Initial Trad Camp successful

Transcription

NTIF as seen through other eyes, pages 15-17, 20-22
Ceili
A Publication of the Southwest Celtic Music Association
Initial Trad Camp successful
Week with master fiddler
By Peggy Fleming
Special to the Ceili
When those of us of a certain age first
struggled to learn how to play Irish fiddle
some 30 years ago (here in the cultural
hinterlands of Texas), we had very little to
lean upon.
Aside from straining for any style, we
could scrounge from recordings (LPs in
those days) and the occasional post-concert
pointers when we would corner Kevin
Burke or Liz Carroll and demand, “How do
you get that distinctive sound?”
We would puzzle over diagrams on
notations about the intricacies of long rolls
and triplets in the prefaces of O’Neil’s
and Tony DeMarco’s manual and cadge a
place next to great fiddlers at the occasional
festival session to glean a glimpse of
bowing styles. We envied our New York,
See TRAD CAMP, pg. 32
July-August, 2013
Vol. 32, No. 4
In this issue
NTIF 2014 headliners named.................2
SCMA President’s Letter............................3
Toss the Feathers.........................................4
Music and Chat..............................................6
Keltic Dead Music........................................7
Jed Marum interview.................................8
Editor’s column....................................10-11
CD reviews................................................12-13
O’Flaherty Retreat preview......................14
‘For What It’s Wirth’....18-19
Celtic Calendar..............23-26
On the Dance Floor.......27-28
Scottish Fest wrapup.........31
Minden Scottish Fest.........34
A dog’s day out...........................................35
NTIF volunteer picnic.............................36

Céilí
SCMA photo by Phil Wirth
Under a shady tree, on a gorgeous afternoon, Alan Justice practices a tune on his
fiddle during the first Trad Camp, held this past April in Richardson.
September-October 2011
1 
2014 NTIF headliners announced
By Chuck Bloom
Ceili editor
Much like a child who simply can’t wait to unwrap presents on
Christmas morning, the folks at the sponsoring Southwest Celtic
Music Association (SCMA) couldn’t keep the “secret” for long –
announcing the headliners for the 2014 North Texas Irish Festival
(NTIF). And the lineup will be one of the strongest, in terms of
star power, in several years for NTIF.
Leading the pack is the husband-and-wife fiddlers extraordinaire Natalie MacMaster and Donnell Leahy (from Cape Breton,
Canada) – hoping to finally deliver the special performances
originally set for 2012 (until unknown last-second immigration problems prevented Leahy from crossing the U.S.-Canada
border).
Not only will they perform their vaunted “Two Fiddles, Two
Pianos” sets, but MacMaster will be showcased with her own
band for that weekend (Feb. 28, March 1-2 at Dallas’ Fair Park).
“We’re doubling the pleasure from two of the world’s most
renowned Celtic music performers,” said Sheri Bush, SCMA
president. “In fact, this lineup covers almost the entire spectrum
SCMA photo by Phil Wirth
Solas, shown in concert from December’s special Christmas event, will
be among the headliners for the 2014 North Texas Irish Festival.
of Celtic music and should provide every visitor to NTIF with a
great time and great memories.”
Joining MacMaster and Leahy will be legendary quintet Solas,
fresh off two rousing DFW appearances for the Christmas concert
2014 headliners Nuala Kennedy (left) and Ed Miller (right).
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2 2
SCMA photo by Perry Smith
Canadian master fiddler Natalie MacMaster returns to perform with
spouse Donnell Leahy in a special show, “Two Fiddles, Two Pianos.”
last December and a show at the Kessler Theatre in North Oak
Cliff in April.
Three other groups – Dervish, the Makem and Spain Brothers
and The Town Pants (from Vancouver) – have delighted previous
NTIF crowds, Scotland’s best musical ambassador, Ed Miller,
will bring a myriad of songs and stories from his homeland and
two NTIF “newbies” will be spotlighted – the Nuala Kennedy
Trio and We Banjo 3+1.
“Our 32nd annual festival is going to be one for the ages, simply based on this headline lineup, but there will more announcements in the coming weeks about our regional groups, the 2014
theme and other special attractions,” Bush added. “Support from
the public, by their attendance over the past 5-6 years, has helped
us steer the festival in the correct direction.”
Natalie MacMaster, who played at the Eisemann Center in
Richardson this past January in a classical performance, captures
the Celtic sounds from her hometown (Cape Breton).
“I was born in Cape Breton,” she said. “Fiddling is in my
blood; it’s part of who I am and that’s not going to change. You
can take the girl out of Cape Breton, but you can never take the
Cape Bretoner out of the girl.”
She performs around 100 shows a year, as she enters her third
decade of fiddling, having first hit the stage at the age of 9.
Her 11th, and latest, album is “Cape Breton Girl,” for the twotime Grammy nominee (and one win) and Juno Award winner.
In addition to her solo efforts, she has also recorded with YoYo Ma, the Chieftains, banjo prodigy Béla Fleck, dobro specialist
Jerry Douglas, singer Hayley Westenra, former Doobie Brother
lead singer Michael McDonald and, most recently, Thomas
Dolby’s new album “Map Of The Floating City,” plus many of
her fellow fiddlers, such as bluegrass queen Alison Krauss.
She and Donnell Leahy, married in 2002 welcomed a son,
Alec, in August, 2012 (their fifth child). However, they’ve never
recorded an album together, but plans are to do so in the future.
Leahy, the oldest son in one of Canada’s premier family
groups, is the featured fiddler when The Leahy Family performs.
He attended the University of Guelph, playing on the school’s
soccer squad.
See HEADLINERS, pg. 29
July-August2011
2013
September-October
Ceili
Céilí
 =
Southwest Celtic Music Association
Send All Mail to: 7324 Gaston Avenue, Suite 124-382,
Dallas TX 75214
Offices: 2528 Elm Street, Suite B, Dallas TX 75226-1472
(972) 943-4616
SCMA: www.scmatx.org
NTIF: www.ntif.org
Board of Trustees
Officers
President:
Sheri Bush
[email protected]
Vice-President: John Hebley
Secretary:
Lybo Buchanan [email protected]
Treasurer:
Floyd Harris
Trustee Board: Hazel Greene Sandi Hebley
Jeanne Eishen Stefan Eishen
James Stinson Steve Monroe
Barry Knight Katie Gibbs
Kenny Burleson
Assoc. Trustees: Betsy Cummings, Connie Ener, Lee Kelton
Membership:Lybo Buchanan
Céilí Staff
Editor-in-Chief:
Chuck Bloom
[email protected]
Calendar Reporter:
Chuck Bloom
[email protected]
Advertising Manager:
Lybo Buchanan
[email protected]
Dance Reporter:
Susan Harrison
Asst. Editors: Lybo Buchanan, Hazel Greene
Ceili newsletter is the bi-monthly publication of the Southwest Celtic Music Association, 501(c)3 not-for-profit Texas
corporation, dedicated to the study, promotion, preservation and performance of traditional Celtic music, dance and
culture in the Southwest. All correspondence should be sent
to the Gaston Avenue address above. All contributions are
appreciated.
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Deadline for Sept.October, 2013 issue:
Monday, July 29
From the
president’s
desk
By Sheri Bush
SCMA President
hose of you who have read this letter every couple of
months over the last five years have, no doubt, realized that I usually do some amount of recycling with
these letters. I use them for continuity and to keep myself from
forgetting things I would certainly let slip through the holes in
the sieve that seems to masquerade as my brain. I do, however,
have something new to put out there this month.
I need some help from all of you, as well as the answer to a
question. Over the last 10 years, we’ve hosted quite a few area
concerts, in various places and at different times of the year.
A few of them have been well-attended, but honestly, most of
them were not.
And it isn’t just us – other venues have attempted to showcase wonderful Celtic entertainment, and the attendance has
been lacking as well. The question is … why? What is it that
we are, or are not, doing causing the lack of interest in attending these concerts? Location? Ticket prices? The talent?
We recently had to pass on the opportunity to bring in an
excellent new Scottish band because we couldn’t afford to lose
money on another event. This makes our area much poorer in
terms of what we could be offering to you and others.
I don’t want the North Texas Irish Festival to to be a standalone event each year; I’d much prefer it be the event creating
the ability for us to do other music events throughout the year.
So I’m now in the process of creating a committee to help
figure out what we need to do about this … and here’s where I
need your help.
Please e-mail me with thoughts, suggestions and ideas you
might have to address this problem. I’d appreciate it if you
could present your thoughts as positively and politely as possible; don’t just yell at me! I thank you ahead of time for your
participation. I don’t promise an answer to everyone, but will
try. You can reach me at [email protected].
This brings me to something I DO write about every year,
and all the changes we’ve experienced over the last few years
simply add another layer to the message. SCMA and NTIF
have been around for more than 30 years now, and many of the
people involved in the beginning are still involved today. This
speaks volumes to the loyalty our organizations engender, but
it also denotes to the aging undoubtedly taking effect in our
group.
We need new faces, energy and ideas to step up and get
ready to take the reins as this progression continues. Obviously,
volunteering at the festival is fabulous and much needed; but
we also need an active, involved membership in the SCMA.
We need to identify leadership potential, and train replacements
for different areas – both within the festival and the SCMA. If
the past year has taught me nothing else, it is that change is the
only certainty, and change will happen when you least expect it
… or are ready for it. We’ve got to hedge our bets a bit, and be
T
See PRESIDENT'S LETTER, pg. 5
=
Ceili
Céilí
July-August 2013
September-October
2011
page
3 3 =
Toss
The
Feathers
By Rilee McGee
Roving Reporter
Playing with the Stars!
This should be listed under hob-nobbing with TV stars: Nelson Stewart,
leader of The American Rogues, and
major Friend of the Feathers (FOF) was a
real proud Scotsman in posting the following on Facebook:
“The American Rogues are proud to
announce they will be performing with
Scottish actor Kevin McKidd this Saturday (April 6) at National Tartan Day in
New York. You may know Mr. McKidd
from (films like) “Trainspotting,” (and
TV shows) “Rome,” “Dog Soldiers” and
“Grey’s Anatomy.” Mr. McKidd learned
we would be performing in NYC and asked
if he could join us. He will be performing
some of our music with us, and we are
learning songs from his album, “Speyside
Sessions,” (thespeysidesessions.com).
Wish you could all be there with us!”
The American Rogues took the stage
at Stouts! and McKidd joined them for a
rousing rendition of Pink Floyd’s “Wish
You Were Here.”
By the way, the band (www.therogues.
us) is set to make some news of its own
in terms of performance schedules and
TV star Kevin McKidd (“Grey’s Anatomy”)
joined the American Rogues and its leader, Nelson Stewart (right), for a special
Tartan Day celebration in New York City.
recording activity!
In one of those six degrees of separation
moments, one of their recordings, “Bonny
Portmore,” was part of the soundtrack for
the movie, “Kill The Irishman,” starring
Ray Stevenson and Christopher Walken.
Ironically, Stevenson was McKidd’s costar in the HBO series, “Rome.”
--Big Blaggards news
If you caught the March 24 episode of
the CBS hit drama, “The Good Wife,” you
got to hear not one, but two songs from
the Houston-based Celtic rock group,
Blaggards.
The tunes,
“Drunken Sailor” and
“Big Strong Man,”
were played in the
background of a bar
scene.
According to
its website, CBS
contacted the group
about the song usage
just a week before,
and the details were
finalized only a
couple hours prior
to air.
“Needless to
say, we are over the
It was a grand time at Stouts! in New York City when the Amer- moon,” the group
stated.
ican Rogues, led by Neslon Stewart (center), was joined by
--Scottish native-actor Kevin McKidd (“Rome,” “Trainspotting”).
= page
4
4
Very sad news from Houston
A late-night wrong-way crash in Houston, involving alcohol, claimed the life of
a well-known drummer from a popular
Celtic group, Tartanic.
Max McDougall and his girlfriend,
Emily Preston, were killed at the scene
when a driver, going the wrong way on the
Sam Houston Parkway, crashed into their
vehicle.
According to Houston police reports
and the Houston
Chronicle, Camile
Ermine Stanley,
27, was charged
with two counts
of intoxication
manslaughter in
the incident. Police
said she was drivMcDougall
ing a gray Nissan
Altima west in the eastbound lanes of the
Sam Houston Parkway when she collided
head-on with an eastbound Ford Focus,
which flipped onto its side and burst into
flames.
The Focus was sent flying from the
impact across two lanes of traffic before
colliding with a Ford Fusion. McDougall
and Preston died at the scene. The driver
of the Fusion was not hurt.
The wreck happened about 4:15 a.m. on
Sunday, April 14.
