NEILIDH
O'BOYLE'S
Neilidh
O'Boyle's Highland (Traditional)
Duloman na Binnt Bui (Traditional)
Sean 'sa Cheò (Traditional)
Kathleen Boyle:
Accordion, guitar
Carol-Anne MacKay: Bagpipes, accordion
Julie M. Fowlis: Whistle
Jenna Reid: Fiddle, piano
Eilidh MacLeod: Harp
Martin O'Neill: Bodhran
From the album:
DÒCHAS
Produced by Iain MacDonald
Courtesy of
Macmeanmna
Recorded 2002, Ardgour, Scotland
www.dochas.co.uk/home.htm
www.gaelicmusic.com
The County of Donegal,
in the north part of Ireland, has a unique regional
repertoire, one that betrays age-old connections with the
repertoire of the Scottish Highlands. The two regions
once shared a single language and culture. Throughout the
centuries, traditional music traveled along the fishing
and trade routes used by both regions. Eventually, a
pattern of seasonal migration from Donegal to Scotland
developed, which continued well into the last century.
Through these ways, "Highlands" (strathspeys) and the
music of James Scott Skinner entered the Donegal
tradition. Similarly, Irish reels enjoyed popularity in
the fiddle and pipe traditions throughout Scotland. On
this selection, Dòchas, a group of young musicians
from the Highlands and islands of Scotland, plays three
Irish reels. The set is named after Donegal's great
fiddler Neilidh O'Boyle (grandfather of accordion player
Kathleen Boyle), who was one of Ireland's early recording
artists.
2. RAYLENE
RANKIN
Lambs in
Spring (John Morris Rankin)
Raylene Rankin:
Vocals
Michael Francis: Guitars
Mac Morin: Piano
Mairi Rankin: Fiddle
Ray Parker: Keyboards
Brian Barlow: Drums, percussion
Scott Alexander: Upright bass
From the album: LAMBS
IN SPRING
Courtesy of Lazy Eye Music
Produced by Chad Irschick
Recorded 2004, Toronto, Ontario
www.raylenerankin.com
"The Rankins" became a
household name in Cape Breton in the late 1980s and
eventually legendary in the world of Celtic music when
the band released the self-titled album THE RANKIN
FAMILY. Working with Toronto-based producer Chad
Irschick, the Rankins forged a tight ensemble sound,
highlighting the shifting harmonies of Jimmy, Cookie,
Heather, and Raylene Rankin and the old-time fiddle
sounds of John Morris Rankin and Howie MacDonald. They
went on to sell more than two million records and tour
the world as a band for a decade. During her career with
the Rankins, Raylene's distinguished, crystal-clear sound
on renditions of Gaelic and English songs became a
trademark of the band. For LAMBS IN SPRING, Raylene's
first solo album since leaving the band in 1998, Raylene
returns to work with producer Chad Irschick and, on this
selection, Beòlach's Mairi Rankin and Mac
Morin.
3. HAUGAARD UGAARD
& HØIR HØIRUP
MIDDAG I
HAVEN
Middag i Haven
(Haugaard & Høirup)
Hans Rasmussens Vals (Traditional)
Harald Haugaard:
Fiddle
Morten Alfred Høirup: Guitar
From the album: OM
SOMMEREN
Courtesy of Haugaard
& Høirup
Produced by Haugaard & Høirup
Recorded 2003, Denmark
www.hhduo.dk
The islands of Denmark
seem far removed from the island of Cape Breton, and yet,
similarities between the music traditions of each culture
are compelling enough. Often, Danish reels or hopsas
contain fragments of melody, which sound as though they
could be derived from Scottish or Irish sources. Numerous
jigs from the Danish repertoire could easily fit right in
at a Cape Breton dance, such as Glencoe. Examples of
these jigs can be found in Danish collections dating back
to the 18th century, though musical exchange between
Scots and Danes likely predates even this period. A new
society in Denmark is the DANISH-CAPE BRETON SOCIETY
(www.danish-capebreton.dk), formed last year for the
purpose of further developing cultural and social
relations. Haugaard & Høirup is an
award-winning duo that performs Denmark's age-old music,
as well as their own compositions. Known for extended
melodic adventures and intricate harmonies, this duo
performs with unspeakable grace.
