I was looking back over old discussions about fiddlers whose music ive got at home, and i came to zoe conway, who plays and performs music from a few genres. I think its fair to say that there is such a thing as handling your instrument well, whatever style you are currently playing in, and so she does.
My question is this: in view of the scepticism with which traddies view those with a high level of technique, is progress on the fiddle (or any trad instrument) an infinite series of stations, or does it have a terminus?
Tone too even/smooth/full. Beginning, middle and end of notes too precise. Intonation too reliable.
Basically, not rough enough around the edges.
Im sorry if I have phrased this question badly, but it seems to me that in this genre (that I have only recently joined), there is an opposition or tension between being genuine and being virtuosic.
Another slant - what place does virtuosity have in traditional irish music?
This music does not suit virtuosos. Your not out to impress people with it. You don't get points for playing fast. Yoy don't need anything other than first position. You don't need all your bow. You don't need to project your tone and acoustically fill a concert hall.
I'm not sceptical of those with a high level of technical ability at all, it's just that for this music, it's redundent.
Right. There are two different ways to look at virtuosity. The first is that it is irredeemably associated with show-boating, arrogance and the dirty oul Ego.
The second is that it is about the taking of infinite pains to improve your musical expression, focusing on the tiniest of details out of fear that your laziness will let you down.
What I really meant to ask is should you allow yourself to be satisfied with your playing at some point?
I've never really came accross the first so can't comment.
The second one is interesting because I'm always intriqued by people who show that level of focus on their instrument/music, I say fair play well done..
Keep on hammering away at the lead until one day you get a little fleck of gold in it.
Or do you smooth a little bit of patination oil over it and say "Job done. Can't see it from my house".
Would you be an awful l a n g e r if you could play a tune up in the outer reaches of the fiddle? If you could play it well and honestly the way you try and play your tunes in the first position?
Would you be a t o o l if you tried to roll an open string note by detaching your death grip from the neck and moving up the fingerboard?
I am a t o o l, by the way. I was convinced that martin hayes was doing that for a good few months, when he was actually playing the tune in C instead of D. Never checked. Or heard it.
The question is, I guess, why do you need to do those things? Is it necessary in order to play the tune well? No, it's not. Most would think the person is being a big show off or whatever you kept trying to type there.
The implication seems to be that there is only one place for The Music. On a forum called The Session the focus is understandably on participating in a group and sharing a few drinks, where a certain degree of competance is required but too much is surplus.
Music can also be played with the intention of entertaining others though, and that's where higher degrees of skill or virtuosity are appreciated.
I think the observed skepticism wrt a 'high level of technique' is more a focus on a different high level of technique. You could hardly say that Kevin Burke's technique is not "highly developed", but it's nothing like the highly developed technique of a Joshua Bell. If Bell came into a session playing tunes with the same approach that he takes to a Bach partita, it would probably sound lovely - he's a great player - but it wouldn't sound right.
That reaction would not ome from a negative reaction to great classical technique, but from an unmet expectation of a degree of traditional technique.
(this comment is not made with any reference to the fiddler you mention, I haven't had a chance to listen to her yet... just speaking in generalities)
I think you're confusing virtuosity with classical technique. I consider players like Michael Coleman, Kevin Burke, Tommy Peoples, etc. to be virtuoso fiddlers, because they have achieved such a high level of technique on the fiddle. It has nothing to do with shifting.
As for tone, it's not that classical players have too good of a tone, it's that they are trained to have the wrong kind of sound for fiddling. Smooth transitions between notes and across strings does not really make for good technique on the fiddle. Trad and classical are worlds apart in technique, despite some people like Zoe Conway who have mastered both.
When I said virtuosity, I suppose more than anybody else I had in mind John Carty, who seems to me to be at the upper end of the inventive scale. I hear him fitting things in to the trad idiom that are purely his own. When hes flat out, I think hes bumping up against the limits, and he always seems to be trying to fit as much in as he can before someone tells him to stop, like a bould child out after tea.
There are no limits. Listen to John Doherty turn a fiddle into a set of pipes. I can't think of any top players who have stopped developing their technique because there's nowhere left to go. That seems a naive take on the music.
Naive would not be out of character. Its only really the fiddle Im thinking of. I came to it from guitar and a bit of piano, and Im in awe of just how much control is possible over everything to do with the note.
I do believe that all you need to set yourself free is a good solid set of rules to always obey.