McDougall had a natural passion for
drums ever from his childhood, but took
a serious approach at 14. Within the Houston area, he played for such diverse bands
as Violent Iris (alternative rock), Erase
See FEATHERS, pg. 5
July-August 2011
2013
September-October
Ceili
Céilí
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Toss The Feathers
Continued from page 4
the Virus (industrial), All the Above (punk), and Sever Syndrome
Celebrating July birthdays will be: Jim Waters, 5th, David
(emo).
Sparks, 5th, Mark Miller, 5th, John Hebley, 6th, Ross Van Horn,
Tartanic was a constant presence at such events as the Texas
7th, Sarah Dinan, 10th, Jodie Zoeller, 12th, Sarah and Elizabeth
Renaissance Festival, near Houston, and Scarborough Faire near
Morris, 13th, Julie Collins, 20th, Juli Williams, 20th, Carole
Waxahachie, plus other like-minded festivals across the U.S.
Perry, 23rd, Joseph Edward Morris, 26th, Barney Behan, 28th,
TTF sends its condolences to the other Tartanic band members Carole Morris, 30th, Rhea Miller, 31st, Dudley-Brian Smith, 31st.
(Micah Babinski, Sophia Balentine, Andrew Beck, David DunAugust birthdays: Gordon McLeod, 6th, Chuck Bloom, 11th,
can, Geordie Hall, Irene Jaan, John E. Jaan, Jill Anne Jack, Alex
Joe Morris, 11th, Denice Brown, 12th, Joy Fitch Brillante, 18th,
Korolov, Scott MacLeod, Will Thayer, Adrian Walker and Mark
Marney Cullen-Dixon, 20th, Ilea Cullen-Scott, 27th, Andy Van
James Varelas) and their families for this sad loss.
Horn, 28th, Christy McLeod, 31st, Rodger Harrison, 31st.
--Anniversaries:
Hailey Sandoz, Paul Dryer and Mike Tidwell of newly-formed
The following couples will be celebrating their wedding anband Hailey’s Comets, debuted at the First Baptist Church of
niversaries:
Wylie Events Center on April 20, along with many other talented
Katie (Glass) and Chad Holmes – 9th – July 10
musicians and bands as part of the annual Wylie Spring Fling.
Catherine Sherer and Chuck Bishop – 8th – August 14
Sandoz and Reelin’ bandmate Joseph Carmichael have also
Jim and Sue Stinson – 48th – August 21
performed as a duo in McKinney for its downtown Farmers Mar--ket, held on various Saturdays.
To have events, achievements and milestones published in a
--future edition of Toss the Feathers, please e-mail to my assisUpcoming Birthdays:
tants ([email protected] or [email protected]).
President’s Letter
a little more ready.
Elections for the SCMA Board of
Trustees will occur on Saturday, Sept. 28.
Nominations for the four (4) available
seats open July 1 and will remain open until August 15. You can nominate yourself,
or someone else may nominate you.
Details concerning nominations appear
elsewhere in this Ceili issue.
Think about joining us; if not as trustee,
then as a more-involved member. Leadership doesn’t reside only on the board,
but we do need great trustees. I’ve been
fortunate to have a terrific, involved group
during my tenure and I really want to see
that continue. The future of SCMA and
one of the best Irish festivals in the country depends upon it.
On the horizon is the O’Flaherty’s
Irish Music Retreat in October (the
Youth Camp has just finished at the end
of June). The Youth Camp is one of my
favorite events – I love watching the faces
of these kids as that tune finally plays out
correctly for the first time! Both events are
simply amazing in their scope and vision,
and the SCMA has such respect for their
organizers.
We are proud to be supporters and
sponsors of both. Check them out if
you’ve a mind to immerse yourself or your
child in Irish music.
We’ve got a long, hot summer on the
way. It wouldn’t be Texas if it was any
other way! Stay cool and visit your local
pubs once in a while – for the friends, the
music and the camaraderie. Those things
always make me feel a little cooler.
We’ll talk again in September, and by
then it will be time to start thinking about
NTIF again. See? It’s always just around
the corner.
SCMA board of directors election Sept. 28
The Southwest Celtic Music Association will hold its annual
election for four slots on its board of directions on Saturday,
Sept. 28.
The meeting will take place at the
SCMA corporate offices (2528 Elm Street,
Suite B in Dallas) at 10 a.m.
Nominating period is from July 1-August 15, and is open to any SCMA member
in current standing prior to the election.
Interested parties can nominate themselves or be nominated by another SCMA
member.
They must submit a brief bio, their intent
to run for a trustee position and contact
information.
=
Ceili
Céilí
Those wishing to submit nominations need to send all material to co-chairman Lybo Buchanan at lybolynn@sbcglobal.
net.
The SCMA board meets monthly (on the
first Wednesday of each month). Meeting
dates for the remainder of the 2012-13 business year are:
July 10 (postponed one week due to Independence Day holiday), August 7, September 4 and September 28.
Any SCMA member is invited to attend,
although times, dates and location are all
subject to change.
Please contact the SCMA office if planning to attend.
July-August
September-October2013
2011
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Ceol agus Craic (Music and Chat)
Fiddler extraordinaire Linda Relph
Born in Dundalk, Ireland, Tom Muckian started listening to Irish music on the radio from a very early
age. He plays tin whistle and was formerly part of
the band, Paddy Gone Wild. He currently plays with
Strings and Pipes, a Rockwall-based quintet.
This month, we’re featuring the fiddler Linda Relph, wellknown to Dallas-area lovers of Celtic music (she currently plays
with the outstanding Celtic rock band, NeedFire).
My first encounter with her was at the Dubliner Pub on Greenville Avenue in Dallas. Her band was playing some time around
St. Patrick’s Day. I remember begrudging the $2 cover charge,
thinking I’d be listening to some old guys crooning to mandolins.
I got it wrong; I entered with my wife, Ruth, and friends, Niall
and Tonya. By the end of the night, we were soaked in sweat
from head-to-foot. It’s not that we WANTED to keep dancing, we
just couldn’t stop! Anyway, here’s Linda’s account of her connection to Irish music and its impact on her life.
--I got interested in Irish traditional music after living in
Ireland for a year with my family; I was 15. I actually had my
“sweet-16” birthday at our house in Howth, a very scenic area
near Dublin (the address was 41 Thormanby Lawns, to be exact).
The first tune I remember obsessing over was from a Chieftains
album (I believe it was “Mooncoin Jig”). I had only been playing
the fiddle for about 4-1/2 years, knew nothing about Irish music,
never really heard a jig … and here I found myself in Ireland!! It
was destined to be!
After we went back home (to California) after almost a full
year in Ireland, I just started learning tunes. I started with the
Robin Williamson book, “English, Welsh, Scottish and Irish
Tunes.” I was then playing Texas-style contest fiddling, making
for an interesting combination of styles. I kept playing contest
fiddling until about 1990, when I moved to Texas. Then I pretty
much began concentrating exclusively on Irish only.
Irish music has affected my life in many ways. I learned it
with my family (since we’d all been in Ireland together) and we
continued to learn more, listen more and absorb more.
I started trying to play jigs in Texas-style fiddle contests, but
that didn’t go over too well. Still, I continued to play it, and as I
did, it came out with some of the flavor of the contest tunes I had
been playing.
We formed a band, one of the first “Irish” bands in my hometown of Chico, Calif., and helped start what became a thriving
Irish music community in that town. Today, there is a regular
Friday session and many great young musicians have come out of
that scene. I’d like to think I had a hand in that.
I first moved to Texas after visiting back in the summer of
1990; one of my first regular hangouts was the old Tipperary Inn.
I made many friends through that pub and its Irish sessions that
used to happen there; many of those folks I’ve kept as friends to
this day.
The thing that brought us together was Irish music; it has
provided me the opportunity to meet people from all over the
world, to maintain relationships through the music. I even met my
=page
6 6
NTIF photo by Russell McGuire
NeedFire fiddler Linda Relph performs during last March’s
North Texas Irish Festival at Dallas’ Fair Park.
husband by way of an Irish festival!
I’ve had the chance to be part of quite a few bands, all of
which have centered on Irish music, and each of which have been
influential. With the addition of social media, Irish music has introduced me to literally hundreds of people, some of whom I have
not even met in person!
Though I’ve never had the opportunity to be a “full-time”
musician, Irish music has allowed me to have a full-time creative
emotional outlet. Without that, I think I would be much less welladjusted (and some may find that a scary thought!).
One could say playing music helps keep me sane. Going to
sessions allows me to be social; with the large Irish music community here, I know I have somewhere where I fit – no matter
where I am in the world. It also lets me help keep the tradition
alive.
I am 100 percent sure things
would be completely different had I
not had the chance to go to Ireland
in 1979, simply because my love of
the Irish traditional music has been
such a major influence in my life,
including the decisions I’ve made
since then. I’m very thankful to
have had that chance. Maybe I’ll go
write another jig …
THE DRAWING: For this edition, I asked Trinity Muckian (who
is 9-years old) to draw a girl playing the violin.
Dogs are Trinity’s favorite subject. I think that’s reflected somewhat in this work.
July-August
2013
September-October
2011
Ceili
Céilí
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Keltic Dead Music
By Patrick O. Young, KelticDead
Foggy Dew
The Irish collector, Edward Bunting, noted the melody for
“Foggy Dew” probably came from J. McKnight, Esq. in Belfast
in 1839, though some claim the melody came as early as 1825.
Another Gaelic name for this tune is “Drucd an Ceo,” loosely
translated as “misty in mist.”
The tune was originally a love song, but it was an Irish Revolution in the Easter week of 1916 that placed this tune as a signature song for the spirit of freedom of all Irishmen.
“You May Kill the Revolutionary, but NOT the Revolution”
During World War I, thousands upon thousands of Irishmen
went off to the foreign wars for England, in which many died.
The 16th century Irish term for those Irish who served in England’s wars was “Wild Geese.” But for these sacrifices, the promises made by the English minority for these fallen Irish patriots
were not fulfilled. Finally, in 1916, the Irish had enough, and
there was a rebellion in Dublin.
The Easter Rising (Éirí Amach na Cásca) was staged in Ireland within the Easter Week in 1916 – an attempt by the militant
Irish republicans to win independence from Britain by force of
arms. It was the most significant uprising in Ireland since the
rebellion of 1798. The Rising, largely organized by the Irish Republican Brotherhood, lasted from Easter Monday, April 24 to
Sunday, April 30, 1916.
Members of the Irish Volunteers, led by school teacherbarrister Patrick Pearse, joined up with the smaller Irish Citizen
Army of James Connolly. They seized locations in Dublin where
they proclaimed an Irish Republic independent of Britain.
The Rising was suppressed after six days of fighting and its
leaders court-martialed and executed. Despite its military failure,
the Easter Rising can be judged as a significant stepping-stone
in the eventual creation of the Irish Republic (Poblacht na
hÉireann or Saorstát Éireann), unilaterally declared in that final
rebellion in 1916 as the independent state of Ireland and finally
officially established in 1919.
The Poem of Rebellion and Lyrics
´Twas down the glen one Eastern morn, to a city fair rode I
When Ireland´s lines of marching men in squadrons passed me by.
No pipes did hum, no battle drum did sound its loud tattoo.
But the Angelus bell oér the Liffey´s swell, rang out in the foggy dew
**
Right proudly high over Dublin town, they hung out a flag of war.
‘Twas better to die ńeath an Irish sky than at Suvla or Sud El Bar;
And from the plains of Royal Meath, strong men came hurrying
through,
While Brittanias´s huns, with their long range guns, sailed in from
the foggy dew.
**
O, the night fell black and the rifles crack made “Perfidious Abion”
reel
´Mid the leaden rail, seven tongues of flame did shine oér the lines
of steel
By each shining blade a prayer was said that to Ireland her sons be
true,
and when morning broke still the war flag shook out its fold in the
foggy dew
=Ceili
Céilí
**
´Twas England bade our Wild Geese go that small nations might be
free.
But their lonely graves are by Suvla´s waves, on the fringe of the
Grey North sea
But had they died by Pearse´s side, or had fought with Cathal
Brugha,
Their names we would keep where the fenians sleep, ńeath the
shroud of the foggy dew.
**
But the bravest fell, and the requiem bell, rang mournfully and clear,
for those who died that Eastertide in the springtime of the year.
And the world did gaze, in deep amaze, at those fearless men, but
true
who bore the fight that freedom´s light might shine through the
foggy dew
**
Ah, back through the glen I rode again and my heart with grief was
sore
For I parted then with valiant men whom I never shall se more
but to and fro in my dreams I go, and I´d kneel and pray for you,
for slavery fled, O glorious dead, when you fell in the foggy dew.
Author’s note: The term “Angelus bell” derives its name
from the opening Latin words, “Angelus Domini nuntiavit
Mariæ.” Three texts describe the mystery, recited as a versicle*
with a response alternately made with the salutation “Hail,
Mary!” This devotion is frequently recited in the Roman
Catholic, Anglo-Catholic and, in some, Lutheran churches three
times daily, traditionally around 6 a.m., noon and 6 p.m.