4. THE BARRA
MACNEILS
SNOWPLOW SET
Back of the
Change House (Traditional, arranged by Sheumas, Kyle,
Stewart, Lucy MacNeil)
MichaelA. MacLean (Dan R. MacDonald)
Snowplow Reel (Dan Hughie MacEachern)
Johnny & Angie MacDonald (Stewart MacNeil)
Hanley's Tweed (Paddy O'Brien)
Kyle MacNeil:
Fiddle
Lucy MacNeil: Fiddle
Sheumas MacNeil: Piano
Stewart MacNeil: Accordion, whistle
Jamie Gatti: Bass
Mathew Foulds: Drums, percussion
From the album: THE
CHRISTMAS ALBUM
Courtesy of The Barra
MacNeils
Produced by Declan O'Doherty
Recorded 1999, Irish Cove, Cape Breton
www.barramacneils.com
The Cape Breton family
band The Barra MacNeils gained popularity during the
early 1980s by performing at Cape Breton's festivals and
concerts. This year, they celebrate more than two decades
as a touring group and several albums since the 1986
release of THE BARRA MACNEILS on LP. With roots in the
Washabuck- Iona Scottish traditions, the Barras grew up
in Sydney Mines, in close proximity to Gannon Road and
Point Aconi, known then for its fierce pockets of Irish
music. In this community, fiddler Robert Stubbert is an
important influence. Throughout the career of the band,
as in this selection, the Barra MacNeils borrow
generously from each tradition. On this selection,
compositions by Cape Breton legends Dan R. MacDonald and
Dan Hughie MacEachern are featured alongside Hanley
Tweed. This reel is one of a handful of reels by Irish
fiddler and composer Paddy O'Brien that floats around
Cape Breton.
5. CHRISTINE
PRIMROSE and BRIAN Ó hEADHRA
An Till Mi
Tuilleadh a Leòdhas (Uilleam MacCoinnich,
1857-1902)
(Arranged by Christine Primrose)
Christine Primrose:
Gaelic Vocals
Brian Ó hEadhra: Backing Vocals
Fiona MacKenzie: Backing Vocals
From the album: AN
TURAS
Courtesy of Anam Music
Produced by Brian Ó hEadhra
Recorded 2003, Sleat,
Isle of Skye
and Lional, Isle of Lewis, Scotland
www.anammusic.com
Gaelic songs composed
by the bards of the new world are often in the form of
descriptive verse praising the old country and its
virtues. An Till Mi Tuilleadh a Leòdhas ("Will I
ever return to Lewis?") was composed in Fort William,
Ontario, a considerably remote community far removed from
the Isle of Lewis, the author's homeland. In this song,
Uilleam MacCoinnich (William MacKenzie) praises the
hillock Cnoc Chùsbaig, close by the old family
croft. This song can be found in CNOC CHÙSBAIG
(1936), a collection of his prose and verse. Native
Gaelic speaker and singer Christine Primrose, also from
the Isle of Lewis, brought Gaelic singing to a new
audience while singing at the folk clubs in Glasgow
during the 1970s. Christine is joined by Brian Ó
hEadhra, an Irish Gaelic speaker and a producer of Gaelic
music. Throughout the album AN TURAS, two Gaelic
traditions are presented side by side in profound and
simple beauty.
6.
PIPELINE
The Trip to
Skye (John Whelan)
The Maid on the Green (Traditional)
The Plains of Canada (Dermot Hyde)
ermot Hyde: Uilleann
pipes, whistles
Tom Hake: Harp, bouzouki, guitar
Paddy Kerr: Bodhrán
From the album:
PIPELINE
Courtesy of Rel Records
c/o relrecords@aol.com
Produced by Antonio Martinez
Recorded 2001, Munich, Germany
www.scotsmarket.com/r2
www.endirecto.de
There are countless
duos in the world of Celtic music, but the duo Pipeline
almost defies the term. Piper and vocalist Dermot Hyde
and guitarist Tom Hake are both serious multi-
nstrumentalists. Pipeline seamlessly unites the music of
Ireland, Scotland, Galicia, and Brittany in their
extended repertoire. Not surprisingly, both musicians
have a background in theater music and eventually met
while involved in a theater project. Dermot Hyde,
originally from Ireland, is a virtuoso on Irish pipes. A
prolific composer, Dermot is equally at home with slow,
haunting airs as he is with his dazzling improvisations
on traditional melodies. Tom Hake brings a kaleidoscope
of string accompaniment to Pipeline's live sets, which
feature extended, uninterrupted arrangements and the
constant shifting of textures and sounds through the use
of pipes, whistles, guitar, harp, vocals, and
bouzouki.
