Farewell to peter natalie macmaster professional#

The ‘Highlands and Islands’ set is also more pure drop than folk-pop. Four songs in Irish and English add a very different aspect to Nuala’s music: surprisingly straight arrangements of ‘The Groves of Donaghmore’ and ‘A Bhean Ud Thois’. Nuala’s own compositions ‘Dolphin School’, ‘Slippy’ and the title track continue the modern jazztrad mood. The opening ‘Pink Flamingo’ set could be early Lúnasa, the same rich, deep texture based on flutes and whistles, the same swirling reels - take away the box and keyboards, and this would fit a McGoldrick or McSherry album. I say solo, but ‘The New Shoes’ has more of a band feel. Her solo debut shows immense talent and experience, with flute and vocal pieces from across the Irish and Scottish repertoires. Out of Dundalk via Edinburgh, Nuala has already graced recordings by Fine Friday, Harem Scarem (a “folk-pop band”) and others. The only question is: why didn’t I hear about her before now? The certainty is that a lot of people will be hearing before too long.Ĭompass Records 4452, 12 tracks, 53 minutes

Farewell to peter natalie macmaster professional#

This CD is a thoroughly professional offering that proves Niamh has nothing to prove on either instrument. It’s fine fresh playing, but mature and relaxed, she knows exactly where she is going. So there’s no hint of artificiality on her own compositions: she has a slip jig, a reel, a couple of waltzes and a barn-dance here, plus, of course, a slide to finish with. She can play slides as naturally as breathing the fiddle tone can be rich in the lower register, but with a great big of scleip on the reels. Her own background is Killarney, with a ready access to the wealth of Sliabh Luachra. She shows herself as a hard-working researcher with material from many of the classic collections like Ryan’s and O’Neill’s, and there’s a Hungarian csardas to show for her years on the road. It is rare to find a musician who is totally at home on two instruments as different as fiddle and concertina, but you certainly have it here.Īnd Niamh shows her dedication to the concertina by including a little piece from the now-forgotten composer, Giulio Regondi (1822 1872) who was an early virtuoso on the newly invented instrument.īy way of contrast, and showing effortlessly that she really is a home in the tradition, she has Brendan Begley as guest singer on An raibh tú ar an gCarraig, and a good account they both give of it. Niamh has certainly paid her dues, since she toured for eight years with Riverdance, but it hasn’t spoiled her appetite for good music making, though it probably delayed her in making her first CD. The phenomenon that is Riverdance has been with us now for over a decade, and its effects are beginning to be felt with the number of fine musicians who have extensive touring experience and who probably are not as vulnerable as earlier generations to exploitation. Imeartas records IMCD 001, 13 tracks 53 minutes ON DA THAOBH FROM BOTH SIDES Niamh Ní Charra, Fiddle and Concertina Want to see earlier releases? Visit the archive.