Philadelphia last week for a Philadelphia Ceili Group performance.

“The name of the CD came from my grandmother and my aunt, who represent an older generation of the music,” Fox explained. “A beryl is a variation in the melody, a twist in the tune. “The Reel with the Beryl” is a tune by Mrs. Crotty–she was a very prominent exponent of the concertina. Herself and Aggie White and Mrs. Harrington all helped to put women on the map in terms of trad music in the 1950s and 60s. They were among the first to play in public. It really was a starting point for Irish women in music, allowing them to gain prominence on an instrument.”

By the age of seven, Fox was already gaining prominence on her concertina in her hometown of Miltown Malbay, County Clare, where her teachers included Noel Hill, Dymphna O’Sullivan, Tim Collins and Tony O’Connell. In 2004, Fox was named the TG4 Young Musician of the Year, and in 2006 she and fiddle player Ronan O’Flaherty recorded a CD together, aptly titled “Edel Fox & Ronan O’Flaherty.”

“We got so much enjoyment from doing that CD,” Fox said. “We were both very naïve to the whole process, but we loved being able to create something that people enjoyed.”

“I never felt ready to go into the studio to record my own CD, it really felt quite daunting. But last summer in the car ride up from Elkins, West Virginia to The Catskills, I was traveling with Liz and Yvonne, and they said, ‘You should do a solo album and have it ready for next summer so we can tour.’”

“Around Christmas I got on the ball,” Fox laughed. “I recorded in a studio in Miltown Malbay from January to April. I just needed a little push. I’m slow to do something, but once I put my head down it comes easy enough. I just need a little encouragement, that’s all.”

“I’d been learning a lot of tunes, some of them came from Bobby Casey, and there’s a few newer tunes as well. It’s quite a mix of stuff.”

Quite a lovely mix of stuff, and quite a lovely mix of musicians as well. Joining Edel on her cd are Jack Talty, Padraic O’Reilly, Mick Connelly, Brian Mooney, Johnny Ringo McDonagh and Una McLaughlin.

[And because I’m the writer, and I get to have favorites, this is where I mention that “The Joyous Waltz” which Edel plays with Jackie Daly on her album, is the track most listened to on my copy of the CD. It’s absolutely gorgeous. I’m also partial to the reels “The Honeymoon/Lough Mountain/Love at the Endngs.” But the tune that wins best title award is definitely “Kitty Got a Clinking Coming From the Fair.” On her CD notes, Edel writes that she has yet to find out what a “clinking” is.]

“It was a funny time of year. I’d been working for two years on getting my Masters degree in music therapy, and my final semester was this past January to May. But that’s a typical me thing to do, I work better under pressure instead of spreading it out,” Fox explained.

“I’m qualified to practice the psychotherapy and psychology of music. I really love it, using music to help people with social and emotional difficulties. My work experiences include counseling adults in a psychiatric unit and adolescents in a care home. Every client, every patient, has different needs…but they have problems expressing emotions or communicating verbally. Music can help with that, whether through listening, songwriting, instrument-playing. Sometimes it’s through improvisation—musical or percussive. It’s about bringing two people in one place together to create communication.”

In addition to her studies and album recording, this past spring Fox also continued the teaching that she’s been doing since she herself was 16.

“I teach concertina five evenings a week, from 4 or 5 until 9 at night. It’s so different from the work I do as a therapist. Teaching is about how to do ornamentation, it’s directive while the therapy is collaborative. It’s challenging, but I absolutely love it.”

“I started teaching at The Catskills my first summer there. My first time coming to The States was when I was 17, with the Comhaltas tour. I met so many people out of that, and got asked back to do gigs, and to do The Irish Arts Week the next year. It’s been great.”

Playing the 1896 Jeffries concertina that she bought from a dealer in England eight years ago (“I love the tone of an older instrument, nothing is better than the tone of a mature concertina”), Fox will soon return to Ireland to begin her Irish tour with The Kane Sisters, promoting their CDs at home. With September and the start of the teaching year right around the corner, Edel is poised to return to the busy schedule she knows and thrives on.

“I’ll be job hunting,” Fox laughed. “But I’ll have plenty to keep me busy. I love it.”

