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CD Review: Not Before Time. Paráic Mac Donnchadha.

Posted on August 12, 2018 by singersong

I normally don’t do CD reviews of Irish music. Firstly I am friends with many of the musicians involved so it is an area that is fraught and secondly the vast majority are brilliant expressions of the variety and many nuances and interpretations of Irish music today so reviewing them is pretty pointless.

I do make exceptions though. The recent release by Páraic Mac Donnchadha Not Before Time, is one of these. First I have to declare some conflicts of interest. Páraic is a friend and has been very supportive and welcoming to me on my own musical journey and I am grateful to him for that, and secondly he has used one of my photographs on the CD. But having said that I love this album. I was lucky enough to be at the first launch concert at the Feakle Festival and got my copy there. More on that concert later.

Páraic’s playing of the banjo is a revelation the first time you hear it, and a wonderful advertisement for the much maligned instrument. The first thing that strikes you is his gentle tonality and the unadorned clarity of his music along with his steady pace where the musicality takes precedence. There is always a wonderful rhythm and pulse that is hypnotically engaging. Primarily a session player he surrounds himself with players with a similar musicality. A lover of small sessions where each musical layer can be clearly heard and contributes to the whole and where he explores unusual keys and instrumental pairings. I have had many memorable experiences listening to Páraic. Who could forget a session with Cormac Begley in A-flat at Ballyferriter, Co Kerry, in 2015 I think, that lasted 11¾ hours? Or in Friels in Miltown Malbay, during Willie Week. There is a generosity in his playing that comes out when he is sharing with like-minded players.

If that feeling was what Páraic was trying to capture in this album then he has been wildly successful. Much of it is recorded in Pepper’s Bar at Feakle and I was lucky enough to be there for one of those recording sessions. For this album Páraic has involved many of his most recent sparring partners. And that’s when his playing shines. Whether it is the sublime fluidity of Claire Egan’s fiddle or viola or the insistent rhythmic pulse of Cormac’s bass concertina or the wonderful ensemble playing of Graham Gueren, Colm Murphy, Noel O’Grady and Libby McCroghan, Páraic’s banjo is there at the heart of it. Crisp, clean and simple. No distractions. It’s all about the tune. He also plays to great effect with his brother Mac Dara and sister Sinéad and in a tribute to his roots, honours his father Séan by revisiting one of his songs. But there are a few tracks where he is on his own, and this is where his mastery comes to the fore. He plays with just the subtle and supportive bouzouki of talented young Waterford player and instrument maker, Macdara Ó Faoláin or the gentle guitar of Terence O’Reilly.

The tune selection is fantastic. Really, really good. Many are familiar, some not, but they always come up fresh with Páraic’s playing approach or with his local versions or the unusual key selections. Sometimes it ensnares you and you just don’t want the track to end.

The CD itself is brilliantly presented with a comprehensive and informative book integrated into the cover. Paraic’s musings on his musical journey and influences reveal a man who writes as well as he plays. And I found the thoughtful and well researched tune notes by Graham Guerin added considerably to my listening enjoyment.

The concert to launch the album was held in the marquee at the back of Pepper’s Pub during the Feakle Festival. Gracing the stage were (almost) all the musicians who played on the album. With the wonderful bonus of a guest spot from Martin Hayes who spoke eloquently of Paraic’s music and its East Galway roots and the connection with East Clare. Having all this amazing music served up to us in a venue packed with appreciative fellow musicians, had me salivating!

So on the drive from the concert to my home at Quilty, a drive of well over an hour, I listened to the album. Such a generous slab of music reflects the man. Eighteen tracks took me to my front door!. And I listened again the next morning . This time on a good sound system. Just beautiful. And it hasn’t come off the player since.

How could I fail to love this music. It has truly captured the spirit that Páraic engenders when he shares his music making with his fellow musicians. Now he has shared it with us. We can all sit in.

Not before Time.

Macdara Ó Faoláin, Paráic, Claire Egan and Terence O’Reilly

Paráic Mac Donnchadha

Macdara Ó Faoláin and Paráic,

Macdara Ó Faoláin

Terence O’Reilly

Macdara Ó Faoláin, Paráic, Mac Dara Mac Donncha and Terence O’Reilly

Paráic Mac Donnchadha, Mac Dara Mac Donncha

Paráic and Claire Egan

Claire Egan

Martin Hayes launches the CD

Paráic and Martin Hayes

Martin Hayes

Noel O’Grady, Paráic, Graham Guerin and Colm Murphy

Colm Murphy

Noel O’Grady

Graham Guerin

Martin Hayes and Cormac Begley

Paráic and Cormac Begley

Cormac Begley

Libby McCroghan

Sinéad Nic Dhonncha

An appreciative audience.

Categories: Festivals, Stories, Trad Irish Music | Tags: banjo, CD, CD launch, CD Reveiw, Claire Egan, Cormac Begley, Feakle, Feakle Festival, Ireland, Irish music, Mac Donnchadha, Martin Hayes, music, Not Before Time, Paraic, people, photography, traditional music | Leave a comment

The Good Mixer – Music from a London Pub in West Clare

Posted on December 6, 2015 by singersong

Talk about a wild night. I stepped outside in the wind and it blew me into Friel’s pub last night. That was mighty lucky as Noel O’Grady (bouzouki), Henry Benagh (fiddle), John Carty (banjo) & Marcus Hernon (flute) were there launching their album “The Good Mixer”. And what a good mix it was. The title of the album references The Good Mixer pub in Camden Town in London where these four guys lived in the 1980s. For five years this pub was the go-to place for Irish music both among locals and Irish visitors alike. And this CD gives us an inkling as to why. The recordings were made one afternoon in 1989, in the home of John Carty, as the sessions were coming to an end. Essentially live to tape. And it is surprisingly good. The band has got back together to do four low-key launches in the home towns of each of the members, Henry is from Miltown Malbay (hence Friel’s), next stop is Galway, then Matt Molloy’s in Westport and finally in Roscommon, John’s home.

The CD contains a terrific selection of lively tunes and I love it but to hear and see the musicians in the flesh was a real treat. Even though they had not played together for over 25 years it was tight and energetic with a fresh, original sound. But the boys soon got sick of playing on the stage and adjourned to the middle bar of Friel’s where they were joined by John’s daughter Maggie and some of the local musical talent in Miltown including Liam O’Brien, Therese McInerney and Bernadette McCarthy who had played piano on some of the tracks on the recording. Interestingly this was the first time Bernadette and Marcus had met for 27 years. It was a great night and a privilege for me to play with them and we were totally unaware of the storm raging outside until we staggered into the night at 1:30.

If you get the chance try and catch them or failing that keep an eye out for some video I will post in the next few days.