“Laoise Kelly is regarded as the most significant harper of her generation. From Westport in Co. Mayo she began playing at an early age, encouraged by her father who introduced her to the music of O'Carolan. Her reinterpretation of the O'Carolan canon is just a part of her breathtaking repertoire. She has adapted the dance music of Ireland for the harp bringing an instrument often associated with the convent and the lace curtain into the heart of session playing. Her tune playing is truly magnificent. Her playing is shot through with a humour and an energy that is infectious. She is regarded as one of Ireland's most significant musicians and she has given a new lease of life to a National instrument” – Nuala O’Connor
Laoise released her new solo recording ‘Ceis’ in 2010 showcasing the new harping technique she has pioneered using a Paddy Cafferky gut-strung Irish harp with fingernails and finger pads. “Kelly virtually reinvents the instrument with her rhythmic and melodic intricacy, her syncopation and undulating chords and harmonies . . . she'll have you swaying with her profound musicality.” Irish Times.
‘Ceis’ gives a fresh take on ancient harp airs, west Kerry polkas and new compositions from legendary fiddler Tommy Peoples. ‘Ceis’ follows her critically acclaimed first album ‘Just Harp’ – there is such body and depth in Laoise Kelly's playing that at times you feel there must be more than one musician playing on this solo album…Kelly has mastered her instrument completely - Acousticmusic.com. Rough Guide to Irish Music described it as ‘oozing flair and gaiety with sparkling melodic lines, resonant chords and a subtle use of the bass strings to create harmonic richness while maintaining an almost unstoppable rhythm”.
Laoise was a founding member of traditional group ‘The Bumblebees’ with whom she recorded two albums and toured worldwide. Throughout her solo career she has recorded with many of Ireland’s foremost artists including The Chieftains, Sharon Shannon, Dónal Lunny, Tommy Makem, Matt Molloy, Mary Black as well as Kate Bush and American country/bluegrass icon Tim O’Brien. She collaborates regularly with Scottish Gaidhlig singing ace Kathleen MacInnes and released in 2010 a duo live CD ‘The Wishing Well’ with Clare fiddler Michelle O’Brien. She has toured and performed in all corners of the globe from Africa, Japan and Russia to New Zealand, Australia, Argentina, the US and Canada.
Career highlights include representing Ireland at the World Harp Festival in Paraguay, 2009; performing with poets Seamas Heaney and Paul Muldoon on the Hill of Tara, 2010; performing the Famine Suite with the Melbourne Symphony Orchestra; participating in a Dónal Lunny led collaboration with the Maori’s of New Zealand; representing Ireland on a ‘Harp and Soul’ UK Tour with harpists from China, Brittany, Scotland and Wales and representing the Celtic Countries at an International Women’s Day festival in Moscow.
Laoise has also performed for President Mary Robinson; for President Mary McAleese and HRH Prince Andrew at the 2001 commemoration of the Battle of Kinsale; for the 25 Heads of State of the EU in Dublin 2004; at Newgrange at the last Winter Solstice of the Millennium and more recently at the renowned Celtic Colours Festival in Cape Breton, Celtic Connections in Glasgow and the International Harp Fesival Edinburgh.
Laoise has also a string of credits to her name, winning several All-Ireland Harp Competitions as well as the Waterford Crystal harp at the Belfast Bicentennial Harp Festival, commemorating the great Harp Festival of 1792. She has been featured on numerous TV programmes including Eurovision, A River of Sound, The Late Late Show, Sult, The Full Set, and was the featured artist on RTÉ radio’s Celtic Connection.
“An exuberant and innovative talent which catches the spirit of the modern Irish music movement in a way that few harpers have done to date” Irish Music Magazine
“Laoise Kelly is a young harpist with the disposition of an iconoclast and the talent and technique of a virtuoso.” Irish Times
Michelle O’Brien, from County Clare, learned her music from acclaimed music teacher Frank Custy at primary school and was then taken under the wing of her neighbour, the legendary Tommy Peoples. It is Tommy who became Michelle’s main influence and his distinctive style of playing can be heard in her music. Michelle moved to Dublin in the 90’s and is an influential member of the Dublin traditional music scene ever since.
Michelle has an All-Ireland Fiddle title and Pan-Celtic fiddle title to her credit and is a much sought after tutor of the fiddle, teaching at the World music centre, Limerick and at many Festivals throughout Ireland and Europe. She is currently ‘musician in residence’ for Wicklow Arts council.