And hang on a second now, Marklar. Exactly how roughly should a fiddler move between notes. Do you have to dig the bow down into the beginning of every non-slurred note, with a violent crunch, to be playing the trad? Should you miss seventeen percent of all string crossings?
What I mean is, string crossings often need to be abrupt, not smooth. That doesn't mean scratchy or missing a note, that's what I mean about naivete. The bowing is often used to accent the beat, do it silky smooth and it sounds all wrong.
An example of one small aspect of technique: classical players in amateur orchestras are often told not to use the open E-string, presumably on the basis that the sound is too strong and of a different character to that of the A-string. Consequently, they are encouraged from an early age to use the fingered E on the A-string for almost everything. And then they are frightened to death of playing the open E and so get a dreadful tone out of it. Contrast this with Irish music where a fingered E is very much the exception (although it does have its uses), and fiddlers have no hang-ups about the open E. The Irish fiddler's approach to playing open strings is actually very close to the Baroque playing of 300 hundred years ago.
I have heard it said by more than one fiddler that the ideal bow for Irish fiddle playing is the Baroque bow - very light and responsive, and does all the articulation for you.
Funny, I recently took a class with a very well-known, well-respected Irish fiddler, and he stressed exactly the opposite---that one of the defining characteristics of Irish fiddling is that the beat frequently comes in the *middle* of a bow stroke---that the bow should not be responsible for defining the rhythm. He is not a Donegal fiddler, I should say, so it might be different up there. Where are you getting these ideas, corkonian? And what kind of music do you play?
The way I see it, the fiddle is just a tool for expressing the Tunes.
The way the Tunes are supposed to sound determines what kind of
weird things you do on the instruments to get them to come out
sounding like that.
I think that means you can do whatever you like
on your fiddle, provided that the music coming out of the $%&@ thing
sounds like Irish Traditional music is supposed to sound like
to those who are qualified to judge it.
Making it come out is the trick - it has mind of its own and is stubborn
as mule. Speaking for myself, I've had to be very analytical and practice
hard every day for almost 5 years just to reach the point where
occasionally it sounds ok.
contradictions are great. Yes, I like to play with some of the rhythm in the middle of the bow. Accenting beats with just little flicks of your fingers. And/or playing through the ends to starts of phrases disguising where the beat it. It's very subtle. All the stuff that goes over the heads of those who listen to the bodhran of course. All the lovely stuff the bodhran ruins
And I don't think I've ever found the music stubborn. I'm more used to finding it extremely malleable and forgiving. And though I agree that the best of it has a mind of its own, I've found that it's difficult to bring that out if you are over analytical.
I've mixed up my anthropomorphizing. The fiddle is stubborn
and has a mind of its own and I am analytical about the
physical things involved in the playing of the fiddle. For example
if your bow goes off track during a rapid string crossing then
you're no longer in control of the emphasis of the notes. Some
notes may even fail to come out at all. You have to work out a
personal way of keeping it on track, a way of thinking about the
motions involved that works for you. That's just one example.
If your bow goes off track and you loose control of the emphasis or even loose the odd note, the music can handle it., It's one of the things I meant when I said it's malleable and forgiving. Just try to go with the flow of it. Ride through it and enjoy the ride.
One of the things I like to do with the bow is to tie it in knots, to get yourself inadvertently into a situation where you could be bowing something back to front from the way you'd normally play it. And then have fun digging yourself out. And then see if you can do it again the next time round. You get lovely variations this way.
I think that if you try to analyse the motions too closely you'll loose the spontaneity of surprising yourself
There's a lovely moment on a recording of Andy McGann being accompanied by Paul Brady as they approach the end of a set of tunes. McGann is on the home straight when he tries a little variation and ends up playing himself into a corner which he juust manages to get himself out of. To the everlasting credit of the record producers you can hear McGann breaking down in laughter along with Brady who can be heard saying 'keep that, keep that'.
I suspect this is just point that llig is making and illustrates what can happen and what can be done.
Yes! It's the last track of the album "It's A Hard Road To Travel". It's nice to know you're not the only one getting lost sometimes...
Don't know if I can add that much to the discussion, but I did study violin for a while with a classical teacher who tried to convince me that if I used classical technique when playing trad it would sound much better. And I answered something like "it might sound better, but it won't sound trad"...
That being said, I don't think I'll ever feel "finished" with my playing. There is always some technical stuff you can add or improve. I guess you could say my technical level is quite enough for trad, but I still like to improve because it's fun to get better. And it helps me relax when playing. And to me, that's part of why I play music - it helps me relax and it's fun.