Music

No Rivalry Here: A Chat With Trad’s Top Sister Act

The Kane Sisters

The Kane Sisters

Seamless. Synchronized. Fluid. Flowing. Liz and Yvonne Kane are well used to hearing adjectives like these bestowed upon their beautifully matched fiddle playing. So it’s no mystery where The Kane Sisters got the name for their new CD, “Side By Side.”

“We get that all the time,” Yvonne laughed. “It’s a sibling thing, like. I think it happens for any siblings at all when they play together. Seamus and Manus McGuire are like that when they play. It’s nothing you could plan, it just happens naturally.”

The Kane Sisters, along with concertina player Edel Fox, are playing a Philadelphia Ceili Group concert at The Irish Center this Sunday, August 1, as part of their summer tour of the United States. It’s a routine that has become an anticipated annual follow-up to their presence at The Catskills Irish Arts Week.

“This was our fifth year in The Catskills, Paul Keating has kept asking us back,” Yvonne said. “It’s been great. And for the last three years, we’ve been down in Elkins, West Virginia, [for Irish/Celtic Week]. And then we do a few gigs.”

And this year, they launched “Side By Side,” their third CD, in The Catskills. It’s been six years since the release of their last CD, “Under the Diamond.”

“It didn’t feel like that long…but when we left the Catskills last year, we said, ‘We need to get to work on a new album.’ And we’ve gotten to know Edel through playing at CIAW. She was working on her first CD, ‘Chords & Beryls,’ so we also said, ‘We have to tour together next summer.’”

“It feels weird to have launched the album over here first… it hasn’t launched at home yet. We were supposed to launch it at Miltown Malbay, but we didn’t get the CDs until the day before we left for the States. But once we’re back home, we’ve got a good list of gigs beginning August 11th.”

Home for The Kane Sisters is their birthplace of Letterfrack in North Connemara.

“We love living there. We both lived away for a number of years. I was in Galway for 11 years, and Liz was in Cork for six years, then Galway for five. We’ve been back for nearly four years.”

“During the school year, we both teach… we love it. We have about 180 students, both kids and adults, and we travel all around Connemara. Liz commutes throughout South Connemara, and I have students in North Connemara… Clifden, Letterfrack, Inishbofin.”

Inishbofin? The island about five miles off the coast of Connemara?

“Yes,” Yvonne laughed. “I’ve got 10 amazing students out there… there’s only 18 kids in the entire school. I love going out there, and although I do now draw the line at taking the ferry in the bad weather, I have gotten on it before on bad days!”

Their musical heritage is steeped in the rich sounds of Ireland’s West. Their first instrument was the whistle because “everybody starts off playing tin whistles in school, whether you want to or not.”

They then moved on to the fiddle, being taught by musician Mary Finn as well as their grandfather, local fiddle player Jimmy Mullen.

“He would have us listening to all kinds of tunes. He just loved great tunes, flowing tunes. Like Michael Coleman from County Sligo, and Finbarr Dwyer.”

And they are much influenced by Paddy Fahey.

“He’s got great rhythm in his tunes… the East Galway fiddle style has got a good lift to it, similar to East Clare. The style’s not necessarily a slower one, I don’t know why people say that.”

The new CD, in addition to having tunes composed by Paddy Fahey, Finbarr Dwyer, Paddy O’Brien and Martin Mulhaire, also has three tunes composed by Liz.

“She’s the one who writes,” Yvonne explained. “I haven’t taken to it yet, but you never know…”

“When we make an album, we usually like to root and find new tunes, or tunes that haven’t been recorded. We’re always on the lookout for new tunes. We don’t work well unless we’re under pressure,” Yvonne acknowledged. “We’d be gone during the day teaching, and then we’d practice the tunes starting at 11 at night for about a week before we began recording, so the tunes were fresh in our minds.”

“We keep changing up the tunes all the time… we like changing the key of tunes, it makes them brighter, more enjoyable to play.”

And this time, esteemed musician and producer (and grandson of songbird Delia Murphy) Ronan Browne brought the recording studio to them.

“Ronan has a mobile recording studio, so we were able to sit at Liz’s house and record the tunes. We had great fun recording this CD… it probably has a different sound from the others, more of a live sound.”

