Pay The Reckoning
Interviews
New Interviews
New The Blythe Hill Tavern Session
Aidan Crossey's Irish Mandolin Vol One
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Pay The Reckoning's Interviews section was launched in February 2004. Musicians whose output we have reviewed in our Reviews section talk about their influences, recall some great moments from their musical careers and offer advice to players commencing the journey into traditional music. Read and enjoy. You'll find the thoughts touching, amusing and, we hope, inspirational in equal measure.
Thanks to the musicians who have taken the time to contribute so far. Pay The Reckoning is in your debt!
JOE HENNON (Shantalla)
Joe is the guitarist with Shantalla whose latest album, "Seven Evenings, Seven Mornings" is a belter of the highest order. Comprising talents from Scotland and Ireland, based in Belgium, Shantalla's cosmopolitan make-up is accentuated by the fact that the members all came to "the music" via different routes.
1. Who was, or were, your biggest influence(s) when you were starting out at the music?
I'm probably an unusual case in that I came to traditional music late, having previously been a rock musician. Early influences would have been guitar players like Rory Gallagher, Pete Townsend, David Gilmour etc. As regards traditional music, early influences were definitely Horslips and Alan Stivell, both of whom were doing it with drums, bass, electric guitar etc. Later I heard The Bothy Band and Planxty and I loved both of them. When I started playing trad seriously, I'm sure Micheal O Domhnaill's style of accompaniment had an influence on my approach and choice of tuning (DADGAD), whether conscious or otherwise. I still love the way he powers the fast tunes along without getting in the way, and I love his subtlety on the slow stuff.
2. Can you remember the first tune/set/song/sang that you played in front of other musicians? What was it? Where was it? Did you get through unscathed?
No, haven't a clue! I must have got through it though (or else I have a thick skin) because it didn't put me off!
3. Any musical moments that you've been involved in that will stick with you in your memory for ever?
Lots of them. A couple of highlights would be going back to play in Dublin for the first time with Shantalla, we got a great reaction and my Dad, who was almost 80, saw me play for the first time. Also the first Shantalla gig with Helen in the line-up in Brussels back in 1997 or so - we played in what would normally be a noisy venue and you could have heard a pin drop when we played anything slow. I think we all realised then that we were capable of going places and a few weeks later we were offered a record deal.
4. Any new projects coming up you'd like to tell us about?
We're working on material for the third Shantalla album at the moment. It will hopefully be out late 2004 or early 2005. I also played on 2 tracks recently with the Dutch Pagan band Omnia for their album 'Crone of War' which is due out soon (see www.omnia-neocelt.com). I also recorded the music for the European Commission's TV station recently with Dave Munnelly, Jim Higgins, Julia Smith and Shantalla's Michael Horgan. (see http://europa.eu.int/comm/ebs/music_en.htm).
5. What's the latest tune/song you've been learning?
Several for the new album - a mixture of new compositions by Shantalla's Gerry Murray and Michael Horgan, plus stuff by people like Mike McGoldrick and songs by people like Brian McNeill and Dougie Maclean as well as some relatively obscure traditional songs we've unearthed. Watch out for the tune 'The Village Pub' by Gerry which I like a lot and for Shantalla's version of 'My Lover's Gone' by Dido(!).
6. With all of your professional commitments, do you still find time to play the odd session? If so, from time to time where might people find you doing your thing?
Occasionally, although there are not so many in Belgium anyway. The James Joyce pub in Brussels or Den Heksenketel in Antwerp would be the most likely spots I might be found, but the last really lengthy session I played was at the Phil Murphy Festival in Wexford, Ireland, last July when I was locked into the back room of a pub all night with 40 other musicians...
7. Any tips for those starting out at the music?
If you're a guitar player who accompanies others, know the tunes in your head and know the lyrics of the songs. Find people roughly your own level to play with and try to develop your own way of playing rather than copying someone else's. Above all, enjoy yourself! Music is fun!
Joe Hennon, February 2004
KEVIN MACLEOD
Kevin Macleod is a multi-instrumentalist of some renown, although specialising in the mandolin/four-course stringed family. His solo albums "Springwell" and "Polbain To Oranmore" are highly regarded by those with a gra for gutsy, no-frills Scottish traditional music (with influences from across the water in Ireland) and pored over by mandolin/zouk/octave players for inspiration. It wouldn't be too much of an exaggeration to dub them a source-book for the discerning plectrum-wielder!