Corkonian- Having read initial and subsequent posts, I have come to the conclusion that your overly verbose flowery use of language coupled with vague pseudo intellectual ramblings cannot mask or detract from the fact that you have no clue.
Technique and variation are as much an intergral part of the Tradition as the Choons themselves. This is a fairly obvious statement on my part and I have a feeling to make any more would be a bit like p1ssing in the wind.
I really fail to see your overall point ? What are you even on about? Why do so many rise to the bait and pretend to have informed opinions? Posts like this make the mustard board seem like a Trad version of Dawsons Creek..Trad is about what is passed on, from the Masters to the rest. It is not a collective ownership and nostalgic adherance to musical mediocrity as you seem to suggest. Then again maybe the overly verbose nature of this discussion is beyond my analytical capability.
Nah, check the second para. of the OP, Marklar. Jig wouldn't know a colon unless he purchased one by accident from a rather down-at-heel butcher. Personally, I just take exception at being called a 'traddie'.
llig,
defo! A friend taped it onto a cassette for me and I enjoyed listening to it for many a long hour. Of course in the fullness of time the tape machine ate it....
I had even forgotten the title of the recording, I wonder is it still extant?
That was a great moment on the album, but aside from that, McGann
is firmly in control always. If you want to hear people playing their
way out of tight corners all the time - Bobby Casey and John Cullinane
Hup,
I'm still working on Casey, trying to decipher what it is he is doing. He plays, for my money, from the heart and I'm having difficulty in keeping up with him. Me brain needs an 'upgrade' to work out what he was doing! As for John Cullinane, I'll get round to him one of these days, God willing and if I'm spared...
Approaching the buffers?
Approaching the buffers?
I was looking back over old discussions about fiddlers whose music ive got at home, and i came to zoe conway, who plays and performs music from a few genres. I think its fair to say that there is such a thing as handling your instrument well, whatever style you are currently playing in, and so she does.
My question is this: in view of the scepticism with which traddies view those with a high level of technique, is progress on the fiddle (or any trad instrument) an infinite series of stations, or does it have a terminus?
Is there a sense in which you can be too good?
# Posted on August 18th 2009 by corkonian
Re: Approaching the buffers?
'in view of the scepticism with which traddies view those with a high level of technique'
I'm more than a little puzzled why you've reached this conclusion. Please explain.
# Posted on August 18th 2009 by MacCruiskeen
Re: Approaching the buffers?
Tone too even/smooth/full. Beginning, middle and end of notes too precise. Intonation too reliable.
Basically, not rough enough around the edges.
Im sorry if I have phrased this question badly, but it seems to me that in this genre (that I have only recently joined), there is an opposition or tension between being genuine and being virtuosic.
Another slant - what place does virtuosity have in traditional irish music?
# Posted on August 18th 2009 by corkonian
Re: Approaching the buffers?
This music does not suit virtuosos. Your not out to impress people with it. You don't get points for playing fast. Yoy don't need anything other than first position. You don't need all your bow. You don't need to project your tone and acoustically fill a concert hall.
I'm not sceptical of those with a high level of technical ability at all, it's just that for this music, it's redundent.
# Posted on August 18th 2009 by ...
Re: Approaching the buffers?
Just watched this:
http://www.youtube.com/watch?v=Hzi7OhSzysw&NR=1
I wouldn't kick her out of a session
PS I can't spot the virtuoso....
PPS I wish I had that high level of technique you speak off
# Posted on August 18th 2009 by Andyras1
Re: Approaching the buffers?
Right. There are two different ways to look at virtuosity. The first is that it is irredeemably associated with show-boating, arrogance and the dirty oul Ego.
The second is that it is about the taking of infinite pains to improve your musical expression, focusing on the tiniest of details out of fear that your laziness will let you down.
What I really meant to ask is should you allow yourself to be satisfied with your playing at some point?
I think I can answer my own question.
Out the gap.
# Posted on August 18th 2009 by corkonian
Re: Approaching the buffers?
Good recovery Corko,
I've never really came accross the first so can't comment.
The second one is interesting because I'm always intriqued by people who show that level of focus on their instrument/music, I say fair play well done..
And I'll let you answer the last one !!!
# Posted on August 18th 2009 by Andyras1
Re: Approaching the buffers?
Keep on hammering away at the lead until one day you get a little fleck of gold in it.
Or do you smooth a little bit of patination oil over it and say "Job done. Can't see it from my house".
Would you be an awful l a n g e r if you could play a tune up in the outer reaches of the fiddle? If you could play it well and honestly the way you try and play your tunes in the first position?