The versicle is accompanied by the ringing of the Angelus
bell. This tradition is still performed in some English country
churches, and has often been mistaken for, and alleged to be, a
survival of a curfew bell.
(* A versicle is the first half of one set of prayers, recited or
sung by an officiant or cantor, and answered with a said or sung
response by the congregation or choir).
KelticDead_Music Group Session Arrangement
This tune arrangement of “Foggy Dew” is in C Major. The
KelticDead arranges tunes to play easily with the diatonic
harmonicas, and most folk instruments can play them as well.
Using the C diatonic harmonica, the tune has an almost “flutelike” quality that fits well with the mood of this great Irish tune.
For more information about the KelticDead_Music Group and
mission, visit http://kelticdead.webs.com.
July-August
September-October2013
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Taking ‘Road to Valhalla’ for doc project
By Chuck Bloom
Ceili editor
Fresh on the heels of his newest CD
release (“The South Wind”), folksinger
Jed Marum of Dallas has a new and bolder
project to be completed – providing the
soundtrack for a major PBS documentary.
Marum is collaborating with Lone
Chimney Films of Kansas on “Road to
Valhalla,” the company’s third, and final,
documentary, to complete the story of
the Kansas-Missouri Border War and the
Jayhawk State’s role in it.
Marum’s own story reads something
like a movie, having been raised near Boston, married at 18, raising three sons while
working in construction and excavation
during daytime and performing in bars and
coffeehouses at night.
After 14 years, he decided to improve
his lot in life, moving into the Information
Technology field, working in the airline
and telecom world. It also meant setting
aside any musical ambitions … until he
turned 48.
Marum relocated his family to Texas in
1986 for what would be “a life-changing
experience in more ways than one.”
“I bought a nice guitar and banjo in
1996 and 1997; it rekindled my love of
music,” he explained. “I quit the day job in
January, 2000, and I’ve earned my living
at performing music ever since.”
His specialty is writing and performing
songs from the Civil War era, delivering
traditional and contemporary songs in a
musical style equally Celtic and American,
with strong bluegrass roots.
Marum’s 2009 album, “Cross Over the
River: A Confederate Collection,” earned
him the Traditional-Folk Album of the
Year Award in the JP Folk Awards program, from among 42,000 other entrants.
The album was a collection of true
historical stories songs, retold from the
points-of-view of those American and
Irish-Americans who fought in that conflict.
“It reflects a true and South positiveimage throughout,” Marum added.
The following is an interview with
Marum concerning his latest work, the
soundtrack for “Road to Valhalla.”
Ceili: How did you and executive
producer Ken Spurgeon connect for the
music?
Marum: A number of years ago, I was
playing a festival in Kansas City, Kan.,
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Folksinger Jed Marum during a recent
performance at the Minden Tartan Festival
in northern Louisiana.
and one of the other performances there
was a scripted scene from a film focusing on the pre-Civil War friction between
Kansas and Missouri, over the issue of
slavery.
I had just written a song, inspired by an
editorial by a well-known southern editor, after John Brown had been tried and
convicted of treason for leading the raid
of Harper’s Ferry and attempting to start a
slave rebellion.
Brown had been one of those who took
active, and violent, action against the supporters of slavery in the Kansas-Missouri
conflict. So after Harper’s Ferry, to most
Southerners, Brown was looked upon as
the Osama Bin Laden of his day.
This editor was incensed that some
Northerners could see any good in the
man. So, inspired by the editorial, I wrote
a song poking fun at John Brown from
that partisan, Confederate perspective.
And in truth, I also jabbed at that partisan
perspective, too (though it’s much more
subtle).
I played the song at that festival, after
I’d heard the historical players perform
their Free State-Border Wars play – and
they loved it. Brown, it seems, was the
focus of a recently-completed film.
They asked if I would be interested in
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working with them on a similar project
in the future. They introduced me to Ken
Spurgeon, the producer and director of the
film, and the rest is history.
Ceili: When composing, what were
your ground rules and guidelines?
Marum: I worked with Ken on his
second film, “Bloody Dawn,” and for
composition, he asked me if I would write
a song about the Lawrence, Kan. raid,
telling it from the perspective of William
Quantrill, the leader of the raid.
Ken recommended a couple of good
histories for perspective and I read a few
more; then I felt comfortable writing “One
Bloody Friday.”
For that film, he and I discussed moods
for other music, and he reviewed my earlier albums to make his selections. My
song was featured in a very dramatic scene
and in the movie trailer.
For “Valhalla,” we’ve been discussing
how the story should be told for the last
few years. I actually began writing songs
for it a couple of years ago, and kept pace
with Ken’s direction as the time passed.
Once again, I read extensively on the
primary histories the film was exploring.
Ken told me some of the incidents, characters or themes that might appear in the
script – and I wrote about the ones which
inspired me.
Films don’t typically use much in the
way of lyrics for a soundtrack, but we will.
Without giving away too much, it’ll use
my song, “Shines Like Gold,” as its theme
– and the lyrics will be prominent.
I’ve written several songs and tunes for
the film, and produced a library of music,
mostly instrumental, for Ken to use. I created varying styles – polished full Celtic
or bluegrass band styles of varying moods,
solo guitar, solo banjo, solo whistle, solo
highland pipes pieces.
Some new and original music sounds
old, and I used some older, well-known
pieces, too. There are some choral pieces
of well-known period hymns.
My ground rules or guidelines consisted
of ongoing conversations, suggestions and
experiments. Several of the pieces have
been recorded since I released “Sands of
Aberdeen” (and were, in fact, made during
that project for this film).
You employed much of your prior
material; was it a better fit?
See MARUM, pg. 33
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Ceili
Solas, Flashpoint delight Dallas audience
By Lybo Buchanan
Special to the Ceili
DALLAS – Sandi Hebley, Lee Kelton and I attended the Solas
concert at Dallas’ Kessler Theater on Thursday, April 24. It was
a fairly small crowd, but a very enthusiastic one, holding nothing
back in showing its warmth and appreciation for Solas and the
Ceili photo by Phil Wirth
The legendary Celtic music group Solas performs for a receptive
audience at Dallas’ Kessler Theater on April 24, and will be one
of the headliners for the 2014 North Texas Irish Festival.
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opening act, Flashpoint.
The venue, the restored Kessler Theatre, originally opened as
a movie house in the early days of World War II, owned at one
time by Gene Autry, the singing cowboy. It was destroyed in the
1957 tornado that devastated much of Dallas, rebuilt as a revival
church, only to be destroyed again – by a fire five years later.
Now 50 years later, Edwin Cabaniss bought, gutted and reopened the Kessler as one of the best performance venues around,
with an intimate setting, good sound and lighting and a full bar.
The show began with Dallas’ Flashpoint (brothers Daniel and
David Mehalko plus Joseph Carmichael). They were amazing and
so proud to be a part of the Solas show.
Solas focused on its new album, “Shamrock City.” A series
of old photographs was projected behind the group throughout
the evening, telling the story set in Butte, Mont., where Seamus
Egan’s great-great uncle, Michael Conway, went to work in the
copper mines.
For an Irish immigrant, it was hard to find work in this country,
but the man doing the hiring in Butte was Irish and encourage
Irishmen to come and work. Six years after his arrival in Butte,
young Conway was dead at the age of 25 from a blow on the
head. This was the story that influenced Seamus into writing and
recording “Shamrock City.”
Solas took the audience back in time on this evening to those
long ago days taking you on an emotional journey by merging
music and images. It was mesmerizing.
And the crowd responded with yells, shouts and applause and
an encore. It was a wonderful evening.
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From the editor
Chuck Bloom The bar that banned Danny Boy!
I have always tutored young journalists,
and writers, to look beyond initial assignments during active research for additional
topics of reader interest. One story usually
sprouts several more, which, in turn, grows
into a plethora of topics where a really good
writer can sink their teeth into like sweet,
gooey baklava (sorry, it is what came first to
my mind!).
Last issue, in my studies about Irish influence on America’s pastime (baseball, of
course), I discovered this “feud” about one
of the venerable symbols of being Irish – an
innocent song.
The very establishment housing the IrishAmerican Baseball Hall of Fame – Foley’s
Pub and Restaurant, located just opposite
the Empire State Building off Fifth Avenue
in New York City – banned the singing of
the classic Irish song, “Danny Boy,” on St.
Patrick’s Day in 2008.
I ask you, is this sacrilege? Has a sacred
code been broken? Or has the Celtic world
finally come into the 21st century?
I unearthed several articles explaining the position of bar
owner Shaun Clancy (a native of County Cavan) when he instituted the ban in 2008.
“It’s not the song; it’s hearing it sung badly that I don’t like,”
Clancy told the Irish Voice in an interview in March, 2008. “I really have nothing against the song. I’m not being disrespectful to
‘Danny Boy,’ I’ve just gotten sick of every time someone gets a
few beers in them on Paddy’s Day they think it’s their inalienable
right to belt out a very bad version of it.”
The “ban” garnered instant worldwide status, with coverage
coming from the Associated Press, all the New York-based media
(nation al and local), as well as outlets in Australia, England, Canada and some 800 international newspapers. It was covered on
such programs as “The Colbert Report” and made “home page”
headlines on AOL, MSN, Comcast and Yahoo!
If the purpose was to gain massive publicity, Clancy and Foley’s produced a number one hit with a bullet on the charts. But
Clancy still denies the purpose.
“It was an off-the-cuff remark of mine which went around the
world at this stage. I did 70 interviews from seven different countries and there was 2,000 stories written about it,” he explained.
“But publicity wasn’t why it was done; it was just a remark that
sparked a reaction.”
Now, when performed properly and in the “hands” of the proper vocal pipes (someone like tenor Ronan Tynan, for example),
the simple lyrics can be presented in a hauntingly beautiful
fashion.
The history behind the lyrics is interesting; they were written by English lawyer Frederick Edward Weatherly, published
in 1913. According to historian Malachy McCourt, in his book,
“Danny Boy: The Legend of the Beloved Irish,” Weatherly never
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actually set foot on any rock, stone or piece of terra firma belonging to Ireland. Yet the song became iconic to Irish identity.
“It’s a beautiful song when sung by Frank Patterson or Bing
Crosby or the Irish Tenors,” McCourt once wrote.
The ban lasted through the end of March. But not every Irishman felt the same. Ciaran Staunton, owner of O’Neill’s on Third
Avenue, really got his Irish dander up.
“Real Irish people understand why ‘Danny Boy’ means so
much to us,” he noted, organizing a “Danny Boy” special for St.
Patrick’s Day of his own, offering a free Irish breakfast (between
8-9 a.m.) to any patrons who can sing a verse from “Danny Boy.”
The following year, Foley’s changed course and offered a
contest ($500 in prize money) to the person who could properly
substitute “less depressing” lyrics. The winner, Danny Regan,
hailed from Kansas City, Mo., and actually sent two e-mails –
one explaining the new set of lyrics (as done to the tune) and then
his actual “entry.” The judges, being good Irishmen, chose the
first e-mail as the winner!
--Here’s a little more history about Foley’s (named after famed
New York City sportswriter Red Foley). One hundred years ago,
the building was leased to the Café Rhein Restaurant Company. In 1916, it was known as the Annex Cafe and Restaurant, and
later became a “gentleman’s club,” (not the connection people
hold today; it was a polite way to call it a pub at the time).
In the past century, the name has changed, the culinary focus
has changed but not the interior; it STILL retains a “turn of the
century” appearance from the mahogany walls and flooring (more
than 120 years old). The original Waldorf-Astoria Hotel (located
where the Empire State Building currently stands) supplied the
Tiffany glass in the pub’s rear and the men’s room urinals.
According to legend, or blarney, the person who owned
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George’s Fish House, the 18 W. 33rd
Street occupant at the time, bought and
brought the fixtures across the street from
the Waldorf in 1929.
It remained George’s Fish House from
the 1930s through the end of World War
II; the bar changed owners several times
in ensuing decades, operating under names
such as Madigan’s and P.G. King’s
(1993-2003).
Foley’s current owner re-opened the
place in 2004 as a bar-restaurant with a
sports theme, specifically baseball –“Irish
Bar with a Baseball Attitude.”
“It’s a place where customers get old
fashioned Irish hospitality along with satellite transmissions of Major League baseball games and one of the best baseball
memorabilia collections in the country,”
the website explains.
Inside Foley’s is anything and everything imaginable concerning baseball
– seats from Fenway Park, Tiger Stadium
and Camden Yards, game-used jerseys,
an orange Charley Finley ball (used in the
1970s by the Oakland A’s), in excess of
300 bobbleheads, and more than 1,800 autographed baseballs, including those from
nearly 100 Hall of Famers.