Kevin may be found at two places on the web. His personal site http://mysite.freeserve.com/kevinmacleod and at the website devoted to the work of the ceili band The Occasionals http://mysite.freeserve.com/theoccasionals
1. Who was, or were, your biggest influence(s) when you were starting out at the music?
I was surrounded by Scottish music as a bairn, with a pipe band at school, a keen family interest in Gaelic and Scots song and music, and a healthy country-dance scene in the farming community in Angus where I was raised. My Father’s native language is Gaelic, and my Mother is a keen Scottish dancer and they have always been involved in many aspects of Scottish traditional life. The country-dance scene in Angus was a very lively one, as a direct result of the massive influence of Jimmy Shand, a much neglected international star who lived in the area. My parents tell me that I started playing violin aged 4, and violin practice continued until I was 16. Although I was learning classical violin, and learnt to sight read at that time, I was encouraged, and was keen to try and play Scots music on my fiddle, hard though it was. My music teachers and I would warm up with a few Scots reels from Kerr’s collection, before getting down to the hard work. It was around this time I felt the urge to move on and try to play this Scottish music I was hearing. I played along with pipe band records, learnt tunes out of an old copy of Kerr’s Merry Melodies I was given, and began to absorb the music.
In 1976 I was loaned a box of records by an uncle of mine, Alistair Taylor, a great amateur folklorist in Deeside, and in it were a whole host of new sounding records - Planxty, Battlefield Band, Jeannie Robertson, Spaelimenninir, Ewan McColl, Boys of the Lough and Bob Dylan. The first Planxty album completely amazed me. Their sound was so new and different, unconventional, melodic and bright. I had never heard those lovely string sounds before, and I spent ages trying to work out what instruments they were playing. I recall going to the Public library and looking up The Encyclopedia Britannica and finding that a mandolin was strung the same as a violin. I reasoned that I should be able to transfer my left hand technique to the mandolin, and therefore begin to sound like Andy Irvine! Later that summer, I bumped into a classmate who found me looking at a bowl back mandolin in the window of Largs Music shop in Dundee. She said they had an old one at home, and it wasn’t being used, so I bought it for £15. I set about learning the plectrum, and have been learning to play the mandolin ever since. Naturally enough, I still don’t sound anything like the great Andy Irvine!
Andy Irvine and Johnny Moynihan were, I suppose, my main initial influences in terms of playing on the stringed plectrum instruments, but I soon came across Alec Finn and Frankie Gavin’s playing in De Dannan in 1977. Here I found what I had been looking for. Their combined melodic swing, drive and attack, countered with Alec’s uniquely stylish rolling counter melody playing has always mesmerized and enthralled me. I followed their music through records, and, after meeting them in Ireland at a gig, we became friends, and I eventually went off on tour as their road manager in 1983 for 5 years. That was a real musical education. I heard the very best of Irish traditional music every night and had access to a huge range of traditional musicians in America at numerous festivals. For the first time I heard the exciting sounds of such musical genres as Klezmer, Zydeco, Gospel, Bluegrass, Newgrass, Country and Blues – an endless wealth of musical stimulation. I returned home with piles of tapes and vinyl. De Dannan worked with The Andy Statman Klezmer Orchestra for part of a tour, and Andy was most kind to me as a budding mandolinist, sending me home with all his LPs autographed, and a headful of inspiration.
I heard the Battlefield band sometime around then, and I tried Ged Foley’s Sobell mandolin after the gig in Achiltibuie, and fell in love with the sound of the Sobell. I got one soon after, a small bodied spruce and Indian rosewood one, and it has remained my main instrument for concert and recording work. For dance work, I ordered a brilliant custom instrument in 1991, a Deering electric Crossfire tenor banjo. It is totally reliable and is a class instrument. I have a collection of other stringed instruments gathered over the years; Greek bouzoukis, National resonator tenor guitars, and electric slide guitars. There are some pictures on the website.
