My Story
During lockdown, while getting ready for my days work at home, I would place all the things I needed to be productive in front of me. My computer, keyboard and mouse and a strategically placed row of flutes and whistles. Behind me was my piano. Between the hours of zoom calls, my only break was an occasional tune. These breaks for a tune kept me sane, but also started the process of collecting together the tunes that were locked away in my head. The start of the selection building, moulding and arranging. Imagining and planning for a time when lockdown would ease. A time that would allow me to head to Martin O’Malley’s studio outside Miltown Malbay.
I loved those drives up through Kilmaley and Connolly and onwards to Martins. Heading west helped me re-connect with part of who I am as a musician. My mother is from west clare and was a big influence on me, teaching me many of my first tunes on the whistle. I was made very aware of the great west clare tradition from a very young age. The first music we ever remember listening to was Mrs Crotty on the old reel to reel tape recorder that Mam owned. She made a boot leg copy of the LP in Mrs Crottys home, with permission of course. I still remember the sound of that old reel to reel. I can even remember the smell of the old valves in the machine heating up. Mrs Crotty was followed by Chris Droney. Who was better, was a regular conversation in our house when I was very young. I don’t know why I didn’t take up the concertina, as I heard far more of it than the flute before I started off. Old recordings from Fleadh Ceoils in Kilrush, Scarriff, Thurles and further afield became part of the bedrock of my music. As a young boy of 3 or 4 my parents would get me to say my prayers. God Bless Mammy and Daddy, Lord have Mercy on Granda McMahon and Lord have Mercy on Joe Cooley was my regular ritual. Don’t ask me how Joe got included in my litany but it had the result of me developing a devotion to the music of the great accordion player from Peterswell. When I got that iconic recording of him collected by the late Tony McMahon, it had a lasting impact. I was always trying to play with the same rhythm and heart. I also loved the music of Josie McDermot the blind flute player from Ballyfarrnon in County Sligo and remember learning many of his tunes on my first visit to the Willie Clancy summer school in 1985.
I got my first flute on a trip home from Spanish Point when I was 9, My mother stopped off at Peter O’Loughlins house where I got the surprise of my life when I got to pick a flute from his collection. When we got home my Dad asked the price of the flute and when he was informed of the cost he said “God, tis the price of good bullock”. Dad played the bagpipes with the Tulla Pipe Band for 62 Years, so he knew the real value of that instrument and like Mam has always been such an encouragement to me, Aine and Marie.
I would spend the next few years learning the flute largely on my own, until a chance meeting with Matt Molloy in Quinsworth in Ennis one day in the mid 1980s. My Dad boldly declared that I was learning the flute. Without hesitation, Matt said, sure why not bring him into the house for a few tunes. Can you imagine the excitement to get to meet your hero. They say you should never meet your hero but I was glad that I met mine. He was such a positive influence on me as I developed as musician . And that was the life changing spark I needed. It was always going to be music from then on.
The influences of local musicians from around the county was immeasurable. People like Michael Dinan, Francie Donnellan, PJ Hayes, Tommy Gorman, Jerry Lynch to name only but a few, they all encouraged me, gave me tunes and advice.
I grew up in Clooney, a mile from Spancilhill as the song goes. Home was on the banks of the Hell River, believe it or not which flows past the Tulla road, half way between the towns of Ennis and Tulla, home of the legendary Tulla Ceili Band. The first group I ever played in was an U12 group from Tulla. I spent my youth playing with Grupa Ceoil’s with many fine musicians from all round the east clare region. Some of those musicians carry on the tradition of Tulla Ceili Band today. I didn’t as I ended up getting transferred to the Kilfenora. But more of that later. Ceili Bands became a big part of my music and the buzz of playing and competing started during my teens in both Tulla and Ennis bands.
An opening became available in the newly re-formed Kilfenora Ceili Band in 1992. When I got the call from John Lynch, I hesitated: for at least a minute before I said yes of course and the joined the band before we won 3 All Irelands in a row in 1993-1995. And it all snow balled from there. I had this ready made band of friends who I have spent the last 30 years playing with all over the world. When we started off we really didn’t have a clue about how to be in a band. But with time we learned how to be a dance band, a concert band and record 7 studio albums. In time I learned so much about playing music with lift and rhythm. Music to tap your feet to. But I also learned, what it takes to perform for an audience. How to arrange music for a ceili band in a way that wasn’t, how would I put it, conventional for a ceili band. But I also learned lots about how to keep the tradition alive while innovating and bringing the music forward into a new era. In addition I learned how to let go somewhat of my own individual identity as a musician for the greater good of the band. That took time.