Of course, there’s the Irish American
Baseball Hall of Fame (which was my
starting point of interest).
So if you get to Gotham City in the near
future and want to visit something authentically different, with history literally
dripping from its walls, Foley’s sounds
like a winner!
But if you feel the need to do a rendition of “Danny Boy,” hum it to yourself.
Celtic music – how to get ‘dialed in’
By Mike Hudson
Special to The Ceili
When Celtic music is mentioned, it derives many meaning;
most pronounce it (S)eltic and often limit it to “Danny Boy,”
“Tu-la-ru,” “McNamara’s Band,” and pipers playing “Amazing
Grace.” However, true lovers and devotees know there is a wide
360-degree world, touching every genre of music.
For the most part, commercial radio is a tightly-controlled
industry. Commercial stations broadcasting music labeled as
“niche” programming are few and far between.
Celtic music falls into this niche. Even though it is not on the
Billboard 100 or Top 40 most of the time, there is a vast ocean of
Celtic music readily accessible.
The following is a guide for the Celtic music lover- devotee
to dive into. By no means should this be considered a complete
listing of what is available; most of the programming is Internetbased. Therefore, data plans with limited GBs on mobile devices
must be closely monitored.
Some programs are weekly, syndicated programs, while some
are entire genre formats. Mobile apps, such as Tunein Radio and
RadioTime, can help navigate the listener to those stations offering such programs.
Thistle and Shamrock (www.thistleradio.org) – A long-running, one-hour NPR program hosted by Scotland’s Fiona Ritchie,
“Thistle and Shamrock) is broadcast over 200 NPR affiliates
throughout the U.S. (but none in the North Texas region). Thistle
and Shamrock provides a cutting edge in Celtic Music with artists’ interviews.
The ThistleRadio Music Channel also streams 24/7 at www.
npr.org/music. Most NPR stations stream over the Internet, if no
station is within terrestrial radio range.
The Celtic Show – Fridays, 7-9 p.m.(www.ckua.org). In
1996, (before Celtic music started trending) Andy Donnelly, a
musician-producer-promoter from Gourock, Scotland, started his
weekly program on CKUA in Edmonton, Alberta, Canada.
He provides a warm and inviting, family-friendly brand of
programming. Anything from sublime to outrageous Celtic music
is the fare Andy serves up every Friday evening. Several interesting interviews with Celtic artists are also inlcuded.
Across the Water – Sundays, 6-8 p.m. (www.kutx.org) – The
program is hosted by Ed Miller on KUTX-FM in Austin (note the
change in stations from KUT-FM). Miller is the venerable Scottish musician-entertainer-folklorist, who is a regular at the North
Texas Irish Festival and Scottish Highland Games.
He often offers thematic-based programs, focusing on histori-
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cal events, different parts of the Celtic world, featured musical
instruments, or favored artists.
The Celtic Music Hour – normally on Sundays, 1-2 p.m. on
KNON-FM, in Dallas. But the sudden departure of host Patrick
Coffman has left this show in limbo.
Celtic Twilight – Saturdays, 3-7 p.m., and Down East Ceili –
Sundays, 7-8 p.m. (www.wumb.org) – Gail Gilmore and Marsha
Polmatere have hosted these programs for more than 15 years
on WUMB in Boston. These two women air musicians mainly
originating from the Boston area and maritime Canada.
Four full hours of Celtic music on a Saturday afternoon, while
out-and-about in the fresh air, makes the coming work week seem
a bit easier to endure.
Live365.com – Live 365 lists more than 50 different Celtic
Music stations – ranging from ethereal-melodic to raging-head
banger rock to traditional forms. Free iPhone and Android apps
are available and Live 365 offers a paid VIP commercial free
subscription service, as well.
CelticRadio.net – Celtic Radio is the home of the award-winning Highlander Radio and a host of sister stations streaming live
Celtic music, interviews and contests. Sunday mornings on Highlander Radio features a Celtic Christian broadcast. Celtic Radio is
also a social media format for those interested in anything Celtic.
LiveIreland.com – Live Ireland is broadcast from Dublin and
radio and TV are provided. The program spotlights the best and
latest in Irish music, as well as a huge social media format.
Accuradio.com – Accuradio hosts 17 different Celtic music
channels, featuring anything from Celtic rock to traditional Celtic
music. Free iPod and Android apps are available for download.
Shoutcast.com – Shoutcast is offered on several music apps,
as well as a stand-alone app for iPhone and Android. Shoutcast
has access to more than 150 different Celtic-themed programs
and stations from around the world.
Music is often performed in German, French, Spanish, and
Polish; it sounds great, even if the words aren’t understood.
Hopefully, this guide will be a good initiation for those who
love Celtic music, or want to introduce others to the wide 360
degrees of this special genre.
Happy listening; remember to support the artists heard on
these programs by purchasing their music, and support those stations playing their work.
Greenville resident Mike Hudson is a great devotee of
Celtic music; as well as a 30-year veteran paramedic and
EMS educator. He also has volunteered as NTIF’s medical
standby for several years.
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Reviews
Hounds of Finn:
‘Gravity
Pulls’
By Chuck Bloom
Ceili editor
In another musical genre, “The Minneapolis Sound” meant music (a mixture of
funk, rock, pop, New Wave and synthesizer pop), led by Prince, Morris Day and
the Time and producers Terry Lewis and
Jimmy Jam. For much of the 1980s, that
music ruled the industry, and with Prince
making waves with new material, that
tradition is alive and well.
However, the Twin Cities (Minneapolis AND St. Paul) have also carved a
corner in the Celtic music world with a
non-traditional sound, led by the likes of
The Sweet Colleens, Wild Colonial Bhoys,
Erin Rogue and the Irish Brigade.
Add to that list the St. Paul-based
Hounds of Finn, who have just released
a new CD, “Gravity Pulls,” (on the local
New Folk label). Although much of their
music has threads of Celtic, Irish and
traditional Scottish themes and sounds
intertwined in their original and traditional
material, the Hounds, essentially, are an
American folk-bluegrass-roots group.
Group members are Belfast native (and
primary songwriter) Leslie Rich (vocals, guitar, bouzouki), fiddler Michelle
MacGregor, guitarist Pete McCauley
and percussionist David Draeger (former
member of the Irish Brigade). Among the
guest performers on the album is Sweet
Colleens drummer (and former Houstonian) Wolf Loescher.
Together as a quartet since 2007, this
third CD release is a collection of excellent work, much in the spirit of that
Midwestern sound display by The Sweet
Colleens. It isn’t traditional Celtic music
(although “The Fairview Gypsy Reel,”
the album only instrumental piece, drips
thoroughly of Celtic trad); but you’d be
mistaken to pigeon-hole it as only bluegrass or roots music. There is something
Hounds of Finn,
Garry O’Meara,
Rickey Pittman
for everyone that is appealing.
“As an ensemble, we are driven to
advance to the next professional level,”
it states on the Hounds’ website. “For us,
that means performing more concerts and
festivals. Ideologically, we seek to bridge
the gap between Celtic folk music and
modern pop rock.
“Together we are a mix of musicians
steeped in tradition but possessing highlydeveloped rock and pop sensibilities. We
see ourselves reaching out to audiences
across genres, expanding minds, and
generating excitement about the roots of
the music that inspires us.”
That bridge can be clearly heard on the
Hounds’ rendition of the U2 classic, “In
God’s Country,” with MacGregor leading
the vocals. Other standout tunes include
“Ocean,” the title track, “Gravity Pulls,”
and “The Wedding Band.”
And such music is always best when the
listener knows it is original material. On
“Gravity Pulls,” only the U2 cover and the
traditional “Wild Mountain Thyme” are
NOT compositions from the quartet.
As more of the Celtic music nation begins to appreciate that which is emanating
from Minneapolis-St. Paul, the better the
entire genre will be.
For more information, go to www.
houndsoffinn.com.
Garry O’Meara: ‘Pickin’ Time’
By Chuck Bloom
Ceili editor
How do musical sidemen become stars and headline performers in their own
right? It’s when their talent simply shines SO brightly as to demand singular
recognition.
I’m wagering that tenor banjo-mandolin virtuoso Garry O’Meara, now part of
the Brock McGuire Band, will fit that answer in the very near future for Celtic
music lovers. He simply is one of the very player performers on that beloved
instrument in the world and it is all on audio display with his new CD, “Pickin’
Time.”
And the title explains the man’s playing style to a “T!” He doesn’t strum; he
picks … often at blazingly alarming speed, producing a most unique sound to be
enjoyed on all 12 tracks.
His pedigree in Irish-Celtic music is admirable; started playing at the age of
9, earning Young Musician of the Year at 15, judged by renowned conductor
Gearoid Grant. He has performed and toured with such bands as the crossover
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folk-pop band, “Reel,” “The Fureys” and
“Stockton’s Wing.”
He has also been a member of the folktrad group, “Monto,” (on the Universal
Records label), the folk group, “Dargle,”
plus the award-winning folk-bluegrass
crossover ensemble, “The Perfect Mix.”
He has played several successful dance
shows, including “Ragus,” “Celtic Legends” and “Irish Legends.”
In addition to his concert work with
Brock McGuire, O’Meara has toured
throughout the world with the likes of
Christy Hennessy, Christy Moore, Luka
Bloom, Paul Brady and Moya Brennan.
O’Meara, originally from Tipperary and
now based in Dublin, touches all the bases
of banjo playing on this album – from
Irish traditional, old-timey and bluegrass.
Almost all the selections are upbeat pieces
in order to spotlight O’Meara ability. The
banjo offers the best bridge (even more
than the fiddle) between Celtic music and
the form of bluegrass heard in the Appalachian and Ozark Mountain regions.
The energy can be felt from the first
notes on “Box Room Fantasy” – one of
five original compositions by O’Meara.
The final track, “The Swedish Jig,” begins
with a lovely guitar introduction by Early
and then steps aside for O’Meara.
On “Pickin’ Time,” O’Meara is joined
by a bevy of high caliber Irish music
talent, including Conal Early on guitarkeyboards, Fergal Scahill on fiddle, James
Blennerhassett on bass, Brian Garvin
on bodhran and others, including singer
Frankie Lane, who offers the CD’s only
vocals on that classic American bluegrass
tune, “Good Ol’ Mountain Dew.”
Rickey Pittman:
‘A Lover’s Ghost’
By Chuck Bloom
Ceili editor
Dallas native Rickey Pittman is a
man of many talents – educator, writer,
folksinger; but above all else, he is a
teacher. And when presenting his stories, told at this year’s North Texas Irish
Festival, or through his recorded music,
everything seems to have a purpose – to
tell tales of the human condition and
how some people react to it.
Utilizing a unique vocal style, Pittman follows the path of former folksingers, with characters seldom sung
about these days (hobos, drunks, sad,
depressed and forlorn lovers). While he
is not a traditional Celtic singer, his topics often touch the same bases as many
famous older Irish and Scottish tunes.
At NTIF, he released a new CD, “A
Lover’s Ghost,” his third album, following “Bard of the South,” a set of songs
from the U.S. Civil War, and The Minstrel
Boy,” a collection of Scottish and Irish
songs. The CD was produced by his good
friend, Jed Marum, at Rockin’ T Audio
Ranch (engineered by Travis Ener) and
contains 15 very original songs with just
Pittman on the guitar and Marum offering
expert support on banjo.
Lest one doubts his educational credentials, Pittman has a Bachelor of Arts
degree in New Testament Greek and
a Master’s in English Literature from
Abilene Christian University; he teaches
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college-level freshman composition and
literature at Delta Community College,
the University of Louisiana at Monroe
and Virginia College Online.
In 1998, he was the Grand Prize
winner of the Ernest Hemingway Short
Story Competition, and has presented
many programs at such diverse locales
as schools, libraries, historical museums,
Civil War re-enactments and Celtic festivals – mostly in the South.
On “A Lover’s Ghost,” almost all his
lyrics could be considered teachable moments. There is recent sad history, such
as “Red Ribbon Day: A Song for Kiki,”
about the public’s reaction to the brutal
1985 murder of DEA agent Kiki Camarena in Guadalajara, Mexico. As most
parents of today’s school-aged children
know, an annual Red Ribbon Day (in
One of the most fascinating aspects of
the album is the actual sound of the tenor
banjo O’Meara plays. Rather than the
often-muffled sound heard on other recordings, his banjo rings and allows notes
to lingers on one’s ears. When you add the
obvious dexterity and speed of O’Meara,
the combination is more than satisfactory.
Judging by the interest many people
held for the banjo, as shown by those
visiting banjomaker Chuck Lee’s booth at
NTIF, this album is perfect to satisfy that
inner need to hear some clean pickin.’
And one day, those fans can crowd
around one of the festival’s stage to see
O’Meara hypnotize an audience with
his lightening quick fingers and brilliant
sound.
