Oisín Mac Diarmada is best known for his role in founding the Irish traditional group Teada, and is quite an accomplished fiddle player. He is a graduate in Music Education from Trinity College Dublin/RIAM, and in addition to performing with Teada, Oisín often teaches and performs solo acts worldwide.

Reel Roots recently interviewed Oisín in anticipation for the Irish Christmas in America show he produces, which will be coming to Cincinnati in December of 2010:

Oisín, you started playing fiddle at a very early age, and have since made a wonderful career both playing music and producing. In your opinion, what is it about the folk music tradition in Ireland that makes it so special and appealing to people all over the world?

Irish traditional music certainly has a special appeal to people all over the world, both those with connections to Ireland and many others without the genealogical link. I think the appeal is certainly musically-based, but definitely linked also to the visibility of Irish
people around the world, an indirect link with Ireland’s social and political history. The upbeat rhythmic nature of the music seems to
certainly connect with people also, even those who are experiencing the music for the first time. As performers, thankfully we have had
occasion to see this reaction to the music played out in many varying places. The manner in which the music has retained a deep association with the past, brings a connection and identity with older generations, a meaningful bind for many of us to the history of our
people.

You are well known as the founding member of Téada, and the mastermind behind the Irish Christmas in America show. What inspired you to put the show together, and what do you think makes the show such a success?

‘Irish Christmas in America’ first came together in 2005, and has been touring each Christmas season since. I had played with harper Janet Harbison’s Christmas show in Germany in 2003, which also featured harper Gráinne Hambly. This inspired me to put together a Christmas tour in 2005 with members of Téada and special guests, one of whom was indeed Gráinne Hambly. Working with the combination of music, song, dance, narration and a photographic slide-show proved to be a nice contrast to the more instrumentally-based touring I was doing with Téada throughout much of the remainder of the year. Looking back on the 5 years of touring the show, it’s always one of the tours I most look forward to, in no small part due to the lovely Christmas atmosphere in the many places throughout the US where we visit! The Christmas tour has been a brilliant opportunity to invite various
special guests each year, whether musical, vocal or dancing. That has been very exciting and musically rewarding. We had such a great time with West Kerry’s Séamus Begley on last year’s tour, that we had to invite him back for the upcoming tour. I imagine he’ll go down a treat with the audience in Cincinnati!

Teaching the music and traditional style is a major part of keeping the folk tradition alive these days and I know you enjoy teaching for many reasons. What approach do you like to take with your students and what do you find sparks the most enthusiasm for them to learn and enjoy the music?

I’m fortunate to encounter a great variety of people in my travels who have been drawn into learning traditional Irish music on the fiddle.
Their interest and dedication in Irish music is always a tonic to me! I always enjoy hearing about people’s personal motivations in learning music, and the paths which have brought them to a study of Irish traditional fiddling. It is a personal journey which is greatly
enhanced by the wonderful, worldwide community of Irish music players and fans, increasingly connected by technology. I really enjoy the personal touch of getting to meet with and play music with people from many diverse backgrounds and places. The transmission of the social and community ethos which has always been a large part of folk music in general, is something which I like to focus on transmitting, in whatever little way that I can.

In addition to playing fiddle, you have a strong background in producing shows, booking, and management as well. In your experience, are there differences in what makes a folk act successful or appreciated in the US and Canada versus at home in Ireland? Do you think knowledge of the tunes and tradition affect how the music is received?

I suppose, like many musicians at the moment, I have learned to juggle a few music-related activities along with performing. It makes for an interesting, if sometimes pretty busy, existence! There are certainly similarities between the US/Canada and Ireland, when it comes to
playing concerts. In general, there exists a shared high level of perception with regard to music content, in both territories. The performance market in Ireland would tend in general to offer less opportunities for larger-scale concerts of traditional music, though
there is an incredibly healthy scene made up of of smaller festivals and teaching workshop weekends throughout the country. In North
America, it seems like there can be some difference between the typical audience at a concert performance and that found at a festival
setting, but that is something we have grown accustomed to over the past few years.

Back in 2002 you released your solo CD “Ar An Bhfidil: Irish Fiddle Music from Sligo”. What sets music from Sligo apart from music from other regions in Ireland?

When people speak about Sligo music, they are generally referring to the body of music recorded by Sligo immigrant musicians in the US
during the 1920s,30s and 40s. Fiddlers such as Michael Coleman, James Morrison and Paddy Killoran were key figures in putting Sligo music on the map through their seminal ’78rpm recordings made in New York. Despite the strong individualistic traits of each player, there are discernible rhythmic and melodic traits which hint at a rich localised musical style in Sligo, primarily associated with the fiddle and flute. Retrospective musical analysis of Irish traditional music has tended to focus, not without validity, on regional stylistic similarities, but it is certainly the case that the transmission of music in recent times has encouraged the dissipation of regional
identities to some extent. Fortunately, commercial releases from the early recording era give us a glimpse into some of the playing styles
of the early 20th century, but it is more difficult to account for playing styles prior to this era, due to the absence of recordings. In a sense, the music of Sligo today can be said to comprise both the historical styles of individual musicians of the past, along with
contemporary interpretations of that material by musicians who have been influenced by such. Sadly, just this week we lost one of Sligo’s
finest flute-players, Peter Horan (1926-2010), who has been one of the last links with the revered older generation of Sligo musicians. We
were all blessed by his wonderful music and company.