And they are not alone; they are joined on “Side By Side” by Patsy Broderick on piano, Mick Conneely on Bouzouki, Dáith Sproule on Guitar and Ottawa Valley Step Dancer Nathan Pilatzke.

In fact, Nathan Pilatzke will be joining Liz and Yvonne and Edel onstage for some of the PCG concert, and his footwork is not to be missed. Seeing him dance last year in The Catskills was a thoroughly memorable experience.

And one last thing not to be missed: the notable and distinctive fashion style of these three brilliant women of Irish music.

“We’re all about our style,” Yvonne laughed when I couldn’t resist bringing it up at the end of the interview. “We love our style. When we get a day off, we go out and do some mini shopping. We love the fashion in New York, but it doesn’t compare to the fashion in Ireland—it’s too good.”

Music

A New Voice You Won’t Forget

Don Stiffe

Don Stiffe

A few months ago, a friend gave me a stack of Irish CDs she liked. “You have to listen to Don Stiffe,” she said as she handed them over. “You’ve never heard a voice like his.”

It was a busy time so I stuck the CDs in a cabinet and didn’t pull them out till a few weeks ago when I was taking a car trip. I unwrapped Don Stiffe’s solo CD, “Start of a Dream,” and popped it in the CD player. Stiffe, a singer-songwriter from County Galway, was barely through the first few bars of the first track– Richard Thompson’s “Waltzing for Dreamers”– when I realized I had goosebumps. And it wasn’t the air conditioning.

Virtually unknown in the US, Stiffe is an up and coming folk singer in Ireland where he’s worked with the likes of Frankie Gavin (who produced and played on his CD), Sharon Shannon, and Lunasa’s Kevin Crawford. He’s poised to join the Keane family (Dolores and Sean), Dessy O’Halloran, and Sean Tyrell as Galway’s gift to Irish music.

Stiffe will be sharing that gift with Philadelphia audiences for the first time on Tuesday, July 20, at the Irish Center, accompanied by Gabriel Donohue, another of Galway’s finest.

“Dolores Keane was a big influence on me growing up,” he told me a few weeks ago on the phone from Ireland. “I don’t live far from the Keanes—maybe 15 miles. I also loved Luke Kelly [one of Ireland’s greatest folk artists] though I would never try his approach to the music.”

Yet, like Keane and Kelly, Stiffe’s voice has that same complex mix of smooth and rough, like an Aran sweater. Like them, no matter what he’s singing—there are a couple of Richard Thompson tracks on his CD, four of his own songs, and even his take on Nat King Cole’s classic “Mona Lisa”—it becomes an irresistible siren song, rich with emotion, stirring, soul-satisfying.

Unlike many Irish singers, Stiffe does not come from a family of musicians. “Oh, my Mum and Dad will sing a song if they’re out at function, but I’m not from a musical family,” he says. “My Dad bought me a guitar when 7-8 years old. I had two lessons. I kept thinking, how am I going to get around all the stringy things on the guitar? After a few years came together. But I was always singing. I played in a local brass band in Galway City and I was always listening to an abundance of music.”

I asked Stiffe about the songs he chose for “Start of a Dream.”

“Most of them are diaspora songs—songs about longing for home,” I said.

“I lived in the States in the 90s,” he told me. “I was in Boston for two years and in St. Louis for a few months. I worked for a few different companies, doing landscaping, doing contruction as we all do.” He laughed. “But while I was there I was playing the circuit around the Boston area and in St. Louis.” While in St. Louis, he played with legendary accordian player Joe Burke who dubbed him “The Bard of Bohermore,” acknowledging the poetry of Stiffe’s lyrics.

Take, for example, “Grosse Isle,” which tells the story of the Irish immigrants, fleeing Ireland’s An gorta mor—the Great Hunger–who landed on this little island (Grosse-Ile) 30 miles east of Quebec City that was designated a quarantine station to prevent the spread of cholera. Today, a tall Celtic cross greets visitors to the island where an estimated 6,000 Irish are buried.

“In their thousands they died on the island of sorrow
Not from the under, but the feverish course
They left pillage behind them, in the land they loved dearest
But to land is Gross Isle, to die in the dirt.”