7. GORDIE
SAMPSON
Arthur Muise
(Jerry Holland)
Calipoe House (Dave Richardson)
Mamma Sampy (Gordie Sampson)
Gordie Sampson:
Guitars
Previously
unreleased
Courtesy of turtlemusik
Produced by Gordie Sampson
Recorded 2004, Point Aconi, Cape Breton
www.gordiesampson.com
www.jonesandcoartistmanagement.com
Multi-talented Gordie
Sampson from Cape Breton has recorded three jigs
especially for this compilation. Jerry Holland composed
the first jig for Cheticamp fiddler Arthur Muise. Jerry
recorded this jig on his 1990 cassette release A SESSION
WITH JERRY HOLLAND. The second jig is the most well-known
tune from the leader of the Boys of the Lough, Dave
Richardson. Dave composed Calliope House for the house of
the same name in Pittsburgh, Pennsylvania, the home of
the PITTSBURGH FOLK MUSIC SOCIETY. The tune entered the
Cape Breton tradition through a Patrick Street recording
and has enjoyed a great life on the session circuit for
many years now. For the past few years, Gordie has
focused on his songwriting skills, spreading his time
between Cape Breton and Nashville, Tennessee. He recently
released his album SUNBURN, which was recorded in Cape
Breton, Toronto, and Nashville.
8. HAREM
SCAREM
ODE TO OTIS
Margaret
Cook's Fancy (Iain Powrie)
The Right Road (Nuala Kennedy)
Dragon's Blood (Otis Tomas)
Sarah McFadyen:
Fiddle
Eilidh Shaw: Fiddle
Nuala Kennedy: Irish flute
Ross Martin: Guitar
Inge Thomson: Accordion, silver flute
Kris Drever: Double bass
From the album: LET
THEM EAT FISHCAKE
Courtesy of Vertical Records
Produced by Jonathan Ritch
Recorded 2002, Ardgour,
Scotland
www.haremscarem.co.uk
www.verticalrecords.co.uk
Based in Edinburgh,
Scotland, the members of Harem Scarem are from Dundalk,
Ireland; Fair Isle, Oban, and Arisaig, Scotland; and the
Orkney Islands. Their latest album extends even beyond
these reaches, including in their repertoire
Scandinavian, French, Cape Breton, Balkan, and Asturian
tunes, alongside Scottish and Irish. All of the players
are part of the vivacious music scene in late-night
Edinburgh, now a melting pot for exotic fiddle tunes.
Irish flute player Nuala Kennedy visited Cape Breton
during last year's Celtic Colours festival, performing
with another Edinburgh-based band, Fine Friday. Orkney
fiddler Sarah McFaydeyn visited Cape Breton in 1995 and
learned numerous tunes from fiddle-maker and composer
Otis Tomas. The reel Dragon's Blood, a term related to
varnish making, was learned on that visit.
9. TROY
MACGILLIVRAY
FATHER FRANCIS
CAMERON'S
The Dutchess
of Edinburgh (Traditional)
Yester House (Traditional)
Dad's Strathaspey (Glen Graham)
Father Francis Cameron (John Campbell)
John McColl's (JS Skinner / PD)
Troy MacGillivray:
Piano
Dave MacIsaac: Guitar
From the album:
BOOMERANG
Courtesy of Troy MacGillivray
Produced by Troy
MacGillivray
Recorded 2004, Toronto,
Ontario
www.troymacgillivray.com
Piano player Troy
MacGillivray was born in Lanark, Antigonish County,
which, like Cape Breton, has always been a cradle of
Gaelic culture. In the past, the county dance halls and
numerous barn raisings and frolics provided an extended
circuit for Cape Breton's traveling musicians. Troy's
grandfather, Hughie A. MacDonald, was the county's most
outstanding fiddler, and he recorded in Montreal on the
legendary 78s produced for the Antigonish Celtic label in
the mid-1930s. He was widely known as the "Polka King,"
as he was a purveyor of a type of tune not as popular in
Cape Breton. Troy is also a powerful fiddler and gifted
step- ancer. This album, his second solo recording,
clearly showcases his virtuosity and his skills in
arranging music. The track from Troy's recording selected
for CELTIC COLOURS VOLUME VIII is named for Father
Francis Cameron, the son of well-known Boisdale Gaelic
singer Findlay Cameron. Along with Sandy MacIntyre's Trip
to Boston, it is one of John Campbell's most well- nown
tunes.