Brendan Begley (Breandán Ó Beaglaoich) is one of the most gentle souls you’ll ever meet, as is reflected in his music. A native of the Dingle Peninsula in West Kerry, Ireland, Brendan comes from a long line of traditional musical talents. His very traditional style of playing and singing has swept audiences all over the world off of their feet.

Brendan has been a full time member of the Celtic band Boys of the Lough since 1997, has recorded with Irish music greats such as The Chieftains, and has been seen on Irish television as the host of TG4′s Irish music program Geantraí for about 10 years.

Reel Roots recently interviewed Brendan about his career, his music, and his advice for others interested in the music:

Music is definitely a family affair for you Brendan. Your brother Seamus is also a well known box player, and your sons have musical training in various instruments as well. Do you think family tradition plays a different role in passing down Irish folk music from generation to generation than say learning the music from a formal education or through pub sessions?

“Music no matter which way it’s passed on is a wonderful thing. At the end of the day it’s up to the person him or herself to bring the music out in the notes that are being played. For my own part the music that I learn from a person rather than a recording – as I don’t read music – means more to me. I try and feel the emotion I felt when I was first attracted to the tune and try and make my own of it.”

Every year in February you run a five day traditional music school, Scoil Cheoil an Earraigh, in Ballyferriter, Kerry, Ireland. What gave you the idea to organize the school and how have you seen it grow since its inception?

“I have been going to the Willie Clancy School in Milltown Malbay Co. Clare every July since 1985 and wanted to do something like that at home since then. While on the road within foreign countries I often thought that here I am playing music and singing songs that I learned in West Kerry and I need to give them back to the place I got them at first. When I was growing up there was no need for such a school as tradition looked after itself but now with the major changes in lifestyles all over Ireland we have to make a conscious decision to nurture and pass the traditions that have evolved through the years to the present generation. Without Niamh Ní Bhaoíll my cohort in this work the school would not be possible. She is the back bone of the event. I do all the talking!!”

Not only are you known for your accordion playing, but also for your masterful singing. Additionally, you are a native Gaelic speaker and have done a lot of work translating Gaelic to English for theatrical productions and television. In your experience, do you think traditional music has played a role in keeping the language alive in Ireland?

“In so far as Gaelic and playing the music is concerned I am not sure if I am a Gaelic speaker first or a musician first, but when I am singing in Gaelic I know I am doing both at the one time. It is the bridge between the language and the music for me.”

Brendan, you have built a great music career for yourself over the years. You have recorded with the Chieftains, and are a current member of the band Boys of the Lough. In addition to touring and sharing your music with the world, you teach music as well. What advice would you give those learning to play or sing Irish folk music?

“Do it for yourself. There is no standard to reach except your own. Think of the health benefits playing music has for you both mentally and physically. If you decide to sing, sing at least one line of a song every day and if you play an instrument don’t put it in the case as ‘out of sight, out of mind’ and play at least one note on it each day.”

Brendan, you have toured in the past with fiddler Caoimhín Ó Raghallaigh, and are currently planning a US tour with Caoimhin this fall. You are well known for your very traditional style of playing and singing, while Caoimhin is noted for his unique playing of the Norwegian Hardanger fiddle and his non-standard tuning of the instrument which brings a different edge to the traditional tunes he plays. How do you think the combination of each of your styles appeal to audiences?

“Caoimhín in years is over 20 years younger than me but in musical terms he is older! He went forward by going backwards, back to the old recordings bypassing the innovations of Riverdance and modern bands that are playing the music. I love playing with him.  He gives me a license for musical madness and not a boring character!!”

Brendan will be joining us in Cincinnati with Caoimhín on October 28th for a sure to be fantastic concert.

You can listen to sound samples, or purchase Brendan’s CD It Could Be a Good Night Yet! here.

For more information on Brendan’s Irish Music School held every year in February, visit www.scoilcheoil.com.

Kevin Henderson grew up in the rich fiddle tradition of the Shetland Islands, and has since become one of today’s most talented and well traveled Scottish folk musicians.

Kevin started playing fiddle at the early age of 9, and at age 14 he helped form the Shetland fiddle band Fiddler’s Bid. He has since gone on to play with the likes of Boys of the Lough and Session A9, and has recently founded a new Shetland-Scandinavian folk fusion band called The Nordic Fiddler’s Bloc.

If you are a fan of Scottish folk music, you have no doubt heard Kevin’s playing at one point or another.