And then when it was time over the last 18 months to stand up and be counted as an individual again, that also took time.
For so long I could hide my faults and inadequacies behind a big band sound. The way you play as part of an ensemble or a collective of instruments is so different to playing on your own. When I started to play on my own at home over lock down, I didn’t really like what I heard in the beginning. There were things that really got exposed when I peeled away all the support of the band. I needed to simplify, relax a bit more and enjoy the tunes. But I also needed to work on my technique. Root out some bad habits. You’re never too late to improve.
Almost 2 years of playing at home on my own, made me re-evaluate many aspects of my music. It was a process of playing, de-constructing, tearing it down, evaluating, checking to see if I was being true to the tradition. But at the same time I was worried, no maybe worried was a bit too dramatic, but conscious of how my music as an individual would be received by everyone. Not just the purist, but also by the regular man or woman on the street. I wanted to create a sound and a collection of music that any music lover might appreciate regardless of their background or musical tastes. A tall order for sure and I’m not sure I have achieved it, but that was my goal.
Like anyone making an album, I tried tunes in selections, listened to them, scrapped them and started over and over. I think I had collected about 120 tunes that I wanted to record. Plus loads of bits and pieces that I composed over the years. So the whittling down took ages.
One of my biggest fears or stumbling blocks was picking the right people to have on the recording with me. I was crippled by the fear of picking the wrong people, who mightn’t suit my style or might just be a pain in the ass to work with. But I was so lucky. Aidan my son has turned into a fine piano and concertina player. He kind of came of age around the time I was preparing material at home and it just became apparent to me that he was ready to play piano with me on the recording. It was utter luck that I came across Conal O’Kane online first before I realised he was the guitar player with Goitse. The funny thing is that he only lives a few miles away from me which made getting together and recording so much easier. It was an utter pleasure to work with him. He is a true professional. My sister Marie has known my music longer than anyone else on this recording and I was delighted that she found the time away from her demanding job as a doctor to play a few selections with me. It was like old times at home in Clooney. Then I couldn’t go too far away from my Kilfenora Ceili Band heritage so I roped in Eimear and Sharon Howley on fiddle and cello and Brian O’Grady on double bass who is also my good running buddy and neighbour over here in east clare. And I called on Dermot Sheedy on bodhran, who used to be sub drummer in the Kilfenora when he was a young lad long before his career with Hermitage Green took off. So I have to say I was delighted with the line up and support.
The tunes on this recording are taken from different stages of my life.
Some of them are early common tunes. Boys of the Town is one of my favourite tunes on here. Not because it’s the best tune ever, but because of how it makes me feel when I play it. The memories it brings back. I don’t know why, but it makes me smile and can make me emotional all at the same time.
Being from Clare I had to include a decent amount of reels. Old ones, new ones all in together. I even turned a Highland into a reel. I know someone will probably tut tut when they hear that but I don’t mind. I am not scared too much any more of what other people will think. I made this recording for myself as much as I did for anyone else. And these are the tunes played in the way that I like to play them. No apologies.
I even decided to include one of my own compositions called Time Flew because it is all about family and loved ones, growing up, watching them flourish and then needing to let go. It all happens in the blink of an eye and you sometimes don’t see change like that coming until it smacks you straight in face. Life is short and I learned that we should use every chance we have to do the things we enjoy doing with the people we love. In my life that includes music with family and friends.
The album title took months to decide. As a family we had lots of conversations and craic coming up with some bizarre and funny titles that never quite made it. “Back to the Fluture”, “Triller”, “Mid Life Crisis”, “Flute Smoothie”, “Flute and Nut”, “Air Head”, “Gas Man”. It was getting closer to the end of the project and still no title was forth coming. Then one night Breath-Taking was mentioned. That was it. I spent 40 years playing flute and taking far more breaths than the average person.
I am looking forward to the future for musicians and artists. We have had a dark period that has lasted for a long time. It was something that I never imagined would could have happened. I cant wait to get back out playing. Meeting friends. Going places for gigs, festivals and sessions again. And I wont take any of those musical opportunities for granted.