10 JOE CORMIER and
JP CORMIER
Bonnie
Isabelle Robertson (Traditional)
John Howett (Traditional)
Rachel Rae (Traditional)
The Earl of Seafield (Traditional)
Joe Cormier: Fiddle
JP Cormier: Fiddle
Hilda Chiasson: Piano
From the album:
VELVET ARM / GOLDEN HAND
Courtesy of Patio
Records
Produced by JP Cormier
Recorded 2000, Cheticamp, Cape Breton
www.jp-cormier.com
The Cape Breton
communities in and around Boston, Massachusetts, have
enjoyed an uninterrupted dance tradition since the 1920s.
The dance halls of Roxbury featured the Columbia Scotch
Band and the Inverness Serenaders. In later years,
fiddler Bill Lamey ran the dances at the Rose Croix Hall,
and, to this day, fiddler Joe Cormier plays at the dances
at the Cape Breton clubs in Waltham, a suburb. Through
these dances, Cape Breton music has survived the
ever-changing landscapes of urban America. Joe Cormier
grew up in the small fishing village of Cheticamp, in the
northwest corner of Cape Breton Island. Joe moved to
Boston in the late 1950s, where he was immediately
embraced by Cape Bretoners and French Canadians living in
the suburbs west of Boston. For his long, dedicated
career as an urban community fiddler, Joe was eventually
awarded a National Folk Heritage Fellowship. This track
was selected from a recent duet album with Joe's nephew,
JP Cormier. They play four reels, three of which can be
found in WINSTON FITZGERALD'S COLLECTION OF FIDDLE
TUNES...
11. LE VENT DU
NORD
Le moine
complaisant (Traditional)
Nicolas Boulerice:
Hurdy-gurdy, vocals
Benoit Bourque: Accordion, voice
Olivier Demers: Fiddle, feet
Simon Beaudry: Guitar, voice
www.leventdunord.com
From the album: MAUDITE
MOISSON!
Courtesy of Borealis
Recorded 2003
www.borealisrecords.com
The Juno Award-winning
Canadian group Le Vent du Nord is one of the newest
groups to emerge from the Quebecois tradition. Originally
founded by pianist and hurdy-gurdy player Nicolas
Boulerice and fiddler Olivier Demers, they eventually
added Benoit Bourque, formally of the trio Matapat, and
guitarist Simon Beaudry. At the heart of their exotic
sound is the blending of Old World French sounds with the
infectious "joie de vivre" of Quebecois music. This sound
is due in part to the use of hurdy-gurdy, an instrument
featured in Breton music and embraced by Ad Vielle Que
Pourra, a popular Montreal-based band in which Benoit
also performed. On this selection, all the elements of
the band's sound are included: the call and response
vocals, the intricate fiddle, feet (a Quebecois
trademark), accordion, and the haunting strains of the
hurdy-gurdy.
------------------------------------------------------------------------
12. ANDREA
BEATON
THE HIGH BASS
CUT
The
Coldsprings Strathspey (Traditional)
Herbie MacLeod's Strathspey (Dan R. MacDonald)
Jamie MacInnis Reel (Kinnon Beaton)
Yetts of Muckart (Traditional)
The Maple Leaf Reel (Kinnon Beaton)
Andrea Beaton:
Fiddle
Kinnon Beaton: Fiddle
Joel Chiasson: Piano
Gordie Sampson: Guitar
From the album:
CUTS
Courtesy of Andrea Beaton
Produced by Andrea
Beaton
Recorded 2003, Point Aconi, Cape Breton
www.andreabeaton.com
The release of Cuts,
the second solo album by Cape Breton fiddler Andrea
Beaton, coincides with the release of another Beaton
family album. THE BEATON FAMILY OF MABOU is the title of
a prestigious release by the Smithsonian Folkways label.
It features Andrea, along with Kinnon, Elizabeth, Glenn
Graham, Rodney MacDonald, and other members of the
extended Beaton family on a comprehensive and fully
annotated collection of Mabou coal mines music. Included
on this compilation is a vintage selection from Donald
Angus Beaton, one of Cape Breton's golden age players. On
The High Bass Cut, Andrea is joined by her father Kinnon
for a double fiddle medley that harkens back to the days
of dusty dance halls and lack of amplification.