Would you be a t o o l if you tried to roll an open string note by detaching your death grip from the neck and moving up the fingerboard?
I am a t o o l, by the way. I was convinced that martin hayes was doing that for a good few months, when he was actually playing the tune in C instead of D. Never checked. Or heard it.
# Posted on August 18th 2009 by corkonian
Re: Approaching the buffers?
The question is, I guess, why do you need to do those things? Is it necessary in order to play the tune well? No, it's not. Most would think the person is being a big show off or whatever you kept trying to type there.
# Posted on August 18th 2009 by SWFL Fiddler
Re: Approaching the buffers?
The implication seems to be that there is only one place for The Music. On a forum called The Session the focus is understandably on participating in a group and sharing a few drinks, where a certain degree of competance is required but too much is surplus.
Music can also be played with the intention of entertaining others though, and that's where higher degrees of skill or virtuosity are appreciated.
# Posted on August 18th 2009 by All Moldy
Re: Approaching the buffers?
I think the observed skepticism wrt a 'high level of technique' is more a focus on a different high level of technique. You could hardly say that Kevin Burke's technique is not "highly developed", but it's nothing like the highly developed technique of a Joshua Bell. If Bell came into a session playing tunes with the same approach that he takes to a Bach partita, it would probably sound lovely - he's a great player - but it wouldn't sound right.
That reaction would not ome from a negative reaction to great classical technique, but from an unmet expectation of a degree of traditional technique.
(this comment is not made with any reference to the fiddler you mention, I haven't had a chance to listen to her yet... just speaking in generalities)
# Posted on August 18th 2009 by Jon Kiparsky
Re: Approaching the buffers?
That will do me.
# Posted on August 18th 2009 by corkonian
Re: Approaching the buffers?
I think you're confusing virtuosity with classical technique. I consider players like Michael Coleman, Kevin Burke, Tommy Peoples, etc. to be virtuoso fiddlers, because they have achieved such a high level of technique on the fiddle. It has nothing to do with shifting.
As for tone, it's not that classical players have too good of a tone, it's that they are trained to have the wrong kind of sound for fiddling. Smooth transitions between notes and across strings does not really make for good technique on the fiddle. Trad and classical are worlds apart in technique, despite some people like Zoe Conway who have mastered both.
# Posted on August 19th 2009 by Marklar
Re: Approaching the buffers?
When I said virtuosity, I suppose more than anybody else I had in mind John Carty, who seems to me to be at the upper end of the inventive scale. I hear him fitting things in to the trad idiom that are purely his own. When hes flat out, I think hes bumping up against the limits, and he always seems to be trying to fit as much in as he can before someone tells him to stop, like a bould child out after tea.
# Posted on August 19th 2009 by corkonian
Re: Approaching the buffers?
There are no limits. Listen to John Doherty turn a fiddle into a set of pipes. I can't think of any top players who have stopped developing their technique because there's nowhere left to go. That seems a naive take on the music.
# Posted on August 19th 2009 by Marklar
Re: Approaching the buffers?
Naive would not be out of character. Its only really the fiddle Im thinking of. I came to it from guitar and a bit of piano, and Im in awe of just how much control is possible over everything to do with the note.
I do believe that all you need to set yourself free is a good solid set of rules to always obey.
# Posted on August 19th 2009 by corkonian
Re: Approaching the buffers?
And hang on a second now, Marklar. Exactly how roughly should a fiddler move between notes. Do you have to dig the bow down into the beginning of every non-slurred note, with a violent crunch, to be playing the trad? Should you miss seventeen percent of all string crossings?
# Posted on August 19th 2009 by corkonian
Re: Approaching the buffers?
What I mean is, string crossings often need to be abrupt, not smooth. That doesn't mean scratchy or missing a note, that's what I mean about naivete. The bowing is often used to accent the beat, do it silky smooth and it sounds all wrong.
# Posted on August 19th 2009 by Marklar
Re: Approaching the buffers?
An example of one small aspect of technique: classical players in amateur orchestras are often told not to use the open E-string, presumably on the basis that the sound is too strong and of a different character to that of the A-string. Consequently, they are encouraged from an early age to use the fingered E on the A-string for almost everything. And then they are frightened to death of playing the open E and so get a dreadful tone out of it. Contrast this with Irish music where a fingered E is very much the exception (although it does have its uses), and fiddlers have no hang-ups about the open E. The Irish fiddler's approach to playing open strings is actually very close to the Baroque playing of 300 hundred years ago.