For more information, go to www.garryomeara.com.
October) honors Camarena and asks
all students to committ to a drug-free
life.
The inspiration for “Ghost Train”
came “as I reflected on some of the
very creative, but manic depressive
friends I’ve had in my life; insomnia
seemed to be a common characteristic,” he said.
Several of Pittman’s songs are
about different parts of his native
Texas, from a special “Harrison
County Bridge” (inspired by the
book, “The Covered Bridges of
Madison County”), “Sixth Street
Blues” about the music scene in
Austin through the lonely eyes of a
bluesman, “Magic Moon of Laredo”
about that Texas border city, and
“Don’t Drink the Water,” about a visit to
Rio Grande City with words of advice
from a school librarian where he had
performed (“Well, don’t drink the water,
or you’ll never leave”).
There is a lot of sadness in some of the
choices he recorded; for the title track,
Pittman said, “It’s easy to be haunted by
the past, by regret, by loss, by our choices, by feeling unappreciated. I wanted to
capture that feeling.”
A perfect example of Pittman’s teaching comes on “Don Bernado Guitérrez de
Lara,” a little-known tale of a true Texas
hero, encompassing some of the words
from author José Antonio López, whom
Pittman met in Laredo.
For more information, go to www.
bardofthesouth.com.
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O’Flaherty Retreat to celebrate 10th year in October
When 300-plus Irish music aficionados gather in Waxahachie
this October, they will celebrate traditional Irish music to be
learned and played over three days, and commemorate the
O’Flaherty Irish Music Retreat’s 10th year of providing such an
opportunity.
In the case of the retreat (not just in Texas), anything lasting 10
years is considered a “going concern,” deserving of some special
attention.
The 10th annual retreat, now considered one of the nation’s
leading Irish music camps, will be Friday-Sunday, October 25-27,
at beautiful Lakeview Camp and Conference Center in Waxahachie (south of Dallas) for anyone interested in learning traditional Irish music, or being a better instrument player or vocalist.
According to Retreat organizer Kem Fleming, it’s hard to
believe it was in October, 2004 when the seed was planted – a
two-day event attracting 100 or so people, far more than expected
and all very enthused about Irish music.
“The event outgrew Springhill in its first year; so it was then
on to Hoblitzelle Camp and Conference Center in Midlothian,”
he explained. “More recently, including this October, we’ve been
at the Lakeview Camp and Conference Center in Waxahachie
where participant numbers have exceeded 300.”
It has grown from a small local event into an internationallyrecognized music camp with students registering from all over
the country. As evidenced from surveys of students and teachers
who attend, the O’Flaherty Retreat compares favorably with older
American camps, such as the Catskills Irish Arts Week, Augusta
Irish-Celtic Week, and Swannanoa Gathering-Celtic Week and
camps in Ireland, such as the Willie Clancy School.
One major difference with other camps is the retreat’s threeday format. From the start, organizer Ken Fleming sought to differentiate this retreat from the other normally week-long outings.
“What I heard from people who attended these camps was how
exhausting a week becomes for students and instructors,” Fleming said. “Our three-day format is packed with classes, concerts,
sessions, workshops, ceilis and more, but our students manage it
well because it’s essentially a three-day weekend.”
Another change Fleming made was to add “enrichment classes” – focusing on the history of Irish music or other topics related
An all-star ceili band played for retreat dancers in 2012, including (from left) Brink Trammell, Don Penzien, Daniel Mehalko,
John Whelan, Brian Conway, Ken Fleming, James Kelly, Linda
Relph, Conal O’Grada, Gordon McLeod, Oisin McAuley and
Kevin Alewine.
to the music (exploring the fiddle styles of particular regions
of Ireland, or discovering the contributions of key musicians
who significantly influenced the Irish tradition). These classes
are taught each year by guest instructors themselves who, often
through personal experiences, provide great insight and understanding on the topics covered.
While the class work is intense, there is plenty of time for fun.
Since the initial retreat, a contest of student-formed ensembles
– the “Texas Tune and Song Tussle” – occurs throughout the
weekend. Vying for “O’Diddley” awards, these bands perform
six-minute shows for students and staff.
There are also Ceilis on Friday and Saturday nights allowing
students the chance to enjoy group dancing and appreciate the
strong connection between dance and the music those students
are learning in classes.
Of course, there are sessions when students are not in classes,
or following the concerts each evening. Some sessions are instructor-led while others are formed on their own; there are even
See O'FLAHERTY RETREAT, pg. 33
SCMA photos by Phil Wirth
Fiddler Oisin McAuley presents an enrichment class called “Maintaining a Link with the Tradition: The Fiddle Music of Southwest
Donegal” at the 2012 O’Flaherty Music Retreat.
14 14 =
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September-October
2011
July-August 2013
Céilí
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Ceili
NTIF seen from other eyes: 1
Dennis Fritsche
Linfen
Hwang
Jamie Hilbig
Céilí
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Ceili
September-October
2011
July
-August 2013
15 15
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page
Gregory Jones
Valerie Johnson
Priscilla Killion
16 16
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page
September-October
2011 July-August 2013
Céilí
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Ceili
Jim Walsh
Parvin Stiles
Sam WIlson
Lou Warren
=Ceili
Céilí
July-August 2013
September-October
2011
page
17=
17 
For what
the AREA Celtic music scene through th
Brian McNeill at Trinity Hall, May 1
Dallas’ Trinity Hall hosted one of the premier Scottish music performers, Brian McNeill, on
May 1, where he was joined on stage by local fiddlemaster Linda Relph, of NeedFire. McNeill
was in the Metroplex in advance of his headlining stint at the Texas Scottish Festival.
Texas Scottish festival, May 3-5
Among the many performers at the Texas Scottish Festival and Highland Games in Arlingtonwere (from left) Scooter Muse, Albert Alfonso, Jil Chambless, John Taylor and Brian McNeill.
=page
18 18
July
-August 2013
September-October
2011
TIMES TradCa
Master fiddle Oisin MacDIarmada (left pho
tarist Joseph Carmichael provided accomp
NTIF voluntee
A large number of NTIF volunteers, manag
for the annual recognition picnic at Winfr
Ceili
Céilí
=
t it’s ‘Wirth’
he eyes and lenses of photographer Phil Wirth
amp, April 15-19
oto) led the first TradCamp on April 15-19. Guipaniment for the camp’s finale performance.
NTSIM youth recital, April 22
er picnic, May 5
The TIMES spring youth recital was held April 21 at Trinity Fellowship Church in
Richardson. One performance found harpist Rebekah Passmoreproviding the
musical background for vocalist Karen Ballei.
gers and coordinators gathered on Sunday, May 5
rey Point, as a way to say “thanks” for their efforts.
The four young gentlemen playing a set of jigs at the recent spring recital were
(from left) Nathan Kennedy, Aiden Nychka, Eliot Nychka and Aidan Flanagan, in a
concert sponsored by the North Texas School of Irish Music.
=Ceili
Céilí
July
-August 2013
September-October
2011
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Russell McGuire
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July-August 2013
September-October
2011
Ceili
Céilí
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Ernie
Tacsik
Jennifer Carrick
Don Champlin
Louis Aguirre
Céilí
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September-October
2011
July
-August 2013
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page
Larry Petterborg
Ping Shang
Lloyd Jones
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July-August 2013
September-October
2011
Ceili
Céilí
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June
Celtic
calendar
Tuesday, June 25
7 p.m.
Killdares
Trinity Hall, Dallas – (214) 887-3600
www.trinityhall.tv/Music.htm
Friday, July 5
Sounds of Lewisville Series
100 N. Charles Street – Lewisville
www.killdares.com
www.soundsoflewisville.com
Thursday, June 27
7-10 p.m.
Jigsaw
Friday, June 28
8:30 p.m.-12:30 a.m.
Jeff Phillips
7:30 p.m.
Clandestine
8:30 p.m.-12:30 a.m.
Jed Marum
www.jedmarum.com
Saturday, July 6
9 p.m.-1 a.m.
Irish Rogues
Thursday, July 11
7-10 p.m.
Jigsaw
Friday, July 12
McGonigel’s Mucky Duck – Houston
2425 Norfolk – (713) 528-5999
Tickets $20 (advance); $22 (door)
www.clandestineceltic.com
www.mcgonigels.com
8:30 p.m.-12:30 a.m.
Jeff Phillips
Friday-Sunday, June 28-30
9 p.m.-1 a.m.
Trinity River Whalers
Killdares
Ohio Celtic and International Festival
Lake County Fairgrounds –
Painesville, Ohio
www.killdares.com
www.ohiocelticinfest.com
July
Wednesday, July 3
8:30 p.m.
Irish Session with Patrice Pike
2425 Norfolk – (713) 528-5999
www.mcgonigels.com
Thursday, July 4
7-10 p.m.
Flashpoint
=Ceili
Céilí
Saturday, July 13
www.trinityriverwhalers.com
Thursday, July 18
7-10 p.m.
Flashpoint
Friday, July 19
8:30 p.m.-12:30 a.m.
Seamus Stout
Saturday, July 20
July
-August 2013
September-October
2011
8 p.m.
The Killdares
Dallas Zoo Concert Series
650 S. R.L. Thornton Fwy. (I-35)
Tickets – $15
www.Killdares.com
Thursday, July 25
7-10 p.m.
Jigsaw and Flashpoint
Friday, July 26
8:30 p.m.-12:30 a.m.
Jeff Phillips
Saturday, July 27
10 a.m.
Don Gabbert
Timberon (N.M.) Blues and Barbecue
Festival
www.timberonbluesfestival.com
9 p.m.-1 a.m.
BEHAN
Sunday, July 28
7:30 p.m.
Brizeus
2425 Norfolk – (713) 528-5999
www.mcgonigels.com
August
Friday-Saturday, August 2-3
Killdares, plus Gaelic Storm,
Scythian, Derek Warfield and the
Young Wolfe Tones, Dublin City
Ramblers, Switchback, Mulligan
Stew, Exorna, Wylde Nept, Langer’s Ball, Red Hot Chili Pipers,
Pogey
page
23 23
 =
Celtic calendar
7th annual Iowa Irish Festival
Lincoln Park Area – Waterloo, Iowa
www.killdares.com
www.iowairishfest.com
Saturday, August 3
9 p.m.-1 a.m.
Irish Rogues
Thursday, August 8
7-10 p.m.
Jigsaw
Friday, August 9
8:30 p.m.-12:30 a.m.
Jeff Phillips
Saturday, August 10
9 p.m.-1 a.m.
Thursday, August 15
7-10 p.m.
Flashpoint
Friday, August 16
9-11 p.m.
Jed Marum
Noble Savage Tavern
Shreveport, La. – (214) 887-3600
www.jedmarum.com
Saturday, August 17
Cleghorn
CultureFest – McAlester, Okla.
Historic downtown Choctaw Avenue
www.cleghornmusic.com
9 p.m.-1 a.m.
BEHAN
www.behanmusic.com
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24 24
Thursday, August 22
7-10 p.m.
Jigsaw
Friday, August 23
8:30 p.m.-12:30 a.m.
Jeff Phillips
Thursday, August 29
7-10 p.m.
Flashpoint
Friday-Sunday, Aug. 30-Sept. 1
The Elders, We Banjo 3, David
Munnelly and Mick Conneely,
Seamus Kennedy, Clumsy
Lovers, Damien Dempsey, Skerryvore, the olllan, Whiskey of the
Damned, Ian Gould, Open the
Door for Three, Eddie Delahunt,
Bob Reeder, Ashley Davis, Flannigan’s Right Hook
11th annual Kansas City Irish Festival
Crown Center
www.kcirishfest.com
9 p.m.-1 a.m.
Irish Rogues
Thursday, September 12
7 p.m.-10 a.m.
Jigsaw
Friday-Sunday, Sept. 13-15
Ed Miller, Seven Nations, Celtica, Cleghorn, Murder the Stout,
Tullamore, Jed Marum, Hugh
Morrison, Wicked Tinkers,
As the Crow Flies, Flowers of
Edinburgh
Oklahoma ScotFest
River West Festival Park – Tulsa
www.okscotfest.com
Friday, September 13
8:30 p.m.-12:30 a.m.
Jeff Phillips
Wednesday, September 18
7:30 p.m.
Clandestine
Thursday, Sept. 5
2425 Norfolk – (713) 528-5999
www.clandestineceltic.com
www.mcgonigels.com
Wednesday-Sunday, Sept. 18-22
September
7-10 p.m.
Flashpoint
7 p.m.