After a while I began to really miss playing Scots music, and I returned home in 1986 to try and really get to grips with playing ceilidh music in Scotland. I met up with Scots accordionist Freeland Barbour in 1986, and we have played together ever since, in The Occasionals, a Scottish ceilidh band. He is a uniquely talented musician and composer, and he has probably influenced me most over the years.
Along the way I have found great inspiration from other musician’s work, Ry Cooder, Martin Taylor, John Martin of The Easy Club, Robert MacDonald and Malcolm Jones of Runrig, Andy Statman, Wallochmor Ceilidh Band, Little Feat, Bob Brozman, Django Reinhardt and Stephane Grappelli, Mary Bergin, Bob Smith’s Ideal band, and many others, but I suppose Finn, Gavin, Irvine and Barbour have had the greatest effect on my direction. However, I think I do sound like myself, not them!
2. Can you remember the first tune/set/song/sang that you played in front of other musicians? What was it? Where was it? Did you get through unscathed?
I recall painfully playing my violin as a kid to elderly relatives and being quite alarmed at doing so. Dvorak, I seem to recall! My first real gigs were at University in Aberdeen playing at dances for other students, once being paid with a packet of biscuits! I used to play my bouzouki on a farm at piece time for the grieve, Jim Jeffrey, which usually caused much hilarity. My first session in Ireland turned out to be with Jackie Daly, who I didn’t know at the time, but subsequently found out was a mighty player. I vaguely recall playing my mandolin on a bus in Dublin after a rugby international, and the whole bus getting up for a jig!
My first real gig with The Occasionals was in Blairgowrie Folk Festival in 1986, and to my horror the BBC turned up and recorded it. It was so bad it wasn’t used, thankfully! Prior to that I had played a few dance gigs in the Highlands with accordionist Robert MacDonald, Andrew Barbour and Millar MacDonald, and those were great fun. Robert died shortly after from cancer, a very sad loss indeed. I carry his Highland repertoire with me, and still play his tunes and dance sets.
I was fortunate enough to be asked up as a guest on stage with De Dannan 5 times, each being highly memorable, not unlike getting into a Ferrari, I imagine! I recall playing the waltz set “The stone outside Dan Murphy’s door” with them, with Brian Bourke singing!
3. Any musical moments that you've been involved in that will stick with you in your memory forever?
Jings, where to begin!
Recording my two cds “Springwell” and Polbain to Oranmore” and four Occasionals cds “Footnotes”, “Back in Step”, “Live in Aberdeen” and “Reel of Four” I never ever thought I would be able enough to do these, so they are very special.
Being asked to play tremolo mandolin Alec Finn’s solo cd “Innisfree”. I had to learn the technique in the studio, as I hadn’t ever done it before!
Doing 2 concerts with Alec Finn at the delightful Zoukfest in Taos 2003 – a brilliant musician to be accompanied by.
Playing with De Dannan, particularly in Galway at their 21st anniversary gig in front of 1500 home fans - that was really exciting and memorable.
Going with The Occasionals to represent Scotland at the 37th Smithsonian Folklife Festival in Washington DC in 2003.
Gigging on an oil rig in the middle of December in the North Sea.
Having a session with Malian Guitarist Ali Farke Toure in Washington DC
Being introduced to Stephane Grappelli by Frankie Gavin
Playing with The Occasionals in the Kennedy Centre, and also being the very first item on BBC radio Scotland on the Millennium night.
Also playing at the Cambridge Folk festival and Tonder Festivals was fun.
And a host of others to numerous to mention!
4. Any new projects coming up you'd like to tell us about?
We’ve just released “Reel of Four”, a new Occasionals cd on Greentrax cdtrax 259, and I’m very pleased with it. I put a whole set of stringed overdubs on it to flavour it, without altering our sound radically.
I did some work on a cd to be released this year, a recording of a melodeon player, Ali Beag Macleod from Achiltibuie in the Highlands of Scotland where my family are from. It’s a nice earthy recording with some great new tunes by Ali.
Slowly planning another cd with Alec Finn in mind, and a guitarist – not sure who yet. I’m just enjoying trying tunes out, digging around for new and interesting complimentary material.
Doing a concert gig at the Edinburgh Folk Club on 30th June 2004 with fiddler John Martin, guitarist Jack Evans, and singer George Duff.
