Name: 'twill Do
Artist: Shane Meehan
Year of Publication: 2019
Source: https://shanemeehan.bandcamp.com/album/twill-do
Description: A first solo from young fiddler and composer Shane Meehan
In Detail: It should be said at the outset that this album contains no fewer than sixteen of Shane's original composition, so I've included his sleeve notes for information!
The first track is a really melodic set of reels, with non-obtrusive accompaniment. Shane writes:
"The first reel came to me during a particularly cold snap in February 2018 when I was snowbound and little to do but pass the time playing the fiddle. It is one of only a few, so far, that I had little to “work out” as it came quite naturally. Connie O’Connell, the renowned Cork fiddler and composer, wrote the second tune which I heard it first being played by Conor McEvoy. Following these two is a beautiful version of what is commonly known as The Grand Spey which is of Scottish or Northumberland derivation. While this version of the tune comes from the playing of Fred Finn and was published by Bernard Flaherty in his book Trip to Sligo, the original tune was a strathspey called Grant’s Strathpey. This title comes from a collection published c.1790 by Donald Grant – hence the name. Since then the name has become corrupted to include The Grant of Strathspey, The Grand Spey, and even to The Graff Spee after the German WW2 ship. Robert Burns also used the melody for one of his songs in 1794."
The second track is a nice set of jigs, if a little convoluted. Accompaniment is listenable bouzouki accompaniment. Shane writes:
"Joe Boske, a Germany artist who has lived in Ireland for more than 40 years composed the first jig. It featured on his own album of original compositions called Amara. I learnt it from the guitarist Jon Hicks who I got to know in Cork. Séamus Tansey recorded the second jig on his hallmark album The King of the Concert Flute. He attributes it to the fantastic whistle player from Drumacoo in Sligo Jim Donahue. Concluding the set a tune I picked up from my good friend Séan Gilrane and according to him it is a tune Séamus Ennis collected from the playing of the great Donegal fiddle master Johnny Doherty."
The third track consists of a pair of hornpipes, with keyboard accompaniment. Shane writes:
"A memorable night of tunes with my good friend Ger Chambers inspired the first hornpipe. The second I learned from Oliver Loughlin who is a deft hand at the piano accordion. I spent many years playing alongside him and Damian O’Brien in Cryan’s, Carrick-on-Shannon, acquiring many rare tunes from their vast repertoires. They played in Cryan’s every Saturday when I was growing up and I remember many nights coming home laughing from the craic and new tunes going around in my head"
The fourth track consists of reels, the first of which dips into the lower and higher registers, with a lovely transition to the second reel. Again, more keyboard accompaniment. Shane writes:
"I composed the first tune in memory a good friend’s father – John Chambers (RIP). He played the accordion and had a great love of the music. Chicago Man is written for John Daly who spent many years in America. I got to know him when he returned to Ireland to live in Leitrim. He opened my ears to different players not only from Ireland but Scotland, Shetland and Cape Breton. The great Tommy Peoples passed away in 2018 and the closing reel is dedicated to him. I was fortunate to meet him at his home up in St. Jonstone, Donegal, and even more fortunate to get to draw his portrait for the cover of his live album Recorded at Fiddler’s Hearth. He was truly a unique artist."
The fifth track is a set of three calmly-paced jigs. Bouzouki accompaniment is back for this track, which is the most listenable of the album to this point. Shane writes:
"My good friend Mick Mulvey who is a fine exponent of the flute, is very fond of telling stories and chatting. He lives on the Elphin side of Carrick-on-Shannon in a townland called Killomud. The second tune is about the many long drives and bus journeys I’ve had returning home. As the cliché goes – there’s no place like home. A taisceáin, according to Gearóid Ó’Dúinnín, is a small bit of turf. Gearóid is a guitar player, singer and artist who hails from Cúl Aodh. He says he first heard it from Mike Walsh who kept giving out to Gearóíd’s dog Teddy for jumping up on him calling him a “dirty taisceáin”. So, there you go."