“I had been reading about the people who left Ireland in the coffin ships, only to land in Gross Isle and die there,” he explained. “I was really moved by it. . . I could go months without writing a song because it can’t be fictitious. It has to be the truth of the story.”

It’s my favorite track on the CD—that and Stiffe’s take on Richard Thompson’s poignant, “Dimming of the Day.” I first heard the song on a Bonnie Raitt album and loved it. Stiffe’s version is just as good. He’s joined on the track by singer Fionnuaula Deacy.

“That one got an award from Irish Music Magazine,” he acknowledges. “It’s a tricky slope doing a cover song. People listen to it and they want it to sound like the version they heard.”

Even if it’s your favorite song, Stiffe—who promised to sing it on Tuesday—you won’t be disappointed. And even if it’s 98 degrees and steamy, don’t forget your sweater. For the goosebumps.

People

Get Ready to Be Inspired

Kathy Orr and Kathy McGee Burns

Two honorees, Kathy Orr and Kathy McGee Burns.

They say it’s a man’s world.

They obviously do not know what they are talking about. Smart, strong, brave, loving, gifted, creative, compassionate women are at the heart of most of society’s institutions. And they’ve long been a driving force within the Irish community.

We know this, and we are inspired by their example. And on Sunday 11 of those wonderful, inspiring Irish women will be honored.

The Society of Commodore John Barry and the Irish Immigration Center of Greater Philadelphia commissioned artist Patrick Gallagher to create a series of portraits of inspirational Irish and Irish-American Women from the Delaware Valley. Their portraits will be unveiled at a reception at the Irish Center, 6815 Emlen Street, Philadelphia.

The Inspirational Irish Women reception begins at 4 p.m. and lasts until 7.

The portraits will remain on public exhibit in the Commodore Barry Room for several months.

CBS3 Anchor Susan Barnett will emcee the event. Part of the proceeds from this event will go directly to the general operating costs of the Commodore Barry Club (The Irish Center).

We’d like to share the stories of those inspiring women with you. Here they are:

Music

From Starstruck Fan to Rising Star

Mairead Phelan

Mairead Phelan ... her Facebook profile picture.

You know you’ve really made your mark on a band when they name a song after you. On “The Turning Tide,” the most recent offering from the Irish-American supergroup Solas, the sixth track composed by fiddler Winnie Horan is entitled “A Waltz for Máiréad,” after Máiréad Phelan, the young singer from Kilkenny who stepped into the breach after the departure of Deirdre Scanlan in 2008. (Rumor has it that Horan also considered naming it the Caprese Waltz because she likes the salad, but never mind.)

“It’s so sweet to have a tune named after you,” Phelan says. “Winnie is just lovely, she feels like a sister to me.” However, she’s quick to add that the band, both on tour and in the studio, is not about divisions. “It doesn’t really feel like the boys and the girls at all. We don’t really feel outnumbered—we actually get treated like princesses!”

Unlike Scanlan, who mentions in the band’s Reunion DVD that she hadn’t initially been familiar with Solas, Phelan was a fan of their work long before she joined the band. Upon meeting the other members, “I was completely starstruck,” she admits. It’s easy to assume that coming into such a talented and well-known bunch of musicians (fine, you try to describe Solas without use of the word “supergroup,” I dare you) would be intimidating, but Phelan, surprisingly, says no.

“I had met them before at the audition, so I knew they were lovely because they made me so comfortable there in that situation, which could potentially be weird. I was just so excited and curious to see how a band I loved so much went about making music. I was definitely nervous,” she adds, “but that went away as soon as we got to actually rehearsing. It’s really a lovely way to spend your day.”

Although Phelan is remarkably candid and down-to-earth when she talks about her role in the band, you get the sense that despite the hard work and relentless touring schedule, the magic still hasn’t quite worn off for her. When you hear how she came into the band in the first place, you begin to understand why. Like Phelan, box player Mick McAuley also hails from Kilkenny. The two met while she was singing at a session there in the summer of 2007, and when Deirdre Scanlan left the band about a year later, they got in touch again.