5. What's the latest tune/song you've been learning?
A selection of things at present, tunes by guitarist Bill Frisell, tunes for another Occasionals recording we are doing soon, and polishing up two jigs I wrote recently. I tend to learn by listening to recordings and the radio, then confirm the notes and fingers at a later date, so there’s always a selection of tunes going round in my head to be learnt, no one specific tune.
6. With all of your professional commitments, do you still find time to play the odd session? If so, from time to time where might people find you doing your thing?
I do actually play at sessions in Edinburgh – usually Sandy Bell’s pub - as regularly as work allows, as the session scene in Edinburgh is very vibrant at present. There seems to be a continuing stream of very talented young musicians surfacing in Scotland, keen and able to play. They bring their current slant to the music, and they are equally keen to learn from older musicians, mainly by osmosis. Session playing also keeps my ears and fingers exercised, and allows me to catch up with the latest tune and song favourites, I can try new things out myself, try different instruments, learn new tunes, and meet new and visiting foreign musicians. For example, I have recently enjoyed tunes with the talented young Australian mandolinist Luke Plumb, who has taken over in Shooglenifty, and we have had great string conversations. There is never the same combination of musicians at each session, and this lends itself to a vibrancy as well.
I usually play the shiny 1930 National tenor guitar that I own, and this is a magnet for interesting people. People always want to know what it is. I had an extensive conversation with two professors of astronomy visiting from Hawaii, who were astonished by the instrument and equally amazed that I knew of the wonderous slack key and slide playing of Gabby Pahinui! They presented me with a tub of macadamia nuts they had brought to Edinburgh!
The other great aspect of playing sessions is that it prepares you for going out into the big wide world and, if you are lucky enough to meet other musicians, it gives you the communication skills both musically and socially to have a tune in an unfamiliar musical world. I have, for instance, had sessions with Cretan lyra players, sat in with De Dannan on stage, jammed with Andy Statman, Bela Fleck, Ali Farke Toure and you need to be able to give it a go. Sessions prepare you for that.
7. Any tips for those starting out at the music?
In traditional music, I think the key issue is learning the ability to listen to others, whilst playing your own instrument at the same time, without dominating or imposing what you think you are doing. Music to me is all about communication and conversation in the common language of the world. In order to freely respond to another musician, you do have to get to a level of competence on your chosen instrument, and that takes time, practice, and dedication. This is achievable, and there are millions of excellent musicians around, with only very few geniuses. We will all never be like the top-flight players, but that should inspire us to keep on improving, developing your own voice on an instrument, and keeping faith with a traditional style.
If you choose to play a certain idiom of traditional music, I think you should listen to the recordings of the original exponents of that music, and learn that first, or better still learn from real living musicians who are playing in a recognized traditional style. Take it further, thereafter, if you feel the need to break with tradition or experiment, but at least be able to play the music correctly first of all.
Get your tempos sorted out. Play steadily. Play in tune, and don’t play fast if you can’t do it.
Learn arpeggios and scales in the common keys, both sharp and flat, as these often form the basic components of traditional tune structure.
I also urge traditional musicians to try and “swing” the music, as most music was actually written as dance music. This is difficult to describe without an instrument in hand, really. Dance tunes have only just moved onto a concert platform relatively recently, and you should try and remember that it was dance music first of all. This swing is tied in with taste, simplicity, tempos and appropriate ornamentation, and I would urge you to get the basics really mastered before you even dally with triplets and all the possible ornaments. Many of these are derived from the piping traditions, and in some ways should be left there to the piping experts!
Learning to read music score is very useful for referring to older material, or learning newer material. It is probably best if you can become a fluent sight-reader, as long as you don’t become attached to the page. Learn it, and then move off from the paper. But, most of all, listen to others with whom you are playing; that’s key to me. And enjoy it, don’t take it too seriously, it’s all for pleasure!
Best wishes
Kevin HJ Macleod, February 2004
AIDAN CROSSEY
Aidan Crossey is the editor of Pay The Reckoning and a player of various four-course plectrum instruments - mandolin, octave mandola, banjo and bouzouki. His latest album - Where Old Ghosts Meet - is available exclusively on Pay The Reckoning.