The sixth track is a good set of well-matched reels, with keyboard accompanying. Shane writes:
"To start off this set is a reel to commemorate Michael Coleman’s voyage to America. I sometimes wonder if we would ever have heard of the man or his music had he not gone to America. The second reel is from the classic recording of Andy McGann and Joe Burke. They released an album in 1965 called “A Tribute to Michael Coleman” with Felix Dolan on piano. I spent many years studying McGann’s playing. He was very neat and precise and had a great tone. They name the reel after the sound engineer Paddy Lynn. Charlie Lennon composed the last reel.
The seventh tune is another pair of tunes; unusual barndances, with accompanying bouzouki. Shane writes:
"Ben Lennon, a tailor by trade, is renowned for his unique fiddle style and in particular for how he plays barndances. I particularly enjoyed his workshops when I was younger where he would elaborate on the finer points of rhythm and phrasing within old tunes telling endless stories along the way. James Morrison recorded the second barndance. It is named after Gráinne O’Malley who was a 16th century pirate from Mayo."
The eight track is more reels, self-composed, and reasonably listenable, if a tad strange pair. Keyboard accompanies in a vamping style. Shane writes:
"These are two reels I wrote around 2009. The first one is named after a very scenic place in County Mayo called Killary Harbour. However, the inspiration came from hearing and learning some of Séamus Connolly’s compositions such as The Thirteen Arches which is great reel. When Finbarr Dwyer returned to playing I was mesmerized by his playing. The creativity within his own compositions and how he would give the kiss of life to old tunes was and still is a great source of inspiration for me and many others."
The ninth track is another pair of old jigs, with more keyboard accompaniment. Shane writes:
"The first jig is published in Trip to Sligo under this title. Coleman recorded it in 1922 as part of a medley the latter of which was Apples in Winter. He also recorded the second jig on two separate occasions once in 1927 and again in 1936."
The tenth track is a pair of reels; a really nice composition first off, with keyboard accompanying. Shane writes:
"I composed the first tune for a friend of mine from Kerry called Mike Walsh who plays the flute. We play a lot of music together around Cork. The second tune was recorded by Nathan Gourley, Mairéad Hurley and John Blake on their album The Truckley Howl."
The eleventh track is an lovely old set-dance into a reel Bouzouki really adds to this atmospheric track. Shane writes:
"The first tune is in the miscellaneous section of O’Neill’s. That’s followed by a version of a well-known tune based on Michael Coleman’s recording of it which weaves in and out between G mixolydian and G dorian."
The twelfth track is another pair of jigs, starting with "The Old Bog Road", which has a key change. Keyboard accompanies. Shane writes
"There’s an old bog road beside my grandparents’ house. It’s a place full of memories for me having spent many summers helping with the turf. Larry Redican composed the second tune which I found in an old Treoir magazine. The tune had been brought back from America by Paddy O’Brien and transcribed by him. Michael Coleman recorded the last tune and named it after his native county."
The thirteenth track is a pair of reels. The first reel is a composition; definitely one of the better compositions on the album. The second tune is adventurous! Bouzouki and keyboard both accompany here. Shane writes:
"I composed the first reel in memory of my grandfather John Meehan. Only for him I would not be playing music. He passed on his love of music to me. He was very fond of tunes in G minor so I thought it fitting to write a reel in that key and name it after the flat cap he used to wear. Often writing a tune is like going astray in a tune you know. So, I try my best to write tunes that I don’t know."
The fourteenth track is two hornpipes; the first one a composition of Shane's that flies all over the world. The second is a Coleman hornpipe that does so also. Keyboard taps along nicely with this one. He writes:
"Last year the river Corrib burst its banks and I’ve always liked the name of the reel The Spey in Spate, so I thought it a fitting title for a hornpipe. The second hornpipe was recorded by Michael Coleman in 1927 in spectacular fashion."
