I’ve just stolen this abc from Henrik Norbeck’s collection - missing is the jazzy impro of Deiseal, but that’s not a session part anyhow…
This tune is actually a single jig but it seems to be common now to play it like a barndance or like a slow reel. The only time I’ve heard it played to actually sound like a single jig was on an old recording of Leo Rowsome. It is of course closely related tunes like "Jenny’s Welcome to Charley", "Jenny Picking Cockles".
I think this actually *is* Jenny’s Welcome to Charlie
That’s what the tune’s called now days anyway—would like to know if it started out with a different name. But the setting given here is missing the fourth part.
IMHO traditional music at least if not fixed (like here) is evolutionary. The key of tunes is changed, it’s adapted to another instrument, other variations get fashionable and so on. I like all three tunes mentioned, they are part of different styles, aren’t they? Where is the missing link between them or the common ancestor?
Not Jenny’s Welcome
This is considered to be a different tune to Jenny’s Welcome (although nearly identical notes) as it’s supposed to be a single jig. I don’t know why Henrik has it listed as a reel!
The Long Note as a jig
“Jenny’s Welcome to Charlie”
Submitted on November 14th 2001 by Miss Lonelyhearts.
“The Long Note” ~ jig ~ 2003
Submitted on May 21st 2003 by Dow.
“The Long Note” ~ jig ~ 2009
Submitted on August 27th 2009 by Cocus.
A reel it is now
Despite the last few purist posts insisting that this is not properly a reel as such, and some bastard offspring of Jenny’s Welcome, Cormac Breathnac’s genius has spawned a wholly new beast ( unless he was just jazzing up what someone had already down before him).
A reel in its own right it surely is now.
is from Conal Ó Gráda’s flute here (together with Ciarán Ó Maonaigh’s fiddle, but I just transcribed the former):
Pipers have always called this tune Jenny’s welcome to Charlie, it comes from Seamus Ennis or his father, and always played as a reel too.