“He asked me to send a demo CD,” she recalls, “and I didn’t have one! I had a friend who’s a guitarist, and we recorded ourselves on a mini-disc player in the bathroom, because it had an echo.” For those who are curious, the tracklist on the Máiréad Phelan Bathroom Demo included the following: Richard Thompson’s “The Dimming of the Day,” two or three traditional songs, a song from the band HEM, and one from Canadian chanteuse Feist. Here’s an odd coincidence: after recently losing her own iPod, Phelan borrowed McAuley’s only to find her own demo on it, which she hadn’t heard since it was recorded.

Like the other members of Solas, Phelan brings a wide range of musical experiences to the table. Music holds an important place in many Irish families, and hers was no exception.

“My dad plays the banjo,” she says, “And my sister’s an amazing cellist. When I was four or five, like most kids in Ireland, I was given a tin whistle. I started the flute when I was ten.” She won the All-Irelands in both flute and tin whistle when she was eleven. She also spent some years studying classical piano at the Royal Musical Academy in Dublin, but ultimately decided that that particular musical path was not for her.

“I toyed with the idea of being a classical piano player… but it was all a bit serious!” she laughs. “I also thought it was ridiculous to spend so much time talking about music instead of playing it.” Although she never received formal training as a singer, Phelan began singing when she was very young, and it was something that remained constant with her throughout her musical explorations.

“Every instrument has its perks,” she says. “Like with the piano there’s so much to work with, so many colors you can produce. But singing is very close to my heart. When I hear singers, it moves me in ways that… there’s something about singing, maybe, because it’s just purely from that person, with no medium, not a trumpet or whatever to convey what they’re feeling. Just their voice.”

From her performances on the selection of traditional and contemporary songs on “The Turning Tide,” it’s clear that Phelan has an intimate understanding of how to convey emotion with her particular vocal instrument. This is especially apparent on her haunting rendition of “Girl in the War,” a tune penned by American songwriter Josh Ritter. When the band gets together to choose songs for an album, she says, “Basically, it’s a democracy. Everybody puts in songs if they have one in mind. In this album, for example, I suggested ‘Girl in the War;’ I think Seamus (Egan, the band’s leader) suggested ‘Ghost of Tom Joad.’”

This anecdote reveals another interesting characteristic of Phelan, which is perhaps part of what makes her so versatile as a singer: her musical influences range far and wide, from female-fronted indie acts like Bat for Lashes and Florence & the Machine, to classic songwriters like Paul Simon and Bob Dylan. And of course, there’s plenty of Irish trad in there—Lunasa, At First Light, and Dervish are a few of her favorites.

What’s in Phelan’s future? Well, in the immediate future, loads of tour dates—including a show at World Café Live in Philadelphia on St. Patrick’s Day, which she’s looking forward to very much. Beyond that? “Well obviously, this is amazing, so I’ll stick it as long as I can. I just feel like the luckiest girl in the world.”

Music

Five Questions for Eamon Murray

Beoga

The supergroup Beoga. Eamon Murray is at lower right.

Beoga takes Irish traditional music and turns it on its head, flips it sideways, yanks it inside out, tosses it up in the air, twists it like a pretzel, pounds on it with a meat tenderizer, and crams it into a wood chipper just for good measure.

Don’t worry. What comes out in the end might not be anything like a straightforward rendering of “Drowsy Maggie”—they’d probably pump poor Maggie full of Red Bull and tell her to wake the hell up. What it will be, instead, is a breathtaking (no, I mean it—you’ll literally be out of breath) and massively entertaining re-imagining of Irish traditional music.

All of which you can find out for yourself Saturday when the County Antrim-based band pulls into Reading for a 7:30 p.m. concert (and an afternoon workshop) at Albright College’s MPK Chapel.

All of the band’s musicians have deep traditional roots. You can’t re-imagine the genre if you are not already intimately familiar with it in the first place.

One member of the five-piece band is Eamon Murray, the frenetic, four-time All-Ireland bodhrán champion and possessor of a head full of curls and wild ideas. We caught up with him by phone as the band made its way by van from Baltimore to Ohio. Here’s what he had to say.