The fifteenth track is a reel set. The first one is a really nice little slow-reel, into a well-matched faster reel. Bouzouki is quite prominent in this track. Shane writes:
"The bridge at Carrick-on-Shannon was built in 1846 during the famine. Growing up in the town I’ve enjoyed walking along the scenic river front many times. An Buachaill Cúthail is Irish for the shy boy. Let’s just say I’m not known for having the gift of the gab."
The final track is a slightly unusual set of well-known reels. Bouzouki drifts in, and works well here. Shane writes:
"Michael Coleman recorded the first reel in 1921. The second tune is popular around Sligo. However this version was recorded by Sean Maguire under the title The Boys of Twenty-Five. It was published in a book called “Irish Tunes by the 100” which was a limited 1975 publication by Maguire and Josephine Keegan. He cites the source of the tune as his father Jack Maguire."
What's Good: It's definitely worth a gander for uniqueness; this album is crammed with Shane's own compositions, and you're not going to hear them anywhere else. While few of them are memorable compositions, they are certainly worth a listen, and there are definitely a couple you'll want to learn or adapt yourself. Other than that, his style is authentic and listenable, and very much in keeping with the modern tradition - accompaniment is basic and unobtrusive, and allows the fiddle to dominate the album, which is important. The playing is of a skill level that is good enough to convey the nuances of his style. The balance of tune sets is good, the research is extensive, and the descriptions are entertaining and informative. There's a whole lot to like in this album for the musician.
What's Bad: The volume of compositions, and their tendency to be quite convoluted and unusual pieces makes some of them hard to warm to, and for these sets I found them a little hard to listen through. It's also an album clearly aimed at musicians above lay listeners, and I could see many non-players giving up before the second track. I have marked it down thus. It certainly will not receive any commercial success. However, I don't think there can be any other major fault found with the rest of what is an excellent and valuable album for those in the tradition. As he might say himself, 'twill Do!
Rating: 8/10
Have an album you want reviewed? Please email [email protected]
Artist: Shane Meehan
Year of Publication: 2019
Source: https://shanemeehan.bandcamp.com/album/twill-do
Description: A first solo from young fiddler and composer Shane Meehan
In Detail: It should be said at the outset that this album contains no fewer than sixteen of Shane's original composition, so I've included his sleeve notes for information!
The first track is a really melodic set of reels, with non-obtrusive accompaniment. Shane writes:
"The first reel came to me during a particularly cold snap in February 2018 when I was snowbound and little to do but pass the time playing the fiddle. It is one of only a few, so far, that I had little to “work out” as it came quite naturally. Connie O’Connell, the renowned Cork fiddler and composer, wrote the second tune which I heard it first being played by Conor McEvoy. Following these two is a beautiful version of what is commonly known as The Grand Spey which is of Scottish or Northumberland derivation. While this version of the tune comes from the playing of Fred Finn and was published by Bernard Flaherty in his book Trip to Sligo, the original tune was a strathspey called Grant’s Strathpey. This title comes from a collection published c.1790 by Donald Grant – hence the name. Since then the name has become corrupted to include The Grant of Strathspey, The Grand Spey, and even to The Graff Spee after the German WW2 ship. Robert Burns also used the melody for one of his songs in 1794."
The second track is a nice set of jigs, if a little convoluted. Accompaniment is listenable bouzouki accompaniment. Shane writes:
"Joe Boske, a Germany artist who has lived in Ireland for more than 40 years composed the first jig. It featured on his own album of original compositions called Amara. I learnt it from the guitarist Jon Hicks who I got to know in Cork. Séamus Tansey recorded the second jig on his hallmark album The King of the Concert Flute. He attributes it to the fantastic whistle player from Drumacoo in Sligo Jim Donahue. Concluding the set a tune I picked up from my good friend Séan Gilrane and according to him it is a tune Séamus Ennis collected from the playing of the great Donegal fiddle master Johnny Doherty."
