TEADA - CD IN SPITE OF THE STORM

Popis - IN SPITE OF THE STORM:
“In Spite of the Storm” New album out now in North America “Another typically thoughtful and thought-provoking excursion from a band still hungry for tunes – and, belatedly, for songs. The intimacy of Séamus Begley’s voice and his freewheeling tunes knit new patterns into Téada’s mix.” - Siobhan Long, Irish Times “One of the outstanding releases in recent memory.” – Daniel Neely, Irish Echo Sligo, Ireland (3 February 2014) - “Ainneoin na stoirme” (In spite of the storm), the fifth album from one of Irish traditional music’s leading young groups Téada (TAY-da), is out now in North America on the Gael Linn label. The album was released in Ireland in September as part of the prestigious Irish label's 60th anniversary celebrations. It is available at teada.com. Featuring a mix of rare older tunes juxtaposed with a range of more recent compositions, In Spite of the Storm provides a fascinating collaboration of generations, influences, and interpretations. The album marks a major departure for Téada with the addition of vocals from renowned singer Séamus Begley, 2013's Traditional Singer of the Year (Irish TV TG4) and member of a famous musical family in Co. Kerry. Begley's legendary vocals bring a wealth of reflective moments, including the late Marty Robbin’s song “Saddle Tramp,” alongside bracing instrumental selections which see Téada at their best. Founded by Sligo fiddler Oisín Mac Diarmada in 2001, Téada's five young instrumentalists are driven by the timeless, expressive force of music inherited from previous generations of musicians. Irish Music Magazine describes them “at the cutting edge of the next generation of Irish musicians…with a fierce familiarity with the old ways.” “Ireland has been greatly transformed since the fever of materialism...readjustments have been...deeply felt. But as our late Nobel Laureate Seamus Heaney said: 'We are not simply a credit rating or an economy but a history and a culture.' Our music, songs, language and culture have deep roots; they will withstand any storm.” – Téada, from the liner notes Inlay Notes 1. Reels: Dinny O’Brien’s (comp. Paddy O’Brien) / The Sweetheart Reel / Paddy Kenny’s (03:56) Prolific Tipperary composer and accordionist, Paddy O’Brien, composed the first tune in memory of his father. The second reel features in Petrie’s Complete Irish Music under the title ‘Temple Hill. A Cork Reel’, but without the 3rd part with which it is typically played today. The final tune was sourced from fiddler Paddy Ryan during a Scoil Éigse workshop in Sligo in 1990, with Paddy himself learning the tune from Ballinameen, Co. Roscommon fiddler, Paddy Kenny. 2. Song: An Spailpín Fánach (02:52) A popular song emanating from 18th-century Ireland, which Séamus learned while at school from influential teacher Caoimhín Ó Cinnéide. The melody is similar to that found in ‘The Girl I Left Behind M’”, a popular folk song and military march in the United States. The term ‘spailpín’ refers to a labourer hired for a job of temporary duration, such as potato digging. 3. Slides: Deálaí’s No. 1 & 2 / The Peeler and the Goat (02:45) Séamus sourced the first two tunes from Dún Chaoin accordion-player, Muiris Ó Dálaigh (Deálaí). The closing tune is a slide version of a popular 19th century song, the melody of which was published in O’Neill’s “Music of Ireland” (1903). 4. Reels: The Reel with the Birl / Carraigín Ruadh (comp. Brendan Tonra) / Ryan’s Rant (03:14) The selection begins with a version of Drowsy Maggie associated with Clare concertina player, Elizabeth Crotty. Mayo/Sligo fiddler Brendan Tonra, long-time resident in Boston, composed the tune that follows. The set finishes with a version of a tune recorded by fiddle Tommy Potts on the album “The Liffey Banks” and subsequently by James Kelly/Paddy O’Brien/Daithí Sproule on “Traditional Music of Ireland”. 5. Song: Pé in Éirinn Í (03:53) Another song which Séamus heard initially from Caoimhín Ó Cinnéide, before sourcing the lyrics from the publication ‘Abair Amhrán’. Another song which Séamus heard initially from Caoimhín Ó Cinnéide, sourcing the lyrics from the publication ‘Abair Amhrán’. The song originates from an Aisling of same title written by Tipperary poet Liam Dall Ó hIfearnáin (c.1720 – c.1803). 6. Jigs/Slip Jig: The Jig of the Dead / I Have a House of My Own with a Chimney Built on the Top of It (comp. Junior Crehan) / Paddy Breen’s / The Bird’s Call (comp. James Kelly) (04:13) The first tune was recorded a number of years ago by Belfast flute-players Harry Bradley and Michael Clarkson. In the inlay notes to their “The Pleasures of Hope” album, mention is made that according to flute-player Séamus Tansey, the tune “was employed for an unusual funeral rite performed in the countryside around his native Gurteen”. During the waking process, a number of hardy dancers would lift the body of the deceased and dance it around the room for one last time, usually to the backdrop of this tune. The second and fourth tunes are compositions of fiddlers Junior Crehan and James Kelly respectively, while Paddy Breen’s comes from the playing of Michael Tubridy, appearing in “Ceol Rince na hÉireann 3”. 7. Song: Saddle Tramp (comp. Marty Robbins) (02:44) A song from famous American Country & Western singer/songwriter, Marty Robbins, released in 1966. 8. Slow Reel / Barndances: Gone for His Tea / Joe Derrane’s (comp. James Kelly) / All About Weaving (comp. Charlie Lennon) (04:32) The first tune is a reel, though in this instance played at a slower tempo, sourced from “Ceol Rince na hÉireann 3”, and contributed by flute-player Michael Tubridy. Fiddler James Kelly is the composer of the barndance which follows, a tune inspired by the music of Irish-American accordion legend Joe Derrane. The set concludes with a barndance composed by Charlie Lennon, recorded here at a brisker tempo, which featured on Frankie Gavin’s “Frankie Goes to Town” album. 9. Jigs: Brísdín Bréide / The Thatched Cabin (comp. Junior Crehan) / Morning Sunday (comp. Charlie Lennon) (04:01) The first tune is a version of a jig that appears in “Tunes of the Munster Pipers” (1998), featuring tunes collected by Canon James Goodman during the 1860s. The remaining two tunes are compositions of noted fiddlers, the first from Clareman Junior Crehan and the second from Leitrim fiddler and piano-player, Charlie Lennon. 10. Song/Waltz: Ar a mBóithrín Buí / Tell me Now (comp. Damien Connolly) (03:43) Séamus initially heard this song played as a waltz by the great Paddy O’Brien during a Comhaltas event in Roscrea in 1968. Years later he came across the words in an old song book. The song concludes with a newly-composed waltz from Clare musician Damien Connolly, who now resides in Connecticut, and has been composing some wonderful tunes over the past few years. 11. Reels: James Murray’s (comp. James Murray) / Porthole of the Kelp (comp. Bobby Casey) / The Watchmaker / The Spinning Wheel (04:26) The first tune was composed by Sligo flute-player James Murray from the townland of Ogham, Tubbercurry, while the second is a composition of noted Clare fiddler Bobby Casey. The set continues with a tune that appeared under the title ‘Neils Gowan’s Second Wife’ in “The Gunn Book”, a mid-19th century manu collection compiled by Fermanagh fiddler John Gunn. Concluding the set is a version of the reel ‘Miss McDonald’s’ which appeared in O'Neill's “Music Of Ireland” (1903).