Kevin was nice enough to take the time to discuss his new projects with Reel Roots, as well as tell us more about the folk music tradition he grew up with:

Shetland is known for producing some of the greatest Scottish fiddle players, perhaps because it has such a rich musical heritage. What is different about folk music from Shetland versus other parts of Scotland and how do you think these differences have shaped you as a musician?

“Well I think the traditional music of Shetland is quite unique.

In Scotland there is a very big singing, piping and fiddling tradition found in different areas, each region having their own style of playing. The fiddle is the main instrument in Shetland’s tradition. We have no singing tradition really in Shetland, although there are some songs including some from the old Norn language we once spoke in the islands. Im sure there was a singing tradition at one time in Shetland, but unfortunately this tradition was lost along the course of time.

The very old fiddle music in Shetland is similar to the old hardanger music from Norway, the listening tunes for example and also what we call “Muckle Reels” which are very similar to the Norwegian Halling tunes. A strong characteristic of Shetland fiddling is the use of droning on open strings which echoes the sound of the Norwegian Hardanger fiddle. We have a similar tradition to Scandinavia with regards to ritual tunes, such as wedding tunes for example. The fiddle played a very important role in the wedding ceremony from start to finish.

I think because so many Shetlanders went to sea and so many sea farers passed through Shetland, that this played a role in making the fiddle style what it is. They met up with other fiddlers from Scandinavia, Scotland and Ireland for example and they exchanged tunes and styles, things like that, so that helped shape the uniqueness of our tradition and style.

At one time, even within Shetland, the styles varied from district to district as transport links within the isles were very poor all those years ago. Each area had their own unique style with different versions of tunes and different stylistic features.

Its hard for me to say how these things have helped shape me as a musician. In this day and age you can get easy access to any type of music you want with the internet for example. I listen to so much different music from many different genres so I believe all this stuff influences me. The Shetland Folk Festival was also very inspiring for me when I was young learning the fiddle. Getting to hear and sit and have a session with world famous musicians was incredible and hugely inspirational. I have also been lucky to travel to many different places where I have been able to hear many different types of folk music which you can’t help but get influenced by.

I get a greater satisfaction listening to the old archive recordings of Shetland fiddlers at this stage in my career than I have ever had before. I get a great wave of happiness coming over me listening to these guys and how they played. Its very special.”

Kevin, you are a member of several of the most well known and successful Scottish folk bands touring today including Session A9 and Fiddler’s Bid. Both bands are fun and lively, and have fans of all ages throughout the world. Do you find that younger audiences are responding to the folk music with the same excitement that previous generations have?

“I think the following that folk music has at the moment is fantastic with a great mix of ages turning up at concerts and festivals. There are so many young folk learning to play folk music all over the place at the moment, which is fantastic. I think many younger folk think they don’t like folk music until they actually hear it live or go to a festival for example. They then realise what an amazing thing it is and how fun it can be to be part of it.

I suppose festivals have helped bring an audience to the scene and also some of the cross-over bands have brought a new audience into the scene that may not have been interested in coming to listen to folk music before. I think its in a very good place at the moment.”

In addition to touring, I know that you participate in an event called Ethno Sweden every year. Tell us about Ethno and how it has influenced you and your music.

“Yes, I’ve been very lucky to be part of Ethno since 2006. I have a friend in Sweden called Goran Berg who worked as an artistic leader at Ethno and they needed a leader in 2006 so I was asked to join the team that year. Its basically a folk music camp for young people between the ages of 17 and 25 who come from all over the world and they spend a week teaching each other music and song from their respective homelands and all the music is arranged for 2 or 3 concerts at the end of the week. The unique thing about it is the participants teach each other which I think is a great thing. The leaders are there to help if needed or to help with arrangements and so on.

It has been a real eye opener for me musically. I’ve been introduced to so much different folk music from every corner of the globe, music I thought I didnt like but soon realised I loved it! Its a different thing when you actually sit down and get to learn music from people personally rather than just off a recording.

I’ve also been lucky to get to hear amazing instruments from different parts of the world I never knew existed!

My love for Scandinavian music also came from Ethno really. I had listened to a few groups such as Väsen, one of my favourite groups, before participating in Ethno but it was only when at Ethno that I became really hooked on the Scandinavian music. Its been a total eye opener and really changed the way I think about music from listening to writing, things like that. I recommend Ethno to any young musician who has an interest in folk music.”

In 2009 you formed a band called The Nordic Fiddler’s Bloc with fiddler’s Anders Hall of Sweden and Olav Luksegård Mjelva from Norway. There are many similarities between the folk music of Shetland, Norway and Sweden, but there are differences as well. How would you describe the band’s style, and what do you think your audiences enjoy most about it?