1. Who was, or were, your biggest influence(s) when you were starting out at the music?
My dad's family was very musical. Apart from my dad himself - Gerry Crossey - who sang with a local band called "The Bordermen", my grandad - John Crossey - was an avid fan of folk music. I grew up with Clancy Brothers and Dubliners and such like albums in the background. At every possible opportunity the family and friends would get together and all hands would be singing away!
There wasn't much of the "pure drop" to be heard though. Somehow the deeper well didn't get tapped.
The next big influences were Shay Kennedy and Dermot Maguire, both originally of Dublin and now living in Achill Island, Co Mayo. One summer I hit a low ebb and needed to spend some time away from London (where I've been living for about 20 years now). Shay and Dermot took me under their wing and turned me on to the music...
It was a fair while ago, now! I didn't start to play the music myself straightaway. But gradually I began to get the feel for it and about four or five years ago I started learning the music in earnest.
My biggest influences at the moment are my session-mates; Danny, Cath, Billy, Max and the others who join us from time to time. Not forgetting my sister, Josie Sinclair (who appears on Where Old Ghosts Meet), who is a constant source of encouragement.
2. Can you remember the first tune/set/song/sang that you played in front of other musicians? What was it? Where was it? Did you get through unscathed?
I can't, to be honest. But there have been many moments when I've sat in on new (at least to me!) sessions and there is a certain nervousness about the time you start to play in front of musicians with whom you're unfamiliar. However most trad musicians are very welcoming and encouraging. They'll overlook a certain amount of nervousness and make allowances for the new player. I keep plugging away, so it can't be all that bad!
3. Any musical moments that you've been involved in that will stick with you in your memory forever?
The first time I heard Dermot Maguire pipe "The Lark In The Morning"; the first time he sang "Hush, Hush (Time To Be Sleeping)"; Shay Kennedy singing "The Bantry Girls' Lament"; Shay singing "The Ballad Of Persse O'Reilly"; Deirdre Kennedy singing "The Water Is Wide" - all part of that epiphanic summer in Achill Island which led me (back) to the music!
4. Any new projects coming up you'd like to tell us about?
Planning a new album - but hoping not to rush it. Too many of my recent recording efforts have suffered from a surfeit of enthusiasm but a lack of preparation!
5. What's the latest tune/song you've been learning?
I heard Bakerswell play "Hunt The Squirrel" recently and it stuck in my mind immediately. "The Eagle's Whistle" is a tune which I have fun with; it lends itself to variations. Jay Ungar's "Ashokan Farewell" - a recent composition which has the feel of having been honed by time. What would you give to have written a tune of such elegance and eloquence?!
6. With all of your professional commitments, do you still find time to play the odd session? If so, from time to time where might people find you doing your thing?
Well ... I'm not a music professional. I play a regular Thursday night session in South East London - in Catford's "Blythe Hill Tavern". It's proper crack! I play the odd one-off here and there when I get the urge and when the flesh is as willing as the spirit!
7. Any tips for those starting out at the music?
Walk before you run! Don't expect it to come to you all at once! Listen, listen, listen. Play, play, play.
Don't set yourself unrealistic goals. You'll find out fairly quickly just how your playing will progress. Don't force the pace!
Whatever, enjoy it! If it becomes a drag, if it gives you grief (and the music can!), then give it a rest for a while. You'll get your enthusiasm back in a while.
Slan!
Aidan Crossey, February 2004
VICKI SWAN
Vicki Swan is a mighty smallpiper. Together with musical sparring partner, Jonny Dyer, she recently brought out the stunning "Thumb Twiddling". Not just a spectacular player, Swan is also a tunesmith of considerable talent. We are particularly impressed with the slow air "Round The World" which we've introduced to the occasional session (and which we'll continue to promote!)
1. Who was, or were, your biggest influence(s) when you were starting out at the music?
The first folk band that I ever really listened to was the Battlefield Band and North Sea Gas. I loved the humour in NSG and the the pipes in BB. My father was a Highland Piper so I loved the pipes but BB was the first time I had heard them in a band. I wanted to be just like them!
2. Can you remember the first tune/set/song/sang that you played in front of other musicians? What was it? Where was it? Did you get through unscathed?
