Through the Round Window by Eamonn Coyne
This is a recording for all the banjo funs.
Eamonn Coyne is a banjo player from Dublin, currently living in Edinburgh. It is great to listen to the duet with Tom Morrow’s fiddle, Michael McGoldrich’s flute, Ciaran Curran’ bouzouki, and Kevin Doherty’s vocal and guitar. The track 8 features even another banjo. It is as exciting as the second track of Solas’ "The Words that Remain."
Some tracks are purely traditional, and some are jazzy or with country flavors. But the different styles are not mixed up, so no one will be disappointed.
I love his banjo playing!
Track 12 (The Ash Plant set) is my favorite - just
This album also featues Dervish’ Tom Morrow, Altan’s Ciaran Curran,and Kevin Doherty from Four men and a dog,
Michael McGoldrick’s best flute playing can be heard on the track 9 of this recording: not too fast and very old-fashioned. I hope they will record more banjo and flute duets in the near future.
P.S. I really want to rewrite the previous comment I posted above.
Track 2, Fred Finn’s
The second tune on track 2 does not sound like the Fred Finn’s listed in this web site. Does anyone have a better ID on it?
This is the one: https://thesession.org/tunes/1723 A bit different version though.
The first tune on track 13 is incorrect. It should be Joe Banes Scotische (Joe Bane’s Schottische), a scottish barndance. It’s already listed on this website but thought I’d point it out as it was driving me nuts trying to figure it out by ear.
“Éamonn Coyne: Through the Round Window” ~ a joy! :-)
A joy! ~ especially the finish with his gran, ‘nano’. Complaints, well, a few, tracks 3 & 13, which had me with the opening tunes, a mazurka on 3 and a barndance on 13, and then he spoils it with a cheap arranging trick, slipping into a different time signature/tune form. Yes, still lovely playing and fun, but, personally, I’d have preferred them on their own track, not the jarring potholes in the joy I was experiencing with the mazurka and the barndance. I would have loved to have had those free of that twist so I could just drop it into an evening of dance and let the joy spread that way too. I’ll likely still do that, and cut it off before the change.
Also, I’m very pleased to say, in agreement with slainte/Hiro, Michael McGoldrick’s contributions here, tracks 2 & 9, I loved! While I appreciate his skill, we’ve never purchased or kept one of his recordings. Yes, he is ‘amazing’, but it just hasn’t ever clicked with me. I don’t like how he packages it, diddles it. But here, I really like how he takes it, lovely, but, I guess that may in part be that it’s someone else doing the packaging. I’ve had similar experiences with another well known musician, Sean Keane. I’ve never really cared much for his fiddling, with the Chieftains, and putting it on when on stage. I remember a concert where not a foot was stirring in the whole place, and I was leaning forward ~ possibly cerebral, but not doing anything for my heart or feet. And then, in Clare, we happened to catch some time dancing sets with the big man, and hearing his fiddle and bow in the presence of the local talents, and ~ it was brilliant. I’d love to have any number of recordings of Sean playing that way, or Michael McGoldrick taking it as he has on this recording. I have caught a lot of listens to Michael and none of them have held my attention like his playing here.
This is full of listening pleasure for me, despite the few intermittent potholes already mentioned. The joy included memories too, and inspiration as well, giving me the title for a melody I had knocking around, which I’ll call a vagrant rather than an orphan.
Thanks Éamonn - much appreciated and enjoyed