I have heard it said by more than one fiddler that the ideal bow for Irish fiddle playing is the Baroque bow - very light and responsive, and does all the articulation for you.
# Posted on August 19th 2009 by Trevor Jennings
Re: Approaching the buffers?
"The bowing is often used to accent the beat"
Operative word there, of course, is "often". Not "always"
# Posted on August 19th 2009 by ...
Re: Approaching the buffers?
The bowing is often used to accent the beat. And do it silky smooth too. Mix it up
# Posted on August 19th 2009 by ...
Re: Approaching the buffers?
Yes llig, I'm just trying to get at the difference between la-de-da and diddle-dee-dee.
# Posted on August 19th 2009 by Marklar
Re: Approaching the buffers?
listen to the bodhran
# Posted on August 19th 2009 by mcknowall
Re: Approaching the buffers?
diddle dee hee hee hee
# Posted on August 19th 2009 by mcknowall
Re: Approaching the buffers?
"The bowing is often used to accent the beat"
Funny, I recently took a class with a very well-known, well-respected Irish fiddler, and he stressed exactly the opposite---that one of the defining characteristics of Irish fiddling is that the beat frequently comes in the *middle* of a bow stroke---that the bow should not be responsible for defining the rhythm. He is not a Donegal fiddler, I should say, so it might be different up there. Where are you getting these ideas, corkonian? And what kind of music do you play?
# Posted on August 19th 2009 by kennedy
Re: Approaching the buffers?
The way I see it, the fiddle is just a tool for expressing the Tunes.
The way the Tunes are supposed to sound determines what kind of
weird things you do on the instruments to get them to come out
sounding like that.
I think that means you can do whatever you like
on your fiddle, provided that the music coming out of the $%&@ thing
sounds like Irish Traditional music is supposed to sound like
to those who are qualified to judge it.
# Posted on August 19th 2009 by Hup
Re: Approaching the buffers?
Making it come out is the trick - it has mind of its own and is stubborn
as mule. Speaking for myself, I've had to be very analytical and practice
hard every day for almost 5 years just to reach the point where
occasionally it sounds ok.
# Posted on August 19th 2009 by Hup
Re: Approaching the buffers?
contradictions are great. Yes, I like to play with some of the rhythm in the middle of the bow. Accenting beats with just little flicks of your fingers. And/or playing through the ends to starts of phrases disguising where the beat it. It's very subtle. All the stuff that goes over the heads of those who listen to the bodhran of course. All the lovely stuff the bodhran ruins
And I don't think I've ever found the music stubborn. I'm more used to finding it extremely malleable and forgiving. And though I agree that the best of it has a mind of its own, I've found that it's difficult to bring that out if you are over analytical.
# Posted on August 19th 2009 by ...
Re: Approaching the buffers?
I've mixed up my anthropomorphizing. The fiddle is stubborn
and has a mind of its own and I am analytical about the
physical things involved in the playing of the fiddle. For example
if your bow goes off track during a rapid string crossing then
you're no longer in control of the emphasis of the notes. Some
notes may even fail to come out at all. You have to work out a
personal way of keeping it on track, a way of thinking about the
motions involved that works for you. That's just one example.
# Posted on August 19th 2009 by Hup
Re: Approaching the buffers?
If your bow goes off track and you loose control of the emphasis or even loose the odd note, the music can handle it., It's one of the things I meant when I said it's malleable and forgiving. Just try to go with the flow of it. Ride through it and enjoy the ride.
One of the things I like to do with the bow is to tie it in knots, to get yourself inadvertently into a situation where you could be bowing something back to front from the way you'd normally play it. And then have fun digging yourself out. And then see if you can do it again the next time round. You get lovely variations this way.
I think that if you try to analyse the motions too closely you'll loose the spontaneity of surprising yourself
# Posted on August 19th 2009 by ...
Re: Approaching the buffers?
You'll lose the music too. The music is not made up of mechanical motions.
# Posted on August 19th 2009 by SWFL Fiddler
Re: Approaching the buffers?
There's a lovely moment on a recording of Andy McGann being accompanied by Paul Brady as they approach the end of a set of tunes. McGann is on the home straight when he tries a little variation and ends up playing himself into a corner which he juust manages to get himself out of. To the everlasting credit of the record producers you can hear McGann breaking down in laughter along with Brady who can be heard saying 'keep that, keep that'.
I suspect this is just point that llig is making and illustrates what can happen and what can be done.
# Posted on August 19th 2009 by john knoss
Re: Approaching the buffers?