Throughout Inverness County, two fiddlers would team up
at a dance to give the music more power and lift. The
effect is further enhanced through the use of high bass
tuning (crosstuning), where the fiddles are tuned AEAE,
creating a rich, dark sound and a powerful
cut.
13. RITA
MACNEIL
Moon Was
Rising (Rita MacNeil)
Rita MacNeil:
Vocals
Kim Dunn: Piano, keyboards
Bruce Dixon: Electric bass
Chris Corrigan: Acoustic, electric guitars
Geoff Arsenault: Drums
From the album: BLUE
ROSES
Courtesy of Luprock Entertainment, Inc.
Produced by Chris
Corrigan & Kim Dunn
Recorded 2004, Halifax, NS
www.ritamacneil.com
In 1987, Cape Breton
singer and songwriter Rita MacNeil's album, FLYING ON
YOUR OWN, reached gold status, and Rita received her
first Juno award at the age of 42. This was quite an
achievement for the shy singer from the small village of
Big Pond, yet it was just the beginning of a new stage in
a long career. Rita had actually been involved in the
music business since 1971. FLYING ON YOUR OWN propelled
Rita into a new realm of creativity and success, and the
following years granted Rita awards and achievements far
beyond that of a gold status album &endash; the Order of
Canada, honorary doctorates, Juno and Country Music
awards, and several East Coast Music awards. Today, after
numerous world tours and award-winning television
specials, Rita is recognized as one of Canada's most
compelling singers and songwriters. The success of her
music can be found in her lyrics &endash; poetry that
speaks from the heart, encourages dreams, and transforms
personal experience into universal themes.
14. BRUCE
MOLSKY
Wake Up Susan
(Ed Haley)
Durang's Hornpipe (Traditional)
Bruce Molsky:
Fiddle
Mick Moloney: Tenor banjo
Audrey Molsky: Guitar\
From the album:
CONTENTED MUST BE
Courtesy of Rounder Records
Produced by Bruce Molsky
Recorded 2004,
Clarksburg, Maryland
www.brucemolsky.com
www.rounder.com
When the song-catchers
captured old fiddle tunes in the South and eventually
throughout America, little would they ever know how far
those tunes traveled or would travel. On this selection,
Bruce is joined by Mick Moloney on the tenor banjo. Mick
commented that the first tune, from an old Ed Haley
recording, is almost an arrangement of The Mason's Apron.
The second tune certainly betrays its Irish roots. Bruce
derives much of his repertoire from old archival
recordings, injecting new life into those old settings.
Originally from New York, Bruce was drawn to the music
and to the Blue Ridge Mountains, where he heard Tommy
Jarrell and Albert Hash as early mentors. Today, Bruce is
considered one of the foremost old-time players. He is
also a guitarist, banjoist, and singer. A recent project
involves Bruce with Andy Irvine's Mozaik, a group that
includes Donal Lunny and Nikola Parov, a Bulgarian
multi-instrumentalist.
15. JEFF
MACDONALD
Moladh
Cùl Eilean Na Nollaig (Hugh F.
MacKenzie)
Jeff MacDonald: Gaelic
Vocals
From the album:
CÒMHLA CRUÎNN
Courtesy of Féis an Eilein
Produced by Wendy
Bergfelt
Recorded 2002, Christmas Island, Cape Breton
www.feisaneilein.ca
The Cape Breton bard
Hugh F. MacKenzie composed this song to praise his place
of birth, the rear of Christmas Island. A recording of
this song by its author exists at the Beaton Institute.
Jeff learned this song in response to a request by the
Féis an Eilein concert series. Each summer on
Christmas Island, Féis an Eilein sponsors a series
of concerts and workshops dedicated to the Gaelic
language and culture. In 2002, Féis an Eilein
released the album CÒMHLA CRUÍNN, a
compilation of Gaelic singers of all ages. Jeff grew up
in Kingsville, Inverness County, and credits folklorist
neighbor John Shaw for his introduction to Gaelic
singing. Through living with the tradition and through
Celtic studies at Saint Francis Xavier University,
located in Antigonish, Nova Scotia, Jeff has developed a
profound understanding of Gaelic culture. Today, Jeff is
recognized as an exceptional singer who, like the bards
before him, is also composing new verse in an old
language.
16.
