[Harp-L] Re: Irish/Celtic trad, new CD

["rick epping" <rickepping@xxxxxxxxx>]

While it's often said that the artistry of Irish music lies in its
ornamentation, there's also a long tradition of improvised melodic
variation, particularly from around where I live in Sligo.  I was introduced
to the playing of Sligo fiddler Michael Coleman by the late John Brennan,
a flute player from Coleman's generation and nearby locale.  As John once
said to me, "Coleman never played a tune twice around the same way; he could
really put the Christmas dressing on the tree."  Coleman's recordings, made
in America in the 1920s and '30s, influenced generations of players on both
sides of the Atlantic, and continue to do so today.  Improvisation in Irish
music might be contained within stricter melodic confines than that of jazz,
but it's no less appreciated when done well.  This option is a great help to
the poor diatonic player with only seven notes and one complete octave.

Another great fiddler and improvisationist, and friend of mine, is Frankie
Gavin.  Frankie, guitarist Tim Edey and I recorded an album of tunes
entitled, "Jiggin' the Blues", which is scheduled for release next month on
the Scottish label Greentrax.  Mostly Irish, with a couple of Scots tunes,
couple of American tunes and a drop of Blues....

Speaking of drops, a very tasty drop indeed is the Irish single malt
Knappogue Castle.

Best,
Rick

    ----------------------------------------------------

>
> Joe -
>
> I went through something like what you describe when I first started
> playing Scottish music (similar to Irish). Yeah, the tunes go by very fast.
> But it's not true that no liberties are allowed. Some people insist that
> there's only one "true" way to play a tune, but then somebody else insist
> that the version *they* know is the only correct tone. Take it with a grain
> of salt. The "no liberties allowed" folks are pretenders and know-it-alls
> (even the famous ones).
>
> The joy is in the feeling of playing the tunes, and the sound of the
> melody - that's one reason I hang out with the San Francisco Scottish
> Fiddlers. Just the pure melody being played can be huge and create
> tremendous excitement and mood. After all, this is music that originated in
> unaccompanied singing, and playing of the pipes or fiddle. All the rhythm
> and harmony are implied in that melody, which all by itself is danceable.
> Then you go on to the next tune, which if chosen well follows on logically
> from the last, flows nicely, and raises the excitement level.
>
> Also, the music has its own kind of swing. It can even be laid back (even
> though the notes go by fast - some of the fastest music is the most relaxed
> sounding, oddly enough).
>
> One thing you don't have to do much of is improvise. That part is
> appealing to some folks - you learn the melody, and you play it. Maybe
> ornament it a bit, but you don't have to do the tough work of making up new
> stuff on the spot the way jazz musicians, and a lot of blues and rock
> musicians, do. I'm sure there are folks who can play blazingly fast sets of
> reels and think that improvising over a 12-bar blues must be the toughest
> thing in the world to play.
>
> Winslow
>
> ----- Original Message ----
> From: Joe and Cass Leone <leone@xxxxxxxx>
> To: harp-l@xxxxxxxxxx
> Sent: Wednesday, February 13, 2008 1:16:07 PM
> Subject: [Harp-L] Irish/Celtic trad
>
> Was talking back and forth to another member and voiced my feeling(s)
> that Irish/Celtic Trad (and it's Am-er-eecan cousin..bluegrass) must
> be the toughest stuff in the world to play.
>
> Just think about it. First you have a melody and then it repeats
> itself, then repeats itself again, and again, and again. How does one
> play this stuff? From rote? How does one keep the notes straight? The
> nice thing about jazz is that you never have to do the same thing
> twice. It's so easy (by comparison).
>
> THEN, as if that wasn't enough to spin your head, the melody changes
> to something else, and the whole entire process starts all over
> again. Instead of a bridge, there are multiple melodies. Then, it's
> no fun if they tell you that there are literally thousands of notes.
> AND all the verses have to match. No liberties allowed. And the
> speed? fugeddabowdit.
>
> When I hear players like Jim Conway, Rick Epping, Brendan Power, my
> brain liquifies and drips down into my shoelaces. Jeez.
>
> smo-joe
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