I've been playing music since about the age of 6 having been given a recorder as a christmas present, I seem to remember not being very impressed at the time. I think my Dad had been on a break from playing the pipes for a few years so there wasn't much music in the house until I got this present so I wasn't really sure what to do with it! I gave my first concert at the age of 8 with a friend of mine in the lounge at home. We practised really, really hard and got all of our families to come and watch and pulled the curtains so that we could pretend we were on stage by coming out from behind them. I have no idea what we played, but must have involved Londons Burning and a round that we sang called Bees of Paradise.
3. Any musical moments that you've been involved in that will stick with you in your memory for ever?
My first proudest musical moment would be the first time that I performed a concerto on my double bass with an orchestra, my second performing a suite of tunes that I had compiled with an orchestra on the pipes, showing that I could combine the two genres.
4. Any new projects coming up you'd like to tell us about?
I am currently engaged in some research teaching bagpipe tunes on the internet as well as writing a tutor book. (Links on our website!) I'd really like to record a new album this summer with Jonny, we have the material, but not sure about the time to get into the studio before the summer is out.
5. What's the latest tune/song you've been learning?
Jonny has recently taken up the accordion, so we're working quite hard on two new tunes, one flute and accordion and one pipes and accordion. Neither of them have names yet!
6. With all of your professional commitments, do you still find time to play the odd session? If so, from time to time where might people find you doing your thing?
We don't offen get out to sessions and we have both just moved so we are still finding our feet with sessions, but may be thinking about starting one up in our local pub from time to time.
7. Any tips for those starting out at the music?
If you are just starting out as a player, make time everyday to play, 20 minutes a day is better than an hour once a week, playing anything is good practise. If you're starting out as a performer, get used to driving lots and lots of miles, learn how to do your accounts, make websites, do publicity and how to squeeze practise in when you're really, really tired from driving!
Vicki Swan, March 2004
COLM HEALY
Colm Healy (accordion), along with his brother Hugh (concertina), is responsible for one of the most compelling trad albums of recent years, the magnificent "Macalla na hOige". Our thanks to Colm for taking the time to provide us with this interview and good luck to himself and the brother!
1. Who was, or were, your biggest influence(s) when you were starting out at the music?
We were brought up in a very musical area. There was music in our family already with older brother Eric who also features on albums and aunts and uncle being accomplished musicians. We started in Frank Custy's classes in Toonagh on Friday nights on tin whistles before gradually moving on to accordion and concertina respectively. There would have been a huge influence of Kilfenora Céili Band from an early age on our playing.
2. Can you remember the first tune/set/song/sang that you played in front of other musicians? What was it? Where was it? Did you get through unscathed?
It was the great reel, The Pigeon On The Gate. I was playing in an under 12 competition at the Clare Fleadh. I was only nine. I had only being playing the accordion less than a year and was given a crash course in bass by my teacher at the time, Nuala Hehir. It was nervy stuff. Struggled through though. Was put through to the next round. That’s where my memories fade………
3. Any musical moments that you've been involved in that will stick with you in your memory forever?
Launch night of Macalla na hÓige in the Old Ground Hotel in Ennis. We were a little worried about a crowd not turning up. People were turning away because the venue was too packed. Sales were great and everybody really enjoyed the gig. Couldn’t have hoped for more.
4. Any new projects coming up you'd like to tell us about?
Just in process of arranging nationwide tour in Ireland and hopefully gig or two in England. Details to follow on http://www.healymusic.com
5. What's the latest tune/song you've been learning?
Have been learning Alice’s Reel by Frankie Gavin from http://www.irishtunes.net- a great tune as recorded on Kevin Crawford’s In Good Company cd.
6. With all of your professional commitments, do you still find time to play the odd session? If so, from time to time where might people find you doing your thing?
We still play a fair bit in sessions around Clare and Galway. The Old Ground Hotel in Ennis most Saturdays, O Connor,s Pub in Doolin on Sundays, Mickey Kerin,s in Ennis on Fridays, Ciaran,s Bar in Ennis on Wednesdays.
7. Any tips for those starting out at the music?
Keep trying even when the future doesn’t look bright. Listen to older musicians: the likes of the Kilfenora Céili Band, Junior Crehan, Joe Cooley, Paddy Murphy.
Colm Healy, April 2004