The third track consists of a pair of hornpipes, with keyboard accompaniment. Shane writes:
"A memorable night of tunes with my good friend Ger Chambers inspired the first hornpipe. The second I learned from Oliver Loughlin who is a deft hand at the piano accordion. I spent many years playing alongside him and Damian O’Brien in Cryan’s, Carrick-on-Shannon, acquiring many rare tunes from their vast repertoires. They played in Cryan’s every Saturday when I was growing up and I remember many nights coming home laughing from the craic and new tunes going around in my head"
The fourth track consists of reels, the first of which dips into the lower and higher registers, with a lovely transition to the second reel. Again, more keyboard accompaniment. Shane writes:
"I composed the first tune in memory a good friend’s father – John Chambers (RIP). He played the accordion and had a great love of the music. Chicago Man is written for John Daly who spent many years in America. I got to know him when he returned to Ireland to live in Leitrim. He opened my ears to different players not only from Ireland but Scotland, Shetland and Cape Breton. The great Tommy Peoples passed away in 2018 and the closing reel is dedicated to him. I was fortunate to meet him at his home up in St. Jonstone, Donegal, and even more fortunate to get to draw his portrait for the cover of his live album Recorded at Fiddler’s Hearth. He was truly a unique artist."
The fifth track is a set of three calmly-paced jigs. Bouzouki accompaniment is back for this track, which is the most listenable of the album to this point. Shane writes:
"My good friend Mick Mulvey who is a fine exponent of the flute, is very fond of telling stories and chatting. He lives on the Elphin side of Carrick-on-Shannon in a townland called Killomud. The second tune is about the many long drives and bus journeys I’ve had returning home. As the cliché goes – there’s no place like home. A taisceáin, according to Gearóid Ó’Dúinnín, is a small bit of turf. Gearóid is a guitar player, singer and artist who hails from Cúl Aodh. He says he first heard it from Mike Walsh who kept giving out to Gearóíd’s dog Teddy for jumping up on him calling him a “dirty taisceáin”. So, there you go."
The sixth track is a good set of well-matched reels, with keyboard accompanying. Shane writes:
"To start off this set is a reel to commemorate Michael Coleman’s voyage to America. I sometimes wonder if we would ever have heard of the man or his music had he not gone to America. The second reel is from the classic recording of Andy McGann and Joe Burke. They released an album in 1965 called “A Tribute to Michael Coleman” with Felix Dolan on piano. I spent many years studying McGann’s playing. He was very neat and precise and had a great tone. They name the reel after the sound engineer Paddy Lynn. Charlie Lennon composed the last reel.
The seventh tune is another pair of tunes; unusual barndances, with accompanying bouzouki. Shane writes:
"Ben Lennon, a tailor by trade, is renowned for his unique fiddle style and in particular for how he plays barndances. I particularly enjoyed his workshops when I was younger where he would elaborate on the finer points of rhythm and phrasing within old tunes telling endless stories along the way. James Morrison recorded the second barndance. It is named after Gráinne O’Malley who was a 16th century pirate from Mayo."
The eight track is more reels, self-composed, and reasonably listenable, if a tad strange pair. Keyboard accompanies in a vamping style. Shane writes:
"These are two reels I wrote around 2009. The first one is named after a very scenic place in County Mayo called Killary Harbour. However, the inspiration came from hearing and learning some of Séamus Connolly’s compositions such as The Thirteen Arches which is great reel. When Finbarr Dwyer returned to playing I was mesmerized by his playing. The creativity within his own compositions and how he would give the kiss of life to old tunes was and still is a great source of inspiration for me and many others."
The ninth track is another pair of old jigs, with more keyboard accompaniment. Shane writes:
"The first jig is published in Trip to Sligo under this title. Coleman recorded it in 1922 as part of a medley the latter of which was Apples in Winter. He also recorded the second jig on two separate occasions once in 1927 and again in 1936."