Q. The one thing I want to talk about is how different your performances are from your recordings. On your recordings, there are a lot of interesting little sound effects, and you’re accompanied by trumpet, saxophone, and electric guitar—and on at least one occasion by the Prague Philharmonic Orchestra. You’re not bringing the Prague Philharmonic Orchestra along with you, are you? You don’t have a kettle drum in your bodhrán bag?

A. I would love to be able to afford to bring all those people! You have to mix it up live. You’re never going to make it sound like it does in the studio. It’s a challenge—we really enjoy doing it. The guys all take extra lines. You compensate and make it sound the best you can. It’s not necessarily a bad thing.

Q. I’m always interested in how bands got together. What’s your story?

A. We got together seven years ago; myself and Seán Óg (Graham, button accordion and guitar) were playing together. But we all knew each other and had played together. The four boys, we all grew up in roughly the same area. Myself and Sean, since we were kids, were inspired by a lot of bands, like Dervish. It was just kind of around that time, when we were 16 and 17, that we decided it was time to get a band together. A few years after that, Niamh (Dunne, on fiddle) joined us.

Q. The band’s musical tastes are, in a word, eclectic. For example, I think “Please Don’t Talk About Me When I’m Gone” was your idea. This is a song that was a big hit … in 1930. And of course, there are so many apparent influences, not just traditional Irish music, but rock and jazz and klezmer. Where does all this come from?

A. We collectively have vast influences, some a bit classical and some on the jazzy end of things. I play drum kit, so I’m influenced by pop and more mainstream music. I can’t get over Bruce Springsteen—he’s awesome. We were listening to Michael Jackson yesterday. There’s a lot of pop mainstream stuff in the van. Nobody gets too taxed listening to it.

We (also) all come from musical families. We were all surrounded by a lot of stuff when we were young. Niamh comes from a family with deep roots in traditional music, as so many young Irish musicians do. Niamh’s father is a fantastic piper, so she’d have more knowledge of old pipers’ tunes. The rest of us have very musical siblings and have music in the family somewhere. We started going to the music festivals when we were 7 or 8 years old.

Everybody comes to the table with different ideas for songs or sets. So many bands get boxed into whatever genre they’re supposed to be in. Fortunately, that hasn’t happened to us yet. It’s interesting to just be able to mix things up and take license.

Q. Your music is so different—which is a good thing—that you’ve been described in many different ways. My personal favorite comes from an Irish music magazine: “Deranged Darlings.” What’s your favorite?

A. (Laughs.) I like that one! “Deranged darlings,” at least people understand what you’re trying to do. People don’t knock it because it’s not a purist approach.

Q. You’re one of the best bodhrán players in the world. (Are you blushing now?) How did you come to it?

A. I’m not blushing! Keep it coming! I started on the bodhrán when I was 7 or 8. That was after trying lots of other instruments in which I had no interest. From there it just kind of took legs. I progressed quickly as a child. I didn’t care about practicing—I just kind of hammered on. It was all taking shape by the time I was 11 or 12.

—–

The band will host an Irish music workshop from 5 to 6 p.m. It’s free and open to the public.

Ken Gehret & Irish Mist will play in the lobby from 6:15-7:15 p.m.

Tickets at Albright College Box Office 10 a.m. – 2 p.m.: (610) 921-7547 or at the door. $25, $35, 50% student discount with valid ID, 10% group discount for 10+ tickets

Visit www.starseries.org for full event details.

Music

An Irishman, an American, and a Canadian Walk Up on the Stage. . .

Shannon Lambert-Ryan and RUNA.

Shannon Lambert-Ryan and RUNA.

What happens when the Celtic music of three artists (Shannon Lambert-Ryan, Fionan de Barra and Cheryl Prashker) from three different countries (the United States, Ireland and Canada) comes together? RUNA happens.The trio, in the relatively short time they’ve been playing together, has found a way to take traditional, and non-traditional, songs that haven’t been played in awhile and “Celtic them up,” in the words of singer Lambert-Ryan.

Take the song “Jealousy,” the title track from their recently released CD. “Jealousy was the first song we worked on last summer. Our arrangement isn’t the same as everything that’s out there…it’s edgy, quirky, fresh. All three of us have our own influences that include classical, jazz and musical theater. We don’t want to re-perform what’s already been done; we want to recreate the music and give it our own kick.”