Killdares
Dallas Arboretum Fall Concert Series
8525 Garland Road – Dallas
Tickets – (214) 515-6500
www.killdares.com
www.dallasarboretum.org
Saturday-Sunday, Sept. 7-8
Jed Marum
Dick Dowling Days – Port Arthur, Tex.
www.jedmarum.com
Saturday, September 7
TBA
41st annual Walnut Valley Festival and
National Flat Picking Championships
Cowley County Fairgrounds
Winfield, Kan.
www.wvfest.com
7-10 p.m.
Flashpoint
8 p.m.
July-August 2013
September-October
2011
See CALENDAR, pg. 25
Ceili
Céilí
=
Celtic CalendaR
Killdares
Friday-Monday, Sept. 27-30
Saturday, October 12
9 p.m.-1 a.m.
BEHAN
State Fair of Texas
Gate G Cotton Bowl
Dallas, Tex. – (214) 565-9931
www.Killdares.com
www.bigtex.com
Levitt Pavilion for the Performing Arts
Arlington – 100 W. Abram – Free
www.killdares.com
Needfire, Black Brothers, O’Connell’s Bridge, Miles from Dublin
Greeley (Neb.) Irish Festival
www.greeleyirishfestival.com
Saturday-Sunday, Sept. 21-22
Cleghorn among others
Third annual Sherwood Celtic Music
Festival – McDade, Tex.
www.sherwoodforestfaire.com
Thursday-Sunday, Sept. 26-29
Maire NiChathasaigh, Chris
Newman, Tannahill Weavers,
John Doyle and Duncan Wickel,
Mairtin DeCogain, Robbie
O’Connell, Paddy O’Brien, Tanya
Perkins, Park Stickney, Folk
Ragout, Adam Agee, Jon Sousa,
Cassie and Maggie McDonald
9th annual Spanish Peaks
International Cletic Music Festival
Huerfano County, Colo.
www.celticmusicfest.com
7 p.m.-10 a.m.
Jigsaw
Vintage Wildflowers
House Concerts Unlimited
Opening for Sarah McQuade
Tulsa, Okla.
www.vintagewildflowers.com
Friday-Saturday, Sept. 27-28
Ed Miller, Jil Chambless, Scooter Muse, Peat Fire Flame, Mitzi
MacDonald and Keltic Reign,
Duddy Banks
St. Louis Scottish Games
Forest Park – St. Louis, Mo.
www.stlouis-scottishgames.com
=
Ceili
Céilí
2 p.m. (daily)
The Killdares
Friday, September 27
8:30 p.m.-12:30 a.m.
Jeff Phillips
9 p.m.-1 a.m.
Wednesday, October 16
Noon
Vintage Wildflowers
Brown Bag It (with) the Edison High
School Chamber Orchestra
Tulsa (Okla.) Performing Arts Center
www.vintagewildflowers.com
Thursday, October 24
9 p.m.-1 a.m.
O’Flaherty Music Retreat Night
October
October 1-20
2 p.m. (daily)
The Killdares
State Fair of Texas
Gate G Cotton Bowl
Dallas, Tex. – (214) 565-9931
www.Killdares.com
www.bigtex.com
7-10 p.m.
Jigsaw
8-10 p.m.
Jed Marum
Anderson Fair Songwriters Showcase
2007 Grant – Houston; Tickets – $10
www.jedmarum.com
www.andersonfair.com
Friday, October 25
Saturday, October 5
8:30 p.m.-12:30 a.m.
Jeff Phillips
Friday-Saturday, Oct. 25-26
Thursday, October 10
Texian Market Days – Richmond
George Ranch Historical Park
www.jedmarum.com
9 p.m.-1 a.m.
The Irish Rogues
7-10 p.m.
Jigsaw
Friday, October 11
8:30 p.m.-12:30 a.m.
Jeff Phillips
9-11 p.m.
Jed Marum
Noble Savage Tavern
Shreveport, La. – (214) 887-3600
www.jedmarum.com
July
-August 2013
September-October
2011
Jed Marum
Friday-Sunday, Oct. 25-27
Cathie Ryan, Patty Furlong,
Fergal Scahill, Enda Scahill,
Jimmy Keane, Myron Bretholz,
Pat Boarders, Josh Dukes, Florence Fahy, Marla Fibish, Eileen
Gannon, John Skelton, Patrick
Ourceau, Kiernan O’Hare, Brendan Mulvihill, Liz Knowles
O’Flaherty Irish Music Retreat
Lakeview Camp & Conference Center
– Waxahachie, Tex.
www.scma.org
www.oflahertyretreat.org
page
25 25
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Celtic CalendaR
November
Saturday-Sunday, Nov. 2-3
TBA
17th annual Austin Celtic Fest
Fiesta Gardens
www.austincelticfestival.com
Saturday, November 2
9 p.m.-1 a.m.
The Irish Rogues
Thursday, November 14
Friday, December 13
7-10 p.m.
Jigsaw
Friday, November 22
Friday, December 20
Noble Savage Tavern
Shreveport, La. – (214) 887-3600
www.jedmarum.com
8:30 p.m.-12:30 a.m.
Jeff Phillips
Friday, November 8
7:30 p.m.
Celtic Thunder
Thursday, November 28
8:30 p.m.-12:30 a.m.
Jeff Phillips
7:30 p.m.
Killdares
Arts Council Northeast Masterworks
Concert Series
Southlake (Tex.) Town Square
www.killdares.com
9 p.m.-1 a.m.
Saturday-Sunday, Nov. 9-10
Cleghorn among others
Salado (Tex.) Scottish Festival
8:30 p.m.-12:30 a.m.
Jeff Phillips
Verizon Theatre - Grand Prairie
Tickets $45-75
www.verizontheatre.com
7-10 p.m.
Jigsaw
December
Saturday, December 7
9 p.m.-1 a.m.
The Irish Rogues
Thursday, December 12
7-10 p.m.
Jigsaw
9-11 p.m.
Jed Marum
Thursday, December 26
7-10 p.m.
Jigsaw
Friday, December 27
8:30 p.m.-12:30 a.m.
Jeff Phillips
February 2014
Saturday, February 1
7-9 p.m.
Beyond The Pale
Community Unitarian Universalist
Church Coffeehouse Concert
2875 E. Parker Road, Plano, Tex.
www.communityuuchurch.org
Friday, February 28
8 p.m.
Celtic Nights - “Journey of Hope”
Charles Eisemann Center – Richardson
www.esiemanncenter.com
Letter to the editor
Honor thy baseball groundskeeper!
Dear Editor:
Your article about the Irish in baseball (in the May-June edition of the Ceili) was
interesting. You included not just players, but owners, general managers, managers,
umpires, announcers, a commissioner ... and even a trainer.
However, you did not include any groundskeepers. None would have represented
that group better than Pete Flynn (no relation), who spent 50 years with the New York
Mets – going from the Polo Grounds to Shea Stadium to Citi Field (www.irishcentral.com/story/roots/the_american_in_ireland/mets-irish-groundskeeper-calls-ita-day-after-50th-season-130770223.html).
Slán go foill
Eugene J. Flynn
Editor’s Note: The book (and author) referenced in the article sadly omitted the
men who presented America’s baseball fields in the most pristine condition and made
visitors literally gasp in awe of their prowess. Nothing is as beautiful as a perfectlymanicured baseball diamond. Pete Flynn retired as Mets’ groundskeeper in 2011.
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page
26 26
July
-August 2013
September-October
2011
Ceili
Céilí
=
Please help keep this section upto-date by contacting Susan Harrison,
TMRF at [email protected].
* = new or changed (some listings not
included this month)
Last updated May 24, 2013
Upcoming Events
Irish Competitions
The Irish Dance Teachers Association of North America and the North
American Feis Commission (www.
northamericanfeiscommission.org)
coordinate, and are responsible for, the
following Irish dance competitions:
None listed
Highland Competitions
None listed
Céilís, Special Events
Irish
* Céilís at Trinity Hall
July 14, Aug. 11 from 3-6 p.m. Music
by Trinity Hall Session Players, dances
called by Michael and Susan Harrison.
Held at Trinity Hall Irish Pub, Mockingbird Station, Dallas. Admission free;
Facebook: DFW Irish Ceili Dancers;
[email protected]
* Mostly Monthly Céilís at Fenian’s
Irish Pub
August 18 from 2-5 p.m., Fenian’s Pub,
Jackson, Miss. All are welcome. Free
admission, (601) 948-0055. See www.
fenianspub.com or www.jacksonirishdancers.org for more info.
Third Friday Celtic Night
8-10 p.m., Third Friday of month. All
welcome to join in traditional Celtic
tunes; dancers invited to perform with
live music (all Celtic styles). Listeners
also welcome! Sonder Music, Dance
and Art, Norman, Okla. (405) 474-9734
http://sondermusic.com.
Irish
Regular classes
The following teaching certifications are
Céilí
=
Ceili
On
the
Dance
Floor
awarded by the Examination Authority
of An Coimisiún Le Rincí Gaelacha in
Dublin, Ireland:
TMRF: Céilí teacher
TCRG: Step dance and céilí teacher
ADCRG: Adjudicator
--These teaching certifications are awarded
by the Examination Panel of Cumann
Rince Náisiúnta in Dublin, Ireland:
Assoc. Member: Teacher in training
ODCRN: Step dance and céilí teacher
ADCRN: Adjudicator
--Belisama Irish Dance
Under direction of Adrienne Bellis, Associate Member of CRN. Performance
and competition opportunities. Classes
in Santa Fe and Los Alamos, N.M. Call
(505) 670-2152, or e-mail [email protected].
www.belisamairishdance.com
* Bluebonnet Céilí Dancers
Paul and Chelsi Conklin will be forming
a new céilí and set dancing group in the
Austin area soon. For info, call (512)
228-2181.
[email protected]
Cass-Barrington Academy of Irish
Dance
Erin Cass, TCRG, and Owen Barrington, TCRG. Classes in Katy and
Spring, Tex. Beginner through Championship level instruction; all ages welcome. Call (281) 814-9224.
www.cass-barrington.com
Crú Capaill Academy of Irish Dance
Katie Crowley, TCRG, Director. Classes
for children Wednesday evenings at
Highland Park Dance Company Studio, Dallas. Call (847) 208-5593.
www.CruCapaillAcademy.com
Celtic Praise Troupe
Irish step dance company, Oklahoma
City, Okla. Contact Sarah Decker.
[email protected].
www.thecelticpraisetroupe.com
September-October
2011
July-August 2013
* Comhaltas Irish Set Dance classes
Every Tuesday, 6:15-8 p.m. at 717 Adams Street, New Orleans, LA 70118
First night free, then $5 per night, or $30
for six weeks. Newcomers welcome.
Call (504) 866-8613 for information.
Emerald School of Irish Dance
Directors Emily Touzin, Leslie Middleton, TCRG. Teaching all forms of Irish
dance at all locations. Kids ages 5-up
and adults. Held at Arlington, Lewisville, Dallas. Call (972) 874-0360 or
(972) 385-1222. www.emeraldschool.
com; [email protected]
Glor na Daire Academy of Irish Dance
Abbey Pride Wood, TCRG and Brent
Wood, TCRG. Classes held at First
Christian Church, 3401 Santa Fe
Street, Corpus Christi.
www.ccirishdance.webs.com
The Goode Academy of Irish Dance
Instructor K.T. Goode, TCRG. 5515 S.
Mingo Ave., Suite A, Tulsa, OK 74146.
(918) 845-3563; kt_vogler@yahoo.
com.; www.thegoodeacademy.com
Hill Irish Dance School
Jean Hill, TCRG, Director. Irish step and
céilí dancing for ages 5-up in Oklahoma
City and Stillwater. (405) 524-7322
www.hillirishdance.com.
Houston Old Time and Irish Set
Dance Society
New group of musicians and dancers
forming in Houston.
E-mail [email protected] or
[email protected].
Inishfree School of Irish Dance
Classes on Monday and Thursday in
San Antonio. Contact Neill Reagan
ADCRG, (210) 416-1627.
www.inishfreetx.com
Irish Dance Center
Eimir Ní Mhaoiléidigh TCRG, Instructor: Irish step dance – weekly classes in
27 27
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page
On the Dance Floor
Austin. Call (512) 354-5112 or e-mail
[email protected].
www.reelsnjigs.com.
Jackson Irish Dancers
Traditional Irish solo dancing and céilí,
figure and set dancing; instruction, céilí
calling and performance. Solo and céilí
dancing classes for ages 6-adult on Sunday afternoons with Catherine Bishop
MFA, TCRG in Jackson, Miss. For info,
call Maggie Cupples at (601) 592-9914,
or visit www.jacksonirishdancers.org.
*Maguire Academy of Irish Dance
Darren Maguire, ADCRG and Maeve
Croke, TCRG, instructors. Classes
range from beginners (age 4) to adults.
Visit the new Kathleen O’Shea Dance
Studio, 2325 Lakeland Drive, near White
Rock Lake in Dallas. Dance lessons
available throughout the week. Houston
location offers classes on Sundays at
11752 Grant Road, Cypress, Tex. First
two classes are FREE to new students.