“I love playing with Anders and Olav. They are fantastic fiddlers and great to play with. Its great for me playing outside of my comfort zone, as I have to learn music that’s not the norm for me to play, but I think I’m eventually starting to get it – well hopefully anyway! I really love Scandinavian music, so to be able to play with these guys is fantastic. We have taken our 3 different styles and combined them to create a new sound I think. We play Shetland, Norwegian and Swedish music mostly, but we also play other stuff as well. The instrumentation we use mostly is Olav on Hardanger, Anders on Viola and me on fiddle and the 3 instruments sit so well together.

We have done a couple of tours in Norway and its been very well received so we are happy about that! Anders and Olav come up with amazing harmonies so effortlessly which I find impressive. I don’t have that skill to automatically come up with an amazing second voice, I have to work hard at that sort of thing so its a learning experience for me playing with them for sure. I think the audiences enjoy getting to hear the mix of styles in 1 concert and how we play together. I think its quite a unique sound.”

Over the years, you have had quite a bit of success in your career. You have participated in many prestigious events and your bands have received numerous awards. Where do you see your music career going in the upcoming years, and what do you hope to accomplish that you haven’t yet to date?

“I really enjoy playing in all the bands I do, and I’m extremely privileged to get to play with the musicians I do. I would love for that to keep going how its going. I have yet to go down the solo route but that’s something I would like to do soon. I really want to make my own album. I just want to keep doing what I love for as long as I can. I’ve been lucky to get to travel to many different countries to play music and that’s something I really love doing. Just more of the same really!”

You can find our more about Kevin and where he is playing on his website at www.kevinhenderson.co.uk.

If you are interested in some of the music for some of bands Kevin is a member of, please visit the following links:

The Nordic Fiddler’s Bloc – www.myspace.com/thenordicfiddlersbloc

Session A9 – www.sessiona9.com

Boys of the Lough – www.boysofthelough.com

Fiddler’s Bid – www.fiddlersbid.com

Niamh Parsons has come to be known as one of the most distinctive voices in Irish music. Her voice has drawn comparisons to such venerated singers as Dolores Keane, June Tabor and Sandy Denny. Described in the Boston Herald as both emotionally haunting and tonally as clear as crystal, Niamh’s albums have been ‘must-have’ collector’s items for any lover of songs and singing.

Niamh has recorded six studio albums and one live album to date. For the last 10 years, she has been playing in a duet with Ennis-based Graham Dunne—there is a spiritual bond between Niamh and Graham when they perform, which draws out the essence of the songs.

Reel Roots recently interviewed Niamh about her career and love of folk music. Here’s what she had to say:

Niamh, you have toured in the past as a member of the well known Irish band Arcady, with your own band The Loose Connections, with Eileen Ivers & Immigrant Soul, and with other groups. You also tour frequently under your own name with Graham Dunne. Do the style and presentation of your performances with a full band behind you differ from your duo performances singing with Graham’s accompaniment?

“Yes, I think my presentation is different when I sing with Graham. Firstly, when I sing with bands, I am only one member of the band, and have my song spots throughout a show, however, with Graham I am singing all the time, and he is the only band member accompanying me, therefore between the two of us we are the whole band. Also Graham’s accompaniment is very supportive and allows me to play with timings, delivery etc. The style of songs I sing with or without a band is the same.”

Many of the songs you have recorded are Irish, however there are several Scottish songs in your repertoire as well. It seems very clear that you carefully choose traditional songs that speak to you or affect you in some way, no matter what the origin. How do you choose the songs you sing and what makes the ones you choose special to you?

“While many of the songs I sing are Irish, there are plenty of English, Scottish, and American songs in my repertoire. I choose songs that I can deliver well. I always feel I am a carrier of the tradition and therefore I am only another voice in a long line of voices that have sung these songs over the years. Sometimes it could be a phrase, or a turn in the tune – its hard to say what exactly makes me choose a particular song, but each and every song I choose to sing has a meaning for me in some way so they are all special to me.”

I know when you are in the States, you often do singing workshops for those who are interested in learning the techniques behind folk singing which are very different from classical singing techniques. What advice would you give to someone who is just learning to sing folk songs, or who is already trained in a different singing style?

“Every voice is different, and I would prefer if a singer did not dwell on the fact that they have been trained, but to concentrate on feeling the lyrics they are singing. Any singer singing with feeling will get the emotion of a song across, regardless of the type of voice. But people who want to learn the ‘twiddly’ bits need to work on that aspect, by copying other singers and then trying to fit that into the way they sing.”

You have toured in many different countries besides your own, from the US to Italy to Germany. Do audiences in these different countries react similarly to your performances, or do you find that there are cultural differences which make each audiences’ reaction to your songs unique?

“No, I feel the audiences generally react the same, despite possibly not knowing the language. There is something in Irish music and song that seems to cut through barriers and non-English speaking people seem to ‘get’ our music.”

You have performed in many places and in many arenas in the past, anywhere from concert halls to folk festivals to house concerts. What type of performances do you prefer the most, those with more of an intimate setting, or those with countless people looking on?