Michelle has featured on recordings by Sharon Shannon, Providence, The Bow House Quintet, Aogán Lynch (Slide) and Gavin Ralston, amongst others.
She currently plays in a duo with harper Laoise Kelly, and regularly performs with Tommy Peoples, Siobhán Peoples, Tríona Ní Dhomhnaill and Providence.
“The Peoples influence on O'Brien's fiddle playing is easily (eerily at times) heard in her crisp ornaments and bow triplets”
celtic grooves review
“Michelle O'Brien, this pretty girl amazes the audience with her stunning fiddle style. Taught by the fiddle master Tommy Peoples, you can hear a clear influence from that side. Playing with full passion, mostly with her eyes closed, her music opens any heart.” – The Pure Irish Drops tour of Germany
“Young fiddle player Michelle O'Brien comes from a strong musical tradition, and her innate talent shone through in the more-than-able company of trad stars Siobhan Peoples (fiddle) and Steve Cooney (guitar) in a showcase that thrilled us at the Courthouse in March 2009” – Tinahely Courthouse, Wicklow
‘The Wishing Well’ - Michelle O’Brien & Laoise Kelly
The Wishing Well is the title of a jig composition of Tommy Peoples and the album title chosen by his former pupil Michelle O’Brien and her collaborator Laoise Kelly. An apt title for more reasons than one. This is an inspired pairing not just of instruments (harp and fiddle), or of players, or of even of mutual compatibilities’ of personality, gender or generation. No ……these two are kindred spirits and we the listeners are the beneficiaries of their deep connection which is evident on every track of The Wishing Well. This is their first recording together and it is to be hoped the first of many.
This album and their ongoing collaboration opens up new space for both musicians. For Michelle O’Brien it offers an opportunity to venture beyond the impositions of the session, to choose her own territory and to push out the boundaries of musical expression. This is hugely liberating for any musician serious about their art. Michelle O’Brien has seized the opportunity with both hands and it shows on her spirited fluent playing. The Wishing Well lets her hear her own voice and she possesses a fine voice indeed. The album is, as all good traditional albums are, a homage to all the players and teachers who have preceded the present generation. The Wishing Well is no exception. The towering figure of Tommy Peoples is invoked both in the playing and in the selection of tunes and more elusively in the pervasive musical understanding that operates at a deeper level than mere analyzing style and content will reveal.
Laoise Kelly comes to the relationship and this recording from the opposite direction to Michelle O’Brien. Much of her work is done as a solo artist and as a high profile player of an instrument which carries enough cultural baggage to crush a more tentative artist. Fortunately she has never taken any of that nonsense on board. As an artist she has always bravely sought out the role of the non conformist to the eternal benefit of traditional music in general and harp music in particular. ‘The Wishing Well’ is a new departure for her which sees her in a dynamic partnership with another musician. The effect on the playing is of two players in total sympathy each with the other; each is responding to and playing off the inventiveness of the other. Across the wide variety of traditional music the so called noble strains of geantraí, goltraí, and suantraí, tone and register are in perfect harmony. From the deep sweet expressiveness achieved on airs like ‘Is galar Cráidhte an gradh‘, the ‘Fairy Queen’ and the heart stopping beauty of ‘ged a theid mi dhan leabaidh’s gann a thig an cadal orm’ to the rhythmic ferocity of the ‘Tiarna Mhaigh Eo’, on to the chasing counterpoint of the dance music tunes like ‘Green Fields of Glentown‘ or ‘The Wishing Well’ there is an impressive unity of purpose.
Their playing has the grace and charm of flight and all the solidity of masterly technique and deep grounding in tradition.
Which brings us back to the Wishing Well invoked in the title. Traditional music has often been likened to a well and it is a good analogy. Wells are springs whose source is far underground but yet which from this great distance pour forth clear sweet water which is endlessly renewed. Water and music both are associated with healing and magical properties and so it is with this new Wishing Well. It can be listened to many times and like the well it will refresh and restore the spirit. Read backwards it still makes sense; it is a wishing well which is well wishing. Listen and hear and delight in the result.