Visit www.maguireacademy.com, or
Facebook group for more info.
McCafferty School of Irish Dance
Judy McCafferty ADCRG, Director.
Classes available in all forms of Irish
dance for children ages 4-up, as well
as adults. Fayetteville, Fort Smith and
Little Rock, Ark. For more information,
call (501) 851-3979; www.mccaffertyirishdancers.com
McTeggart Irish Dancers
Maureen McTeggart-Hall, ADCRG.
New Orleans: Saturday mornings. For
details and location, call Megan Morphy
at (504) 394-2340.
Houston area: Sundays at North Harris Performing Arts in Spring, Tex.;
Contact Jennifer Hale TCRG at (936)
321-6583.
North Texas: Fort Worth, Bedford,
Southlake. Contact Christie New,
TCRG, at (817) 312-0703 or (817) 2748547 for location and class schedule.
San Antonio: Contact Mary Dirnberger
at [email protected].
Oklahoma City: Contact Rebekah Roberts at (405) 969-3941, or see
www.mcteggartokc.org.
Muggivan School of Irish Dance
Director: Joni Muggivan, TCRG.
Classes for ages 3-adult in Metairie, La.
(504) 259-7315 or muggivan@gmail.
com; www.irishdancela.com
O’Donovan School of Irish Dance
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page
28 28
Mary Rose O’Donovan Fansler TCRG.
Classes are held in North Little Rock
and Little Rock, Ark. (501) 834-1479;
www.odonovandance.com
Ó Maoiléidigh School of Irish Dance
Colm Ó Maoiléidigh TCRG. Weekly
step-dancing and céilí classes Sunday
from 10 a.m.-6 p.m., Houston.
[email protected];
www.omaoileidigh.com
Shandon-O’Regan Irish Dance Academy
Kay LaGreca, TCRG, teacher; Maura
Anderson, asst. teacher. Classes at 800
E. Arapaho Road, #109A, Richardson.
For more info, call (972) 658-0358.
[email protected]
www.shandonirishdancers.com
* Tew Academy of Irish Dance
Richard Tew, instructor. Classes in
Clear Lake and downtown Houston.
[email protected] or www.tewacademy.org
TTU Irish Set Dancers
Irish set dancing classes Tuesday
evenings, 7-8 p.m., in the Texas Tech
University School of Music Bldg.,
Room M259, Lubbock. Open to the
public. Free class, but parking permit is
required if parking on campus.
[email protected]
www.techsetdancers.com
Scottish classes
Highland dance teaching certifications
are awarded by these organizations:
British Association of Teachers of Dance
(BATD)
Scottish Dance Teachers Association
(SDTA)
United Kingdom Association (UKA)
Country dance teacher certificates are
awarded by the Royal Scottish Country
Dance Society (RSCDS), Edinburgh.
Dallas Highland Dancers
Fiona Robertson Alpaugh, member
BATD, Director; Emily Murer, member
BATD, Instructor. Scottish Highland
dance lessons offered for ages 3-toadult, for recreation or competition.
Classes at Stage Door Dance in Mesquite, at the Farmers Branch Community Recreation Center. Visit www.
dancingkilts.com, or e-mail [email protected].
* Klein School of Dance
Mary Beth Klein, Highland Dance
instructor, two-time World Champion,
July
-August 2013
September-October
2011
member BATD, SDTA. Currently teaching only private lessons, but open
classes to start this fall. For info, e-mail
[email protected], or call (210)
396-7966.
Murphy Highland Dancing Academy
Karen Murphy, BATD. Classes for ages
4-to-adult in Plano, Lake Highlands
and Dallas. (214) 908-5810.
[email protected].
Scottish Country Dancing and More
Wednesdays from 7-10 p.m. New dancers and families welcome; (Children
must be interested in dancing and accompanied by parent or guardian).
Cost: $7 for 14-over; $2.50 for 8-13; $1
under 8 ($15 max per family). Oddfellows Hall, 115 E. 14th St. (Heights),
Houston. Contact Dianna L. Shipman
(713) 522-1212; diannashipman@
comcast.net; http://home.comcast.
net/~celtic.houston/SCDM.htm
* Scottish Country Dancing in Metroplex
Sundays, 4-7 p.m., Labor Day through
Memorial Day at St. Andrew’s Church,
727 Hill Street, Grand Prairie. Call or email for summer schedule. Jack Raines
at [email protected];
http://mathed.uta.edu/SCD.htm.
Contra classes
* North Texas Traditional Dance Society
Every Saturday, live music, 8-11 p.m. $8
admission, $6 for members.
First Saturdays: Contra Dancing at the
Plaza Theatre, 1115 4th Ave., Carrollton.
Third and Fifth Saturdays: at First
United Lutheran Church, 6202 Mockingbird Lane, Dallas.
Fourth Saturdays: English Country
dancing at FULC in Dallas, 7-10 p.m.
Contra at Dance Connection Studio,
5519 S. Hulen, Fort Worth.
Second Saturdays: Contra in Irving,
7-10 p.m.
Second Fridays: Contra at Dance Connection Studio, 5519 S. Hulen, Fort
Worth.
For schedules, maps, directions, explanation of contra dance and more, go to
www.NTTDS.org; Contact info@nttds.
org, or call (972) 546-8858.
Houston Area Traditional Dance Society
Second and Fourth Saturdays from
7:30-11 p.m. at various locations in
Houston. Live music. No partner, experience needed, http://www.hatds.org.
Ceili
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Headliners set for 2014 NTIF
For her musical contributions, MacMaster has received the
Order Of Canada, that nation’s highest civilian honor.
For the past 24 years, Dervish, one of the most respected and
sought-after acts in World/Roots music worldwide, has been a
leading force in traditional Irish music.
Dervish has performed in such unique venues as the Great
Wall of China and was the first Irish band to play at the greatest
music festival in the world, “Rock in Rio,” before an estimate
audience of 240,000 people.
Formed in 1989 by five musicians (Liam Kelly, Shane Mitchell, Martin McGinley, Brian McDonagh and Michael Holmes),
the name “Dervish” was chosen because it related to any group of
spiritual people who become enraptured by music.
The band released “The Thrush in the Storm” earlier this year,
a studio album completed in an amazing five days.
The current lineup consists of Cathy Jordan (vocals, bodhrán,
bones), Tom Morrow (fiddle, viola), Shane Mitchell (accordion),
Liam Kelly (flute, low whistle), Michael Holmes (bouzouki) and
Brian McDonagh (mandola, mandolin).
Solas (Gaelic for “light”) is considered to be the quintessential
Irish-American band currently recording and touring in the U.S.
Formed 15 years ago by founding members Seamus Egan (flute,
tenor banjo, mandolin, whistles, guitars, bodhran) and Winifred
Horan (violins, vocals), the group is rounded out by Mick McAuley (accordians, low whistle, concertina, vocals), Eamon McElholm (guitars, keyboards, vocals), and newest member and lead
singer Niamh Varian-Barry.
After 10 albums under his belt, Egan was inspired by his family’s history to create a special CD/DVD, “Shamrock City” – telling the story of Butte, Mont., at the turn of the 20th century, seen
through the eyes of one Irish immigrant (and Seamus’ great-great
uncle), Michael Conway. In 1910, Conway sailed from County
Cork in Ireland to Philadelphia, gravitating to Butte to work in
the copper mines.
Six years later, at the all-too-young age of 25, he died from a
blow to the head.
Solas, by its own admission and songs, is often drawn to
musical social commentary and the themes surrounding “Shamrock City,” particularly the stories and lives of immigrants, are
reflected prominently in current headlines.
New to the 2014 festival will be the unique Celtic group, We
Banjo Three+One, consisting of two sets of brothers.
= 
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Céilí
The Makem and Spain Brothers, shown from the 2008 NITF.
Recorded in Philadelphia and filmed in Butte, “Shamrock
City” seeks to illuminate life as an immigrant during America’s
Industrial Revolution; NTIF audiences should enjoy much of this
special offering come March.
The Makem and Spain Brothers is a combination of the offspring from two of the most famous names in Celtic music. For
nearly two decades, this “band of brothers” has developed into a
top international act, based on their own material and talent.
Conor and Rory Makem were born in Drogheda, County
Louth, north of Dublin, and continue the lineage of one of Irish
music’s dynasties. Their grandmother, Sarah Makem, was a
tremendous source for song collectors for her store of traditional
Irish songs. Their father was the late, legendary Tommy Makem,
considered to be the modern-day Bard of Armagh.
The Spain Brothers (Mickey and Liam), also learned Irish
songs at their father’s knee.
Their original songwriting retains the timeless qualities of folk
classics, songs of the common worker, songs of the sea and Irish
culture; they tell tales of Ireland and its people. Their previous
NTIF appearance was been met with unbridled strong response
from audiences and should repeat itself in 2014.
A Canadian group of highly-talented musicians with a funny
name, The Town Pants, last appeared at NTIF in the memorable
year of 2010, when their hometown, Vancouver, British Columbia, welcomed the Winter Olympics, for which The Town Pants
performed day and night at various venues.
For more than a decade, The Town Pants has brought a popular
North-of-the-Border vibe to Celtic roots rock music. The group
always draws strong and large crowds to the Shannon stage at
NTIF with its passion, energy, animation and spirit. The Town
Pants’ last studio CD was “Shore Leave,” hailed by critics as its
best album to date
The band will come to Dallas with its effort, “15,” a 15-song
CD, marking the 15th anniversary of the band. The album contains seven new recordings, as well as eight songs from its long
out-of-print 2001 album, “Piston Baroque,” remixed, re-mastered
and re-imagined.
Band members are Duane Keogh (guitar, vocals), Dave Keogh (banjo, guitar, mandolin), Darla Daniels (fiddle), Brendan
Mooney (bass), Mike Mastin (drums, percussion) and Aaron
See NTIF, pg. 30
July
-August 2013
September-October
2011
page
2929
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NTIF 2014 headliners
Chapman (tin whistle).
Those unfamiliar with
the song stylings and
writings of Scottish balladeer Ed Miller, through
his past presence at
NTIFs, have been living
under rocks for too long.
The Austin-based Miller
is one of Scotland’s finest exports and one of
his adopted state’s most
sought-after performers.
Miller is equally adept
at singing as well as the
long-practiced tradition
of story-telling, entertaining crowds across the
U.S., Canada and Europe.
The award-winning
SCMA photos by Perry Smith
quartet, “We Banjo 3+1,”
Making
their
fourth
appearance
at
the
North
Texas
Irish
Festival
this
coming
March
will be one of Western
hails from Galway, IreCanada’s
best
bands
The
Town
Pants.
Among
the
group’s
members
are
Dave
Keogh
(left) on the banjo
land, blending Irish music
and
his
brother,
Duane
Keogh
(right)
on
guitar
and
lead
vocals.
with “old-time” American
and bluegrass influences
up in Dundalk, County Louth, which has
Enda Scahill has recorded and perto spotlight the banjo’s rich legacy and
historical links with Scotland, and where
formed with the very best of Irish-Celticroots.
she was a member of a local ceilidh band,
bluegrass musicians, including The ChiefTwo sets of brothers – Enda and Fergal
“Ceoltoiri Oga Oghrialla.”
tains, Frankie Gavin, Stockton’s Wing,
Scahill and Martin and David Howley
She studied classical piano under
Ricky Skaggs and The Brock McGuire
– are considered to be among the best
Professor John O’Connor at the Royal
Band. Fergal has performed with David
musicians in Ireland today. As the title
Academy of Music in Dublin, and earned
Munnelly, Martin O’Connor and Kevin
implies, We Banjo 3 has been highlighting Crawford and has toured the world with
a Masters Degree in Music Performance
the banjo plus mandolin, guitar and vocals Ragus and Celtic Legends.
and Composition from Newcastle Univerfor two decades.
sity in 2011.
Martin was the very first Irish banjo
Each member has earned multiple AllKennedy was a member of the trio,
player to perform at the Grand Old Opry
Ireland titles on their respective instru“Fine Friday,” with guitarist Kris Drever
in Nashville.
ments with Martin Howley accumulating
and fiddler Anna-Wendy Stevenson. The
We Banjo 3 released its debut album,
seven of them.
group toured in Europe, Canada and Aus“Roots of the Banjo
Dervish’s fiddler Tom Morrow will help headline the 2014 NTIF.
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30 30
Tree,” this past year.
Nuala Kennedy
is an Irish singer
and flute player with
hauntingly beautiful
vocals, adventurous
instrumentation, and
an imaginative mix
of influences.
She has been
touring in support of
her third solo album,
“Noble Stranger,” on
Nashville’s Compass
Records, which was
recorded live in the
Scottish borders with
her touring band.