“I don’t really mind the size of an audience. I love an intimate setting of course, but larger audiences can be excellent too. I have played in some of the most prestigious Concert houses in Europe, for example Concertabeau in Amsterdam, and the audience was completely silent during my performances, so although it’s not intimate as there were so many there, the reaction is the same. Outdoor festivals are difficult because there is always so much noise from surrounding tents and sellers. But from experience I know that people are listening, and enjoying our performances.”

We would like to extend our thanks to Niamh for chatting with us. It was such a joy to get Niamh’s insights on folk music and her role in the industry.

To find out more about Niamh, when she is touring or to buy her CD’s, visit her website at www.niamhparsons.com.

Since the dawn of Riverdance, a household awareness of Irish dancing has emerged throughout the United States and Canada. However, long before the phenomenon of Riverdance, Feet of Flames, and all of the rest, Irish dance was and remains an integral part of the Irish musical tradition and culture.

Cara Butler is one of today’s most recognized professional Irish stepdancers on the folk music circuit. She began dancing at the early age of six, and eventually went on to win numerous Irish dance championships at world-class levels, including five regional and six national titles.

In addition to competitive dancing, Cara began performing with some of the most recognized Irish bands on the touring scene, including Cherish the Ladies, Greenfields of America, and Solas. In 1992 she went on to become the principal female dancer with The Chieftains, and has appeared with them on shows such as the Late Show with David Letterman, The Tonight Show with Jay Leno and Late Night with Conan O’Brien.

Reel Roots was able to tie Cara down for a few moments during her busy and tiring touring schedule to find out more about her career. Here’s what she had to say:

Cara, you are often seen on stage with other dancers who are all schooled in different dance styles, everything from Ottawa Valley stepdancing to tap dancing. Does sharing the stage with other performers dancing in other styles influence the way you present your Irish stepdancing to the audience, versus performances where you are dancing solo?

“Absolutely! Its amazing how I can change back and forth without even realizing it. It’s a totally subconscious reaction to straighten up, overcross those knees and hold my arms down when I am performing with traditional Irish dancers as opposed to when I am on my own. Its like we automatically conform to each other which makes sense because Irish dancing is much more structured. When I am dancing with the boys (the Ottawa Valley Dancers) I just let it all go. Not my technique of course, but the WAY in which I dance the same steps. Its just looser, more free.  I’m not trying to look like them and they are not trying to look like me… thank God for that!! I think having the different styles side by side really showcases them – highlighting the movements and techniques used to achieve the same rhythms… and I think from an audience perspective, its like they are getting two shows in one!!”

Many people are familiar with your performance in the Folgers coffee commercial “A Dancer’s Morning” several years ago. I’m sure filming a commercial is a very different experience from stage performance. Tell us one of your favorite stories from that experience.

“Well, they really wanted me to have a cat. So they kept putting this cat on the bed with me, but it kept hissing at me and jumping off the bed. He obviously didn’t want to share the spotlight!! So they brought in another cat and the same thing happened!! Hissing away! I guess I’m not a cat person…”

When you are touring with the Chieftains, you often get to work with kids from local Irish dance groups who are participating in the Chieftains performances from city to city. Do you notice any trends or differences in the way younger dancers are being taught from when you were a student yourself as a child?

“Just as in the past, the steps and choreography have progressed and become a sign of the times. Dancers today are doing moves that we wouldn’t have even thought of a decade ago. It’s now all about how many ‘tricks’ you can do.  Impressive on one hand, but not so much when you see all ‘tricks’ and none of the basics. Beautiful, simple rhythms done perfectly in time with the music. To me, that’s more impressive than all the tricks!

Also, the costumes have become much more elaborate. Presentation has always been top priority and extremely important in competitive dancing, but it has become a sort of beauty pageant. Very young girls in make-up, extremely glittery costumes, and oh the WIGS!! Some girls wear two at one time!!! I remember the days of sleeping in 300 pink sponge rollers and then the torture of having them pulled out. I mean, I’m all for making it easier on the dancers, but come on… let’s try and keep it a bit more natural.”

You tour with so many groups these days, the Chieftains, StepCrew, Tread, Cherish the Ladies… what is your favorite part of being on the road with all of these different groups, and what is your favorite part of NOT being on tour?

“Well, each group is unique in its own way which makes my experience with them different from any other. There are days when I am touring with all women and days when I am with all men. Kind of like touring on Venus and then going straight to Mars!! Makes it all very interesting, really. It’s what keeps me going. I love to perform and to have so many different mediums to express makes me very lucky… AND keeps me on my toes! No pun intended!! Going from a Chieftains tour straight into a StepCrew tour is like going into two different worlds. Like Hollywood to Broadway… same talent, just a different broadcast.  You have to be up for it all!

My favorite part of NOT being on the road would have to be just being home. Chilling on the couch with my babe, cooking some dins and sharing some wine with my best buds. Catching up, going to my favorite sushi place and just relaxing. One doesn’t get too much down town on the road, so being able to do some serious R&R is precious.”