CRASDANT
NOS SADWRN
BACH
Nos Fercher
(Traditional)
Mantell Siani (Traditional)
Morris Ymdeithiol (Traditional)
Robin Huw Bowen: Triple
harp
Andy McLauchlin: Wooden flute, pibgyrn (hornpipes)
Stephen Rees: Fiddle, accordion
Huw Williams: Guitar, stepping
Tony Williams: Double bass
From the album: NOS
SADWRN BACH
Courtesy of Sain (Recordiau) Cyf
|Produced by Tony Williams
Recorded 2001,
Wales
www.crasdant.com
www.sain.wales.com
There was a time in the
ancient Celtic kingdoms when the harp was the national
instrument of both Ireland and Scotland. With the
emergence of the baroque violin and the development of a
dance-based repertoire, the harp eventually gave way to
the new musical developments and was replaced by the
fiddle and bagpipes in both traditions. However, the
harp, and especially the triple harp ("telyn deires" in
Welsh, so called because of its three rows of strings)
retained a prestigious position in Welsh music, even
though this music was not without its own baroque
influences. Throughout the revival periods of Irish and
Scottish music in the 1960s, Welsh music remained
marginalized. But in recent years, musicians, such as
harpist Robin Huw Bowen and the group Crasdant, have
helped bring awareness to Welsh music and its ancient
musical traditions. On this selection, Crasdant performs
a medley of traditional Welsh tunes, and, like the Danish
tunes, these tunes contain familiar-sounding fragments of
melodies.
17. DOUGIE
MACLEAN
Pabay Mor
(music & lyrics, Dougie MacLean)
Published by Limetree
Arts and Music (PRS & MCPS UK)
Dougie MacLean: Vocals,
guitar, digeridoo
Graham Mulholland: Scottish small-pipes
Jamie MacLean: Bass, percussion, keyboards
Fraser Anderson: Vocal harmonies
From the album: WHO AM
I
Produced by Jamie MacLean
Courtesy of Dunkeld Records
Recorded 2001,
Butterstone, Scotland
www.dougiemaclean.com
www.dunkeld.co.uk
Singer-songwriter
Dougie MacLean was born in Perthshire, Scotland, and is
widely known as one of Scotland's greatest modern poets.
During the 1970s, he was a member of both the Tannahill
Weavers and Silly Wizard, pioneering Celtic bands from
the revival era of traditional music in the UK. In the
1980s, he returned to live in Dunkeld, Perthshire, where
he formed Dunkeld Records, which eventually became one of
Scotland's most respected independent labels. In 1999,
Dougie made his first trip to Cape Breton for the Celtic
Colours Festival. He was struck by both the beauty and by
the story of St. Ann's Bay, where Reverend Norman MacLeod
chose to immigrate from Scotland with his entire parish.
Many years later, Reverend McLeod, with some of the same
followers, chose to emigrate to New Zealand. The Boat
Builders, included on the CD WHO AM I, is Dougie's poetic
description of these events.
18.
BEÒLACH
THE WEST MABOU SET
(LIVE)
The Night We
Had the Goats (Traditional)|
West Mabou Reel (Traditional)
Pipe Reel (Traditional)
Wendy MacIsaac:
Fiddle
Mairi Rankin: Fiddle
Patrick Gillis: Guitar
Mac Morin: Piano
Ryan MacNeil: Pipes
From the album:
VARIATIONS
Courtesy of Beòlach
Produced by
Beòlach
Recorded 2004, Point Aconi, Cape Breton.
www.beolach.com
It is a new age for
Cape Breton musicians. In the golden days, performances
were limited to picnics, church concerts, and summer
festivals. Today, however, the Cape Breton musician can
make a living as a solo artist or as a part of one of the
numerous music groups on the Island. Beòlach is a
Cape Breton quintet that features Wendy MacIsaac from
Cregnish and Mairi Rankin from Mabou on fiddles. Ryan
MacNeil, from Christmas Island, brings border pipes,
small pipes, and an array of whistles to the
Beòlach sound. Piano player Mac Morin is from
Troy. Pat Gillis of Gillisdale plays guitar in the band.
On this selection, Beòlach performs three reels
that have been floating around Inverness County since at
least the early part of the last century. All three
reels, including the West Mabou Reel, which actually can
be found in O'NEIL'S DANCE MUSIC OF IRELAND, are part of
both the piping and fiddle repertoire.