Kennedy grew
tralia before disbanding in 2006, but not
before releasing two critically-acclaimed
albums; “Gone Dancing” and “Mowing
the Machair.”
In 2007, Kennedy released her first solo
CD, “The New Shoes,” to critical praise
by The Irish Times, as well as having
BBC Scotland naming it as one of its top
albums of 2008 and traditional highlight
of the year by Hotpress Music Magazine.
Her second solo album, “Tune In,” inspired by a vintage radio dial, was released
in 2010.
Her collaboration with cutting-edge Canadian composer Oliver Schroer, resulted
in “Enthralled,” a duo album of original
compositions, nominated for a Canadian
Folk Award in 2012.
July-August 2011
2013
September-October
Ceili
Céilí
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Texas Scottish Festival
and Highland Games
SCMA photos
by Phil Wirth
The annual Texas Scottish Festival
and Highland Games was held at
Maverick Stadium, on the campus
of UT-Arlington, on May 2-4 - earlier
(and much cooler) than in previous
years. Musical headliners included
Brian McNeill, Ed Miller, Tullamore,
John Taylor, Jil Chambless and Scotter Muse and Hugh Morrison and
Murder the Stout. While the music
was a major draw, Scottish athletes
competed for various titles (most
involving tossing and throwing large
objects to loud grunts). One of the
highlights was a Sunday finale with
all performers gathering onstage for
one final song (left photo).
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July-August 2013
September-October
2011
page
31 31
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SCAM photos by Phil Wirth
Famed Irish fiddler Oisin MacDiarmada, of the group, Teada, was the guest instructor, and held several classes in Irish trad music.
Trad Camp
Boston and Chicago brethren who had ready access to great Irish
teachers like Martin Mulvihill or Martin Wynne.
All that changed April 15-19 when Oisin MacDiarmada conducted the first TIMES Trad Camp – a week of master classes
in Irish fiddle. It was high time. In the peaceful, rustic setting
of Spring Hill Retreat Center in Richardson, 12 of us had the
privilege of becoming disciples in the history, style and craft of
Irish fiddling by a member of the famed group, Teada.
MacDiarmada has taught extensively and distinguished himself by being a goodwill ambassador for Irish traditional music
all over the world. The classes were divided into three-hour
morning and afternoon sessions with evening informances and
opportunities to session.
After years of looking through a glass darkly (as it were),
picking up scraps of style as one of a legion of fiddle players (80
in one Catskills class, as I recall), what impressed me most about
the Trad Camp was the intimacy of the setting, the small group,
the individual attention and the pure luxury of spending time observing and emulating great playing.
MacDiarmada made sure everyone was steeped in perspective.
He played dozens of rare recordings by foundational players
from Michael Coleman to Charlie Lennon, giving us all a sense
of continuity and respect for the roots of a musical genre we’ve
come to enjoy naturally; knowing the roots of the tradition added
a great deal of depth of understanding.
One aspect of the camp that was universally appreciated was
the “practicum” component – each student was invited to play a
piece that was troublesome or challenging. MacDiarmada would
run a diagnostic, helping us to identify and resolve trouble spots.
Time and time again, I was impressed with how he encouraged
us to regard at a slower pace, letting it speak to us, and helping us
to understand this was really about understanding our place in the
living tradition. I think it made us all more thoughtful about the
stories behind this music.
At the end of the week, MacDiarmada wowed us all with a
beautiful evening concert, accompanied by Joseph Carmichael, in
the intimate rustic lodge of the retreat center. It was a fitting end
to a productive, challenging, yet relaxing week.
The Spring Hill Retreat Center was an idyllic setting for a dozen participants at the initial Fiddle Trad Camp, sponsored by TIMES.
32 32
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2011
July-August 2013
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Ceili
O’Flaherty Retreat celebrating 10th year
song sessions for the singers.
Of the many extra activities offered, the concerts are probably
the most popular side events at the retreat. “Mini-concerts” are
held at every meal, featuring instructors or invited musicians, and
every evening, inside the performance hall, there are instructor
concerts. Attendees claim they have not ever heard better music
anywhere. Coupled with great performances and grateful listening audiences, the concerts are said to be “magical.”
This year’s retreat, according to Fleming, will be special because it IS the 10th year and many students plan to return to help
celebrate.
“There have been many wonderful moments since we began,
and we plan to recall many of them with our students at the
retreat; it’s quite a milestone we’ve reached, and there are lots
of people to thank,” Fleming added. “We certainly wouldn’t be
where we are today without the support of the Southwest Celtic
Music Association, the Trinity Hall Pub and many others.”
So … those interested in learning traditional Irish music, or
becoming more proficient on a particular Irish instrument, join
many others with similar musical tastes and desires on October
25-27 at Lakeview Camp and Conference Center in Waxahachie
and see why so many students return each year for this annual
event. Because many classes close quickly, early enrollment is
suggested.
For 2013, there will be an all-star lineup of guest instructors,
comparable to any classic Irish music festival in any part of the
country (including several past and current headliners for the
North Texas Irish Festival).
The exceptional lineup scheduled to teach this year will include the incomparable Cathie Ryan (vocals), fiddlers Fergal
Scahill, Liz Knowles, Patrick Ourceau, Brendan Mulvihill, Laura
Flanagan and Chris Buckley, Jimmy Keane on piano accordion,
Patty Furlong on button accordion (B/C and C#/D), tenor banjo
expert Enda Scahill, uilleann piper Kierann O’Hare, flutists John
Skelton, Myron Bretholz on bodhran, Pat Broaders on bouzouki,
Florence Fahy on anglo concertina, DADGAD guitarist Josh
Dukes; Jeff Moore on guitar fundamentals, harpists Rebekah
Passmore and Eileen Gannon, mandolin player Marla Fibish and
Jonathan Milton on tinwhistle and flute fundamentals.
For all details, go to www.oflahertyretreat.org.
Over the retreat’s first 10 years, many of the world’s top players in the tradition have taught – “guest instructors” – including:
Fiddle: Seamus Connelly (2004), Liz Carroll (2005, 2011),
John Carty (2006), Randall Bays (2006, 2011), Matt Cranitch
(2007, 2008, 2012), Patrick Ourceau (2007), Brian Conway
(2009), James Kelly (2008, 2012), Manus McGuire (2009), Oisin
MacDiarmada (2010), Oisin McCauley (2012), Kevin Burke (2010)
Rose Conway Flanagan (2011), John McEvoy (2010), Martin
Hayes (2011);
Flute: Shannon Heaton (2006), Catherine McEvoy (2007),
June McCormack (2008, 2009), John Wynne (2010), Conal
O’Grada, Kevin Crawford (2011);
Harp: Michael Rooney (2009), Grainne Hambly (2010, 2012),
Michelle Mulcahy (2011);
Uilleann Pipes: Jerry O’Sullivan (2006), Mickey Dunne (2007,
2008, 2009), Tom Creegan (2010), Louise Mulcahy (2011);
Bodhran: Anna Colliton (2010), Máirtín de Cógáin (2012);
Piano: Brendan Dolan (2009);
Button Accordion: Patty Furlong (2009), John Nolan (2010),
Damien Connolly (2011), Jackie Daly (2012), John Whelan
(2012);
Guitar: John Doyle (2005, 2011), Matt Heaton (2006), Daithi
Sproule (2006), Tommy O’Sullivan (2007), Pat Egan (2008, 2009),
Seán McElwain (2010), Fionán de Barra (2012);
Concertina: Colm Delaney (2012);
Tenor Banjo: Mick Maloney (2008), Enda Scahill (2009), Darren Maloney (2010), Dave Cory (2011), Angelina Carberry (2012);
Bouzouki: Roger Landes (2006), Pat Broaders (2007), Jimmy
Crowley (2011);
Vocals: Danny O’Flaherty (2008), Michael Black (2010), Robbie O’Connell (2011), Dave Curley (2012).
The O’Flaherty Irish Music Retreat is organized by the Traditional Irish Music Education Society (TIMES), a Texas non-profit
organization. TIMES also organizes the O’Flaherty Irish Music
Youth Camp, the North Texas School of Irish Music, Irish TradCamps, house concerts, TIMES sessions and various printed and
recorded resources for learning Irish music.
For more about the O’Flaherty Retreat, or TIMES, contact Ken
Fleming at [email protected], or call (972) 798-7890.
Marum soundtrack to frame Civil War film
Marum: I wrote some of the music a
couple of years ago – and I saved instrumental versions of songs from other albums expressly for this film. Movies like
this take a long time to finish; there’s a lot
of talk and work before ever getting off
the ground!
Did the project call for vocals more
than background music?
Marum: Most of the music will be
background, so I thought in terms of texture (instrumentation) and mood. Then I
either wrote stuff (that pleased me) to fit
the moods – or ones I loved and wanted to
record.
Two melodies were for their moods;
then becoming songs for “The South
Wind.” “Even As I Ramble” was a banjo
Céilí
=
Ceili
piece for the film and played for two years
before I added lyrics.
“Take Me Back to Saratoga” was also
meant to be an instrumental, but it just had
such a B part, I had to write the song.
Other songs on the new album are also
direct, or indirect, results of working on
the film. I always knew “Bloody Bill’s
Raid” may never be a topic this film covered, but it was a true story.
From the moment I read it, I couldn’t
get it out of my mind; I wrote the song
purposely with a very broad brush – as if
the film had told you all the facts.
I want the listener to wonder, to think
about it, to research … or simply understand it (at face value). People should
know something so terrible happened that
September-October
2011
July
-August 2013
the old woman, explaining the dread she
experienced so many years ago, still heard
the voices of the bad guys and the tears of
her children as if it took place today.
“Elkhorn Tavern” was inspired by a letter written by a Confederate soldier, telling
his parents back home that his younger
brother had been killed at the Battle of Pea
Ridge … and that the South had lost the
battle.
The new film will focus on the Civil
War in the West; and even though I knew
it was a long shot for the song to fit in the
film, it was a story I really felt compelled
to retell.
Editor’s Note: The second half of this
story, about the film itself, will appear in
the September-October issue of the Ceili.
33 33
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page
Minden Tartan Fest holds successful event
The 2013 Scottish Tartan Festival was
held on Saturday, April 6 at Scotland
Farms in Minden, La.
Festival highlights included music by
Jed Marum, Kendall Rogers, Smithfield
Fair, Cleghorn and the Traveling Murphys.
An appearance by the Jackson Irish
Dancers and the Shreveport-based Port
Belly Project was a welcome addition to
the day’s festivities.
Patrons enjoyed demonstrations of
medieval combat by the Shire of Ardanroe members of the local SCA, as well as
a Highland Broadsword demonstrations
by the Northwest Louisiana Broadsword
Academy.
A dog show, the herding of Highland
cattle, all-day hayrides and the inclusion
of “Coo Burgers” (hamburgers made from
Highland beef) were all popular additions
during the day.
The Honored Clan for this year’s festi-
val was House of Gordon, represented by
Marcia Gordon McLaurin, convener for
Mississippi, Louisiana and Texas.
Other clans represented include Cummings, Lamont, Cochrane and Cameron.
This one-day only event culminated in a
heart-warming, upbeat presentation by the
Traveling Murphys, followed by a highenergy Celtic rock session by the Dallasbased group, Cleghorn.
Photos submitted
by Sheila Hoh
Among the performers at the
Scottish Tartan
Festival on April
6 in Minden,
La. were (top
left, clockwise),
Kendall Rogers,
Smithfield Faire,
the Traveling
Murphys and
Cleghorn.
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34 34
July-August 2011
2013 September-October
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NTIF 2013:
Well,
I’ll be
doggone
photography by plano photography club members
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September-October
2011
July-August
2013
35 35
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page
Southwest Celtic
Music Association
NONPROFIT ORG.
US POSTAGE
PAID
DALLAS, TX
PERMIT NO. 3986
1920 Abrams Parkway #382
Dallas, TX 75214
Address Service Requested
NTIF, SCMA honors 2013 festival volunteers
SCMA photos by Phil Wirth
Scores of volunteers from the annual North Texas Irish Festival (NTIF) met for the annual picnic on May 5, at the Winfrey
Point pavilion on White Rock Lake. Top volunteers from each
segment of NTIF were honored with certificates (top photo,
left) as distributed by events director Marsha Singer and
volunteer coordinators Peggy and Maurie DeFoer. SCMA
vice-president John Hebley (middle photo, above) discusses
the success of the 2013 festival with gathered volunteers,
as well as some plans for 2014. Jim Chiles (top photo, right),
ATM coordinator, was honored by the Performer Products
folks with an autographed poster for his unsung work at the
festival. And among the many door prize winners was Dallas
Officer Monty Moncibais (left photo), who provide security
every year for the picnic!
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July-August 2011
2013 September-October
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Initial Trad Camp successful

Transcription

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