There are so many different things you have done in the past and are currently doing at present with your dancing career. What new things do you have planned for the future?

“Well, I’m getting married in a month so that is pretty much all I’m planning for now! But I would definitely love to teach one day. Settle down, maybe open a school. I mean I can’t be on the road forever… can I??? A life without turn-down service and 2am club sandwiches??? What’s a girl to do??? Haha, just kidding. No, I really would like to do that, but right now I’m focused on my career. I love touring with The Chieftains, with Cherish, and The StepCrew and Tread are just starting to take off. I honestly feel like I am in better shape now dancing than I did when I was twenty. You just know your own body more as you get older and how it works. And I want to take advantage of that for as long as I can!”

If you are interested in seeing Cara perform, check out www.stepcrew.com for upcoming tour dates.

If you are interested in learning more about the other groups Cara is involved in visit their websites:

www.myspace.com/treadtraditional
www.thechieftains.com
www.cherishtheladies.com

We would like to extend our thanks to Cara for taking the time to talk with us!

Matthew Gilsenan was raised by a farming family in rural North Meath in Ireland. His training in classical singing began at the early age of 10, and he grew up learning from some of the greatest Irish and Scottish teachers.

Since joining The Celtic Tenors in 1998, Matthew has become an integral part of the Tenor’s sound. Together The Celtic Tenors have sold out venues worldwide, and are not only known for their masterful singing technique, but their stage presence and ability to engage the audience both through song and banter.

Reel Roots recently interviewed Matthew to find out a little more about what makes The Celtic Tenors the phenomenon that they are, and to get Matthew’s perspective on his experience with the group:

How do you think the Celtic Tenors’ classical style of singing has helped expose folk and traditional songs to a wider audience?

“This is the kind of question I never ask myself, but when asked, leads me to analyze what we are doing a little.

All I can offer is a theory. I think there are a couple of strands here.

Basically, the music is in our blood – admittedly some of us more than others – but the tradition has been with us our whole lives from four very different perspectives, and so when we sing it, we do so with real commitment and honesty. Any audience can tell immediately if songs are being performed with total commitment and belief, so that is one element. The songs must ring true.

Then maybe even more importantly, if you are not careful in the classical singing realm you can lose a song in technique. The classical training is made up of basically two components; the actual vocal production technique and interpretation. Technique deals with breathing, registers and vowel sound production, then interpretation is pretty much what it says on the tin, except diction and the way you sing the language is key. This has a huge impact on a song. In nearly all cases you are taught to sing in the upper class most elite way for the language you are singing in. I think this really sucks.

One time I was showing off in the pub with a pretty Russian Girl. I sang a bit of the Russian aria and she laughed saying that I am much too posh for her singing with an accent like that. No wonder my Granny in Galway asked what happened to my beautiful voice when I started singing The Galway Shawl in a posh English accent. My Fenian ancestors would have shot me. Maybe that was the appeal that John McCormack had, he always sang with great diction, but it was Irish sounding diction.

Since then I have tried hard to complete my singing toolbox by re-learning how I learned to sing as a kid and young person, and in so doing, we as a group have made a point of making sure we are as “true to our traditions” in the way we sing. Yes, use the technique that we need to sing the way we sing, but we just add to the tools we use. Different songs call for different measures.

The overlap of interpretation and technique sometimes creates a hideous blend of over pronounced singing that in many cases kills any real feeling or personality that should be alive in the song. The Tenors for which it has malfunctioned, are to be found singing Irish song with a complete English accent. In fact Feis Ceoil in Dublin has some responsibility in this. For example an old song like the “Star of the County Down” must be done in the Herbert Hughes arrangement pretty much in an English accent which for me is a sin.

So, to pull the thoughts together, we love to sing the songs of our country as true to the songs as we dare, which sometimes means laying off some aspects of our classical training. But we also remember that our audiences want the passion of the tenor singing -  those ringing top Cs with wild abandon – as well. We are always trying to find new and old songs that can deliver all of that. Our song “Remember Me” written for us by Phil Coulter is the only true song of this kind in our repertoire as of now, but we are still searching.”

Growing up in North Meath, you were exposed to Irish folk music at an early age by family and community. After your formal training in classical singing, what inspired you to turn your singing career back to the traditional music of your youth?

“I think it was that time I sang an Irish song in way too classical a way for my granny in Galway. She made me see the light.”

Matthew, you have performed at some of the most prestigious venues in the world singing with the Tenors. What is your most memorable performance on the road, and have you had any debacles on stage you would like to share?

“I remember nearly every second of our performance for President Clinton in Dublin Castle. It was fairly intimate. We sang our a capella version of “Danny Boy” for him at his table, he wept and we spent 15 minutes or so talking and taking pictures and singing “Danny Boy” again arm in arm with the big man. There are a few stories from that night that I dare not repeat in print. I’ll tell you those over a pint.”