See www.steeplesessions.com for more information
Michelle O'Brien (Fiddle)
http://www.steeplesessions.com/en/artists/165-obrien-michelle
Laoise Kelly (Harp)
http://www.steeplesessions.com/en/artists/164-kelly-laoise
Laoise Kelly | Biography
“Laoise Kelly is regarded as the most significant harper of her generation. From Westport in Co. Mayo she began playing at an early age, encouraged by her father who introduced her to the music of O'Carolan. Her reinterpretation of the O'Carolan canon is just a part of her breathtaking repertoire. She has adapted the dance music of Ireland for the harp bringing an instrument often associated with the convent and the lace curtain into the heart of session playing. Her tune playing is truly magnificent. Her playing is shot through with a humour and an energy that is infectious. She is regarded as one of Ireland's most significant musicians and she has given a new lease of life to a National instrument” – Nuala O’Connor
Laoise released her new solo recording ‘Ceis’ in 2010 showcasing the new harping technique she has pioneered using a Paddy Cafferky gut-strung Irish harp with fingernails and finger pads. “Kelly virtually reinvents the instrument with her rhythmic and melodic intricacy, her syncopation and undulating chords and harmonies . . . she'll have you swaying with her profound musicality.” Irish Times.
‘Ceis’ gives a fresh take on ancient harp airs, west Kerry polkas and new compositions from legendary fiddler Tommy Peoples. ‘Ceis’ follows her critically acclaimed first album ‘Just Harp’ – there is such body and depth in Laoise Kelly's playing that at times you feel there must be more than one musician playing on this solo album…Kelly has mastered her instrument completely - Acousticmusic.com. Rough Guide to Irish Music described it as ‘oozing flair and gaiety with sparkling melodic lines, resonant chords and a subtle use of the bass strings to create harmonic richness while maintaining an almost unstoppable rhythm”.
Laoise was a founding member of traditional group ‘The Bumblebees’ with whom she recorded two albums and toured worldwide. Throughout her solo career she has recorded with many of Ireland’s foremost artists including The Chieftains, Sharon Shannon, Dónal Lunny, Tommy Makem, Matt Molloy, Mary Black as well as Kate Bush and American country/bluegrass icon Tim O’Brien. She collaborates regularly with Scottish Gaidhlig singing ace Kathleen MacInnes and released in 2010 a duo live CD ‘The Wishing Well’ with Clare fiddler Michelle O’Brien. She has toured and performed in all corners of the globe from Africa, Japan and Russia to New Zealand, Australia, Argentina, the US and Canada.
Career highlights include representing Ireland at the World Harp Festival in Paraguay, 2009; performing with poets Seamas Heaney and Paul Muldoon on the Hill of Tara, 2010; performing the Famine Suite with the Melbourne Symphony Orchestra; participating in a Dónal Lunny led collaboration with the Maori’s of New Zealand; representing Ireland on a ‘Harp and Soul’ UK Tour with harpists from China, Brittany, Scotland and Wales and representing the Celtic Countries at an International Women’s Day festival in Moscow.
Laoise has also performed for President Mary Robinson; for President Mary McAleese and HRH Prince Andrew at the 2001 commemoration of the Battle of Kinsale; for the 25 Heads of State of the EU in Dublin 2004; at Newgrange at the last Winter Solstice of the Millennium and more recently at the renowned Celtic Colours Festival in Cape Breton, Celtic Connections in Glasgow and the International Harp Fesival Edinburgh.
Laoise has also a string of credits to her name, winning several All-Ireland Harp Competitions as well as the Waterford Crystal harp at the Belfast Bicentennial Harp Festival, commemorating the great Harp Festival of 1792. She has been featured on numerous TV programmes including Eurovision, A River of Sound, The Late Late Show, Sult, The Full Set, and was the featured artist on RTÉ radio’s Celtic Connection.
“An exuberant and innovative talent which catches the spirit of the modern Irish music movement in a way that few harpers have done to date” Irish Music Magazine
“Laoise Kelly is a young harpist with the disposition of an iconoclast and the talent and technique of a virtuoso.” Irish Times
Michelle O’Brien, from County Clare, learned her music from acclaimed music teacher Frank Custy at primary school and was then taken under the wing of her neighbour, the legendary Tommy Peoples. It is Tommy who became Michelle’s main influence and his distinctive style of playing can be heard in her music. Michelle moved to Dublin in the 90’s and is an influential member of the Dublin traditional music scene ever since.