"There's a lovely moment on a recording..."
Yes! It's the last track of the album "It's A Hard Road To Travel". It's nice to know you're not the only one getting lost sometimes...
Don't know if I can add that much to the discussion, but I did study violin for a while with a classical teacher who tried to convince me that if I used classical technique when playing trad it would sound much better. And I answered something like "it might sound better, but it won't sound trad"...
That being said, I don't think I'll ever feel "finished" with my playing. There is always some technical stuff you can add or improve. I guess you could say my technical level is quite enough for trad, but I still like to improve because it's fun to get better. And it helps me relax when playing. And to me, that's part of why I play music - it helps me relax and it's fun.
# Posted on August 19th 2009 by Pontus Adefjord
Re: Approaching the buffers?
Corkonian- Having read initial and subsequent posts, I have come to the conclusion that your overly verbose flowery use of language coupled with vague pseudo intellectual ramblings cannot mask or detract from the fact that you have no clue.
Technique and variation are as much an intergral part of the Tradition as the Choons themselves. This is a fairly obvious statement on my part and I have a feeling to make any more would be a bit like p1ssing in the wind.
I really fail to see your overall point ? What are you even on about? Why do so many rise to the bait and pretend to have informed opinions? Posts like this make the mustard board seem like a Trad version of Dawsons Creek..Trad is about what is passed on, from the Masters to the rest. It is not a collective ownership and nostalgic adherance to musical mediocrity as you seem to suggest. Then again maybe the overly verbose nature of this discussion is beyond my analytical capability.
# Posted on August 19th 2009 by Miss Mulligan
~
Music = Play
# Posted on August 19th 2009 by Ben Steen
Re: Approaching the buffers?
I have a suspicion that Corkonian is Jig, and now that Trucks has lit the fuse we may find out for sure. Popcorn, anyone?
# Posted on August 19th 2009 by Marklar
Re: Approaching the buffers?
HA! Orly? Ya think? Hmm...
Session.org internal security team, please report to thread # 22415, thank you.
# Posted on August 19th 2009 by SWFL Fiddler
Re: Approaching the buffers?
Not sure, but this thread is a pretty typical wind-up, and his profile mentions Clare...it's either him or there are some coincidences going on here.
# Posted on August 19th 2009 by Marklar
Re: Approaching the buffers?
I don't know. .. Wasn't Jig (or "the Jackal" as some call him) recently caught in a blurry CCT picture entering Mudcat or IRTRAD-L?
# Posted on August 19th 2009 by grego
Re: Approaching the buffers?
Nah, check the second para. of the OP, Marklar. Jig wouldn't know a colon unless he purchased one by accident from a rather down-at-heel butcher. Personally, I just take exception at being called a 'traddie'.
# Posted on August 19th 2009 by MacCruiskeen
Re: Approaching the buffers?
John, I like the sound of that Andy McGann record. I've not heard it, but now I'll have to get it.
Trucks, I do believe you truly are more of a cynical c u n t than me. Thanks for the inspiration
# Posted on August 19th 2009 by ...
Re: Approaching the buffers?
Sorry if you, Floss, or anyone else was offended by the word 'traddies'. It was meant to be friendly rather than insulting.
# Posted on August 19th 2009 by corkonian
Re: Approaching the buffers?
http://www.thesession.org/recordings/display.php/41
# Posted on August 19th 2009 by biggus dave
Re: Approaching the buffers?
llig,
defo! A friend taped it onto a cassette for me and I enjoyed listening to it for many a long hour. Of course in the fullness of time the tape machine ate it....
I had even forgotten the title of the recording, I wonder is it still extant?
# Posted on August 20th 2009 by john knoss
Re: Approaching the buffers?
That was a great moment on the album, but aside from that, McGann
is firmly in control always. If you want to hear people playing their
way out of tight corners all the time - Bobby Casey and John Cullinane
# Posted on August 20th 2009 by Hup
Re: Approaching the buffers?
Hup,
I'm still working on Casey, trying to decipher what it is he is doing. He plays, for my money, from the heart and I'm having difficulty in keeping up with him. Me brain needs an 'upgrade' to work out what he was doing! As for John Cullinane, I'll get round to him one of these days, God willing and if I'm spared...
# Posted on August 20th 2009 by john knoss
Re: Approaching the buffers?
James Cullinane - sorry:
http://www.youtube.com/watch?v=x1_-bx-RagA
As far as I know, there's only one album - Happy to Meet
# Posted on August 20th 2009 by Hup