The name RUNA means “mystery” or “secret lore,” and when the three are onstage together, there is truly a mystical quality to their playing. Prashker’s percussion, de Barra’s guitar and Lambert-Ryan’s vocals create a lyrical sound that is at once unique as well as seamless. Frequently joined by Isaac Alderson on the flute, whistle and uileann pipes, there’s a sense that the music is coming from one source instead of three different musicians.

Offstage, RUNA members share a similarly close connection with each other. Lambert-Ryan and de Barra were married in April of 2009. They met at the 2006 Philadelphia Folk Fest where de Barra was playing with the Scottish band Fiddler’s Bid.

“There was a performer’s party Saturday night and I bought her a lemonade. We met again on Sunday, and spent the day hanging out. We were friends for a long time, then when Shannon said she wanted to record a CD [her 2008 album ‘Across the Pond’], I said, ‘You have to come here [to Dublin] to record it,’” explained de Barra.

That could be arranged because de Barra, who has been Moya Brennan’s guitarist for over 10 years, had merged his own recording equipment with Brennan’s to form Mo Studios in Dublin.
“My first professional gig was with Moya and Riverdance, at Radio City Music Hall…it was purely by chance. I got asked to fill in for the guy doing it, and then got invited to play more afterwards.”

The Dublin-born de Barra claims a family full of musicians. Four out of the seven offspring make a professional living at it: brother Cormac plays the harp; Eamonn plays flute, whistle and piano and is part of the band Slide; and brother Ruairi plays guitar and whistle.

Lambert-Ryan is a Philadelphia native who spent a lot of time at The Irish Center growing up. “I took step dancing there, and then I studied voice and theater at Muhlenberg College. I fell in love with music and performing at an early age.”

It was while performing with Guy Mendilow that Shannon met up with percussionist Cheryl Prashker.

“Shannon and I both were a part of the Folk Alliance, and had met up a lot of times. I sat in with the Guy Mendilow Band, and I sometimes put together a little show where I invite other musicians to sit in. I asked Shannon to play because of her Celtic music,” explained Prashker.

Prashker, the Canadian native of the group, now calls Philadelphia home. She and husband Charles Nolan collaborated on songs that she performed while she was with the group CC Railroad. Prashker has an acclaimed background as a drummer with groups like Full Frontal Folk and Jonathan Edwards. Her CD, “It’s All About the Drums,” is a compilation of songs she’s performed with a multitude of artists over the years.
But it’s the three of them united as they play together that has created the RUNA sound.

“It’s how we play off one another, how Cheryl and Fionan play together,” Lambert-Ryan said. “Sometimes it’s changing the chord progression, or the rhythm. We’ll take something we like, and hasn’t been done too much, and change the arrangement to make it our own.”

Like, for instance, the song “Gypsies, Tramps and Thieves”
“I came home one day and Fionan said, ‘We’re going to do a Cher song,‘” Lambert-Ryan laughed. “It’s on the ‘Jealousy’ album.” And, as unexpected as it might sound, the song works completely, fitting in with the band’s repertoire and begging to be listened to on repeat.

One of RUNA’s most engaging and addictive songs can only be experienced live, it’s not on their album…a version of the traditional song “The House Carpenter” interspersed with the chorus of Dolly Parton’s “Jolene.”

“We were playing around with the ‘The House Carpenter,’ working through the verses. There are many versions of the song, and a lot of verses…we wanted to craft the song to fit our style without changing the song. At the same time, we were listening to ‘Jolene.’ One day Fionan and I were in the car and started chatting about what to do with them, and I started humming. I realized I could sing both of them in the same key, and Cheryl could add something percussive underneath,” explained Lambert-Ryan.

Fortunately, there are opportunities for the Philly audience to experience not only this version of “The House Carpenter/Jolene” but all of RUNA’s songs beginning Saturday, February 13th 8:00PM at Concerts at the Crossing, Titusville, PA. Tickets are $20, for further information call 609-406-1424.

And on Sunday, February 28th 7:30PM, RUNA will be opening for Maura O’Connell at the Sellersville Theater in Sellersville, PA. For tickets and other information, call 215-257-5808.