Tell us about the Celtic Tenors’ upcoming special “No Boundaries” on PBS. What about the show do you think audiences will enjoy, and what new and different things can we expect?

“This is a really basic, no frills once through performance in Maryland Public Television studios with a studio audience. Its really just us singing our current set. It sounds great and is beautifully filmed. There are a couple of numbers which have never been recorded by us before that date. It is in essence a show that is closer than any yet done to what we are like live in our simplest show.”

Matthew, you had a career in engineering before committing to professional singing full time, which is quite a move! What advice would you give those who have a skill set in the performing arts who wish to pursue their talents on a more professional level? Did you personally find it difficult to balance two very different careers?

“I had an experience with a fellow engineer, Laz Temmimi, who helped me with my decisions surrounding this. I thought it was a huge risk to leave my job to sing. He told me “My Friend, it is a much greater risk not to take that risk”. That was it for me, I took 6 months off and the planets aligned in such a way that I couldn’t turn back to engineering. I can say that I am truly happy being a singer. My advice is this: life is short, if you want to try something, it is a massive risk not to try it… Go do it. You will know soon enough if it will work for you.”

You can find out more about The Celtic Tenors on their website at www.celtic-tenors.com.

Their PBS Special “The Celtic Tenors: No Boundaries” began airing on PBS stations throughout the US in March. For more information and air dates, visit:  www.celtictenors.org.

John Whelan, a household name for those who love traditional Irish accordion music, was raised in Dunstable, England. Despite his English upbringing, John was exposed to the Irish music tradition at a young age by his father, an Irishman from County Wexford, and the large Irish community residing in Dunstable at the time.  “Ours was a very traditional household,” John says. “My father didn’t have any major vices – his only addiction was to Irish music.”

John grew up learning traditional music, and at 14, recorded his first album Pride of Wexford.

Since his childhood, John has grown up to become one of the most well known Irish accordion players and accomplished songwriters of his time.  He has recorded numerous albums on his own, and recorded with other top notch musicians such as Tim O’Brien, Eileen Ivers, Connie Dover, Seamus Egan, and Johnny Cunningham.

John and his music have been featured in television and film on programs such as Late Night with Conan O’Brien, Fox after Breakfast, Sex and the City, Riverdance, the movie Gods and Generals and on numerous public television programs.

In anticipation for our upcoming concert in Cincinnati with John Whelan in November, Reel Roots took a moment to interview John to learn a little more about his take on the music:

John, you have worked on so many wonderful projects over the years which have helped bring awareness to the traditional music of Ireland, especially here in the US, and additionally have helped further the tradition with your own true-to-form compositions. What do you consider your greatest musical accomplishment to date?

That is a very difficult question to answer. I think for me that having people learn your tunes and not know that they are contemporary is the ultimate compliment as our music is passed from generation to generation. I hope that this continues and that I can write more music that is recognized by my peers.

Irish folk music is something that you grew up with starting at an early age.  It is part of your own family tradition, as well as your cultural tradition. Why is folk music important to you as a musician and songwriter?

I think that it is incumbent on us to help preserve the history and story telling from past generations. There is so much we can learn from what has come before us and the folk music of every culture helps us in this endeavor.

John, you started your career at an early age in England and Ireland, however you have lived in and managed your career from the United States for the last 30 years. Has living in America influenced the way you play and write music?

I think it has greatly affected the way I look at and listen to music. I did not really know much about American folk culture until I arrived here and was wonderfully surprised to hear Old Time music and Bluegrass. Also the contemporary music that I never heard while growing up in England such as the Doors, Billy Joel Lynard Skynard just to name a few. I continue to enjoy the rich history of music in America and there is always something new to learn.

You are known for your lively stage presence, interaction with the audience, and are an all around fun and warm guy. I can imagine over the years through all of your performances you have had many  interesting experiences. What’s the craziest thing that’s ever happened to you during a show?

I had my pants pulled down while standing on a tabletop. No explanation needed I think. I managed to continue playing once I pulled myself together!

So many students and lovers of Irish folk music look up to you and appreciate what you have done for the genre. Everyone has inspirational figures in their lives who are responsible for encouraging creativity and forming foundations of success in one way or another. Who is your musical hero and why?

I have a few people that I look up to for different reasons. The late Paddy O’Brien was and continues to be an inspiration on the way I play and write music. Joe Burke also for this reason but he showed me what it was to command an audience and to gain respect. The late Paddy Taylor was the first adult musician to ask me to play a few tunes with him and so I learned humility and respect for the young up and coming musicians who need our guidance and knowledge as they move forward in their desire to become good musicians.

Reel Roots would like to thank John for taking the time to talk with us and answer our questions. We look forward to seeing him here in Cincinnati in the fall!

You can learn more about John and purchase his music through his website at www.johnwhelanmusic.com.