Michelle has an All-Ireland Fiddle title and Pan-Celtic fiddle title to her credit and is a much sought after tutor of the fiddle, teaching at the World music centre, Limerick and at many Festivals throughout Ireland and Europe. She is currently ‘musician in residence’ for Wicklow Arts council.
Michelle has featured on recordings by Sharon Shannon, Providence, The Bow House Quintet, Aogán Lynch (Slide) and Gavin Ralston, amongst others.
She currently plays in a duo with harper Laoise Kelly, and regularly performs with Tommy Peoples, Siobhán Peoples, Tríona Ní Dhomhnaill and Providence.
“The Peoples influence on O'Brien's fiddle playing is easily (eerily at times) heard in her crisp ornaments and bow triplets”
celtic grooves review
“Michelle O'Brien, this pretty girl amazes the audience with her stunning fiddle style. Taught by the fiddle master Tommy Peoples, you can hear a clear influence from that side. Playing with full passion, mostly with her eyes closed, her music opens any heart.” – The Pure Irish Drops tour of Germany
“Young fiddle player Michelle O'Brien comes from a strong musical tradition, and her innate talent shone through in the more-than-able company of trad stars Siobhan Peoples (fiddle) and Steve Cooney (guitar) in a showcase that thrilled us at the Courthouse in March 2009” – Tinahely Courthouse, Wicklow
# Posted on August 2nd 2011 by EMH
‘The Wishing Well’ - Michelle O’Brien & Laoise Kelly
The Wishing Well is the title of a jig composition of Tommy Peoples and the album title chosen by his former pupil Michelle O’Brien and her collaborator Laoise Kelly. An apt title for more reasons than one. This is an inspired pairing not just of instruments (harp and fiddle), or of players, or of even of mutual compatibilities’ of personality, gender or generation. No ……these two are kindred spirits and we the listeners are the beneficiaries of their deep connection which is evident on every track of The Wishing Well. This is their first recording together and it is to be hoped the first of many.
This album and their ongoing collaboration opens up new space for both musicians. For Michelle O’Brien it offers an opportunity to venture beyond the impositions of the session, to choose her own territory and to push out the boundaries of musical expression. This is hugely liberating for any musician serious about their art. Michelle O’Brien has seized the opportunity with both hands and it shows on her spirited fluent playing. The Wishing Well lets her hear her own voice and she possesses a fine voice indeed. The album is, as all good traditional albums are, a homage to all the players and teachers who have preceded the present generation. The Wishing Well is no exception. The towering figure of Tommy Peoples is invoked both in the playing and in the selection of tunes and more elusively in the pervasive musical understanding that operates at a deeper level than mere analyzing style and content will reveal.
Laoise Kelly comes to the relationship and this recording from the opposite direction to Michelle O’Brien. Much of her work is done as a solo artist and as a high profile player of an instrument which carries enough cultural baggage to crush a more tentative artist. Fortunately she has never taken any of that nonsense on board. As an artist she has always bravely sought out the role of the non conformist to the eternal benefit of traditional music in general and harp music in particular. ‘The Wishing Well’ is a new departure for her which sees her in a dynamic partnership with another musician. The effect on the playing is of two players in total sympathy each with the other; each is responding to and playing off the inventiveness of the other. Across the wide variety of traditional music the so called noble strains of geantraí, goltraí, and suantraí, tone and register are in perfect harmony. From the deep sweet expressiveness achieved on airs like ‘Is galar Cráidhte an gradh‘, the ‘Fairy Queen’ and the heart stopping beauty of ‘ged a theid mi dhan leabaidh’s gann a thig an cadal orm’ to the rhythmic ferocity of the ‘Tiarna Mhaigh Eo’, on to the chasing counterpoint of the dance music tunes like ‘Green Fields of Glentown‘ or ‘The Wishing Well’ there is an impressive unity of purpose.
Their playing has the grace and charm of flight and all the solidity of masterly technique and deep grounding in tradition.
Which brings us back to the Wishing Well invoked in the title. Traditional music has often been likened to a well and it is a good analogy. Wells are springs whose source is far underground but yet which from this great distance pour forth clear sweet water which is endlessly renewed. Water and music both are associated with healing and magical properties and so it is with this new Wishing Well. It can be listened to many times and like the well it will refresh and restore the spirit. Read backwards it still makes sense; it is a wishing well which is well wishing. Listen and hear and delight in the result.
Nuala O’Connor
# Posted on August 2nd 2011 by EMH