The tenth track is a pair of reels; a really nice composition first off, with keyboard accompanying. Shane writes:
"I composed the first tune for a friend of mine from Kerry called Mike Walsh who plays the flute. We play a lot of music together around Cork. The second tune was recorded by Nathan Gourley, Mairéad Hurley and John Blake on their album The Truckley Howl."
The eleventh track is an lovely old set-dance into a reel Bouzouki really adds to this atmospheric track. Shane writes:
"The first tune is in the miscellaneous section of O’Neill’s. That’s followed by a version of a well-known tune based on Michael Coleman’s recording of it which weaves in and out between G mixolydian and G dorian."
The twelfth track is another pair of jigs, starting with "The Old Bog Road", which has a key change. Keyboard accompanies. Shane writes
"There’s an old bog road beside my grandparents’ house. It’s a place full of memories for me having spent many summers helping with the turf. Larry Redican composed the second tune which I found in an old Treoir magazine. The tune had been brought back from America by Paddy O’Brien and transcribed by him. Michael Coleman recorded the last tune and named it after his native county."
The thirteenth track is a pair of reels. The first reel is a composition; definitely one of the better compositions on the album. The second tune is adventurous! Bouzouki and keyboard both accompany here. Shane writes:
"I composed the first reel in memory of my grandfather John Meehan. Only for him I would not be playing music. He passed on his love of music to me. He was very fond of tunes in G minor so I thought it fitting to write a reel in that key and name it after the flat cap he used to wear. Often writing a tune is like going astray in a tune you know. So, I try my best to write tunes that I don’t know."
The fourteenth track is two hornpipes; the first one a composition of Shane's that flies all over the world. The second is a Coleman hornpipe that does so also. Keyboard taps along nicely with this one. He writes:
"Last year the river Corrib burst its banks and I’ve always liked the name of the reel The Spey in Spate, so I thought it a fitting title for a hornpipe. The second hornpipe was recorded by Michael Coleman in 1927 in spectacular fashion."
The fifteenth track is a reel set. The first one is a really nice little slow-reel, into a well-matched faster reel. Bouzouki is quite prominent in this track. Shane writes:
"The bridge at Carrick-on-Shannon was built in 1846 during the famine. Growing up in the town I’ve enjoyed walking along the scenic river front many times. An Buachaill Cúthail is Irish for the shy boy. Let’s just say I’m not known for having the gift of the gab."
The final track is a slightly unusual set of well-known reels. Bouzouki drifts in, and works well here. Shane writes:
"Michael Coleman recorded the first reel in 1921. The second tune is popular around Sligo. However this version was recorded by Sean Maguire under the title The Boys of Twenty-Five. It was published in a book called “Irish Tunes by the 100” which was a limited 1975 publication by Maguire and Josephine Keegan. He cites the source of the tune as his father Jack Maguire."
What's Good: It's definitely worth a gander for uniqueness; this album is crammed with Shane's own compositions, and you're not going to hear them anywhere else. While few of them are memorable compositions, they are certainly worth a listen, and there are definitely a couple you'll want to learn or adapt yourself. Other than that, his style is authentic and listenable, and very much in keeping with the modern tradition - accompaniment is basic and unobtrusive, and allows the fiddle to dominate the album, which is important. The playing is of a skill level that is good enough to convey the nuances of his style. The balance of tune sets is good, the research is extensive, and the descriptions are entertaining and informative. There's a whole lot to like in this album for the musician.
What's Bad: The volume of compositions, and their tendency to be quite convoluted and unusual pieces makes some of them hard to warm to, and for these sets I found them a little hard to listen through. It's also an album clearly aimed at musicians above lay listeners, and I could see many non-players giving up before the second track. I have marked it down thus. It certainly will not receive any commercial success. However, I don't think there can be any other major fault found with the rest of what is an excellent and valuable album for those in the tradition. As he might say himself, 'twill Do!
Rating: 8/10
Have an album you want reviewed? Please email [email protected]