Born and raised on the Island of Lewis off the Northwest coast of Scotland, Alyth grew up immersed In the culture of these islands. Best known for her Gaelic singing and theatrical performances, Alyth has toured with the likes of the Chieftains and Moving Hearts. She has shared the stage with folk greats such as Martin Carthy and Norma Waterston, jazz singers Jacqui Dankworth, Sara Colman and Leanne Carol, Brazilian ensembles and Bulgarian voice choirs – and Scotland’s own Eddi Reader.

Reel Roots recently interviewed Alyth about her career and her recent tour with the Chieftains:

When did you know singing would be more than a hobby for you?

Singing is something I have done on stage since I was 4. My first performance was at a family wedding. I don’t remember it myself but seemingly I appeared on stage with a microphone in my hand and my father turned to my mother and said ‘Oh God Mary, what’s she going to do?’ They had no idea I knew any songs that I could sing by myself or that I would even want to do that centre stage – I guess we are just all born with something.

I competed in singing competitions in the Islands (The Hebrides) as a child, as that’s part of my culture, and even then it wasn’t really just a hobby if you are serious about anything even as a child it becomes more than that. Competing can however breed monsters (!!) so I am glad that music is encouraged more in the Islands now though educational projects as opposed to just competition. I think the breakthrough about becoming a singer came when I realized I could make this thing that I loved my job. That happened towards the end of high school when after researching what I wanted to study I found out there were courses where you could go and study music. You could ‘study’ how to be creative. It was a bit of a strange concept but my college years we enlightening and encouraging and I met my singing teacher who I feel blessed to have met. She was fun, understanding, encouraging, open minded, sometimes tough and technically brilliant too. She helped me begin my development as a performer.

Alyth, how does your background in classical singing affect your vocal interpretation of traditional folk songs?

My classical background is fundamental to the way I perform folk songs. Not so much because of the training as such – although when tiredness sets in I can fall back on my technique – invaluable on long tours – or when folk songs arise with technically difficult ranges because many song tunes were fiddle melodies originally I can rely on it there too – or even for sight reading which can cut to the chase quickly. Mainly it helps because it works in tandem with my traditional background through my classical training the main thing I learned was to experiment to try things. It gave me the confidence (although I never really think I am that) but it helped me to explore, to experiment and has led me to do many different jobs and areas I would maybe not have had the confidence to tackle before hand.

Of all of the performances you have done, do any stand out as your favorite?

Oh boy that’s a question.

Carnegie Hall with The Chieftains accompanied by my two very good friends and band mates Jonny Hardie and Brian Mcalpine. It was St Patrick’s Day and we had been on the road with The Chiefs for a month so the banter was pretty good and Carnegie was a Scot so given the day I did have to remind all of that fact!!

Opening the Edinburgh International Festival last year with the cast of the St Kilda Opera and standing alone on that huge stage and singing Traditional Gaelic songs against the accompaniment of Belgium contemporary classical music with acrobats and opera singers all who loved the traditional songs and probably also singing ‘Good Night Irene’ with Ry Cooder. He loves music and is one of the most gracious ‘big names’ I have ever met. His love is purely music and the performance of it.

What do you notice about your American audiences that differs from Scottish or Irish audiences?

Sadly over the last tour – that they don’t understand the way I talk. Sigh…

There I am explaining the songs and where they and I come from and afterward the first thing they ask despite my explanations is ‘where are you from?’ or ‘what’s the name of the language you sing in?’ Thankfully despite the language barrier they do always respond well to the feeling of the songs – there is gladly never a problem there. American audiences are very keen to know of their ancestry and are keen listen to the music of the land their families came from. I was however in a venue recently in Florida and I noticed that in the venue managers office there was a clothes rail with clothes hangers on it and I knocked on the door and asked if I could borrow a couple of hangers and the manager came back with bottle of hand lotion? It’s funny really as islanders are known for having good English because as it was not their first language and they tended to learn it in it’s purest form but obviously not in its American form. Globalization has NOT taken over – it’s a good thing.

Next to singing, what’s your #2 passion?

Well maybe I am little biased at the moment as I’m just back from a long tour but sitting at home and enjoying the comforts of that is a good thing. On tour you are at the mercy of the tour schedule and your time is never your own so balancing that with a relaxing home life is a favourite. Not that I don’t enjoy touring – I love it!! I live for it. I do have a little problem though despite the fact my husband is also a musician and no doubt feels the same way we don’t get to work together a lot so spending time with him is passion #2. We’re about to head to Dingle on the South West Coast of Ireland for some walks on the beach and the reality of the wind and the rain and the forgetting of hours lost at airports and weeks of separation.

You can read more about Alyth on her website at www.alyth.net. Her CD “People Like Me” was recently released here in the US and can be purchased through Navigator Records. It is a must listen, and contains a wide variety of Scottish traditional music both in Gaelic and English.

Reel Roots would like to thank Alyth for taking the time to talk with us, and we look forward to seeing her here the next time she hops the pond!