Review by Caoimhin Mac Aoidh.
Besides his other musical ventures with Beginish Paul O'Shaughnessy has been very busy of late in producing a solo recording on his own label (POSCD 0001). The recording is solo fiddle playing throughout with backing from Frankie Lane on various types of guitars and a mandolin. The recording, entitled "Stay Another While" contains 14 tracks comprising six jigs, two slip jigs, a march, an air, a hornpipe, four highlands, eight reels and a waltz that makes a brief reprise to finish the recording.
This recording reflects the strong influence of the Donegal fiddle tradition on Paul. By now most people would be aware of his family connection with the county and his long established personal alliances both socially and in playing partner arrangements. As such, it is not unsurprising to see the high degree of Donegal sourced tunes.
In the end of the day, what the listener is interested in is the quality of music on the recording. In this case be prepared for some serious shock treatment. Paul lifts the voltage up on this CD in a major way. The playing ranges from impeccible, controlled delivery of sweet tunes to blinding technique with opens up the wonder of a tune as opposed to clouding it cumbersome clutter.
The opening track of the Priest in His Boots and Leitrim Jigs flow along with with an air of such ease and assurance which deceives you into thinking that all that is required is putting the bow on the string and the fiddle does the rest. The second track, The Piper in the Cave, is a favourite of Paul's and derives from John Doherty. Again the delivery is keenly sensitive to the nuances of the tune. Even at this early stage of the recording the remainder of the way is signposted for very sympatheic accompanyment from Frankie Lane. It is clear that if this standard is maintained, and it is, then there is true taste in the backing.
The pace is accelerated in the third track of reels. This is genuine up and at 'em stuff. Triplets crack and cuts slash through this playing. You might begin to think that it cannot get more intense than this but the next track proves that the ceiling on this CD is very ornately dressed and extremely high! The well explored jig The Gold Ring follows. This is essentially a multi-part piping test piece. Fiddlers, though capable of good delivery, generally do not venture into this ground. O'Shaughnessy does not consider climbing over the barrier into this one. He pole vaults at daring speed with a massive clearance height into this. The melodic variation is stunning and adventurous while again, the technical delivery is flabbergasting without ever effecting showmanship. No grandstanding -- just blinding brilliance of a player who has so mastered his art that what you are hearing is not being filtered by brain. Its coming straight from a gritty and bold heart with, I suspect, a direct connection to a wonderous soul.
The next track is based on Sean 'ac Dhonnacha's singing of Black is the Colour (of My True Love's Hair). Anyone familiar with Sean's singing will be aware immediately that Paul has made a good study of the prhasing and ornamentation devices used by the latter. Again, the guitar backing is delicate and unobtrusive, regularly picking out and highlighting points of interest in the air.
The New Artane Roundabout is a recently composed hornpipe that lilted its way into Paul's jetlagged mind during a layover in London on a return journey at the end of a tour. New compositions have not yet faced the two staunch reviewers -- the test of time and the tastes of the general body of performing musicians. In this case, I suspect the celebrated new roundabout near Paul's house should undergo several stages of re-surfacing and re-construction before the body of Irish musicians tire of it.
Three reels Stay Another While, The Chattering Magpie and McCahill's (a Danny Meehan sourced version of Rakish Paddy) is again flawless and spiritied. Mick Brown, a player of astounding taste who has immersed himself deeply in the music of southwest Donegal provided Paul with a beautiful waltz which traces back to Jimmy Bhidi Mhici McGinley, a nextdoor neighbour of James Byrne. This is one of a couple of beautiful waltzes which have been sourced from Jimmy but which have remained confined to a few Donegal fiddlers, even despite the now considerable explorations into the county's repertoire by an international scale of musicians.
Three lively jigs follow, Bundle and Go, ultimately from John Doherty via Mairead Ni Mhaonaigh, plus two extremely rare jigs which Francie Dearg O'Byrne insisted Paul learn. Francie took a small handful of people up to his room during the second Annual Fiddlers Meeting in Glenties and stressed that there were a couple of very rare tunes he was adamant about passing on and he wanted players who could respect and deliver the tunes to get them. It was at this gathering that Paul learned the second two of these tunes. It is worth noting that before the end of his days, Francie held Paul's playing in such a high respect that he saw the future of Donegal fiddle playing as being in caring and creative hands. This set of tunes certainly would have greatly pleased him as well as the next grouping of three highlands follows the last of which is also played as a reel by the late Francie Dearg.
Three reels surge forward next. The second is a composition of Paddy Mills the fiddler from County Mayo and the Donegal Traveller. The first tune, The Swallow's Tail is the true revelation here. This tune is one of the most familiar in the Irish reel reprtoire and to a degree suffers from standardisation. Tunes with this type of affliction can often be entirely re-juvenated in the hands of a creative master. This is the case here. Paul takes a very strong Donegal line of melodic thought and lifts this tune in such a way that the drive and attack are massively enhanced. When you hear this tune think of the melody you have worn in your mind and listen to the difference that Paul delivers. This variance is the result of instinctive genius.
The next track of two slip jigs showcases Paul's technical ability with no damage done to the melodic drive of the tunes. He revisits an old friend, namely Con Casssidy in a tribute through the Low Higland, otherwise known as Paidi Bhili na Ropai's Highland. This is a variation of the reel, The Green Groves of Erin which derives from the Scottish strathspey Miss Stewart of Grantully. The Gweebarra Brige and Nine Pint Coggie reels then crack off his bow.
To close the recording, we are treated to another brief visit to Jimmy Bhidi Mhici's Waltz where the fiddle and guitar combine to provide a fond and fun farewell.
Overall this recording is a revelation in Irish fiddle playing with a strong taste of Donegal. The sound quality is of an excellent standard and the overall packaging and sleevenotes are first class (including impressive artwork by Paul's wife Cathy showing that talent runs very broadly though the family). This recording would be a proud addition in any recording company's catalogue. It is pleasing to note that the entire package is the production of the recording artist. This degree of self-reliance is one of the positive trends in Irish music which will see a greater amount of the financial rewards going to those creating the music.
In short, anyone interested in traditional Irish music, and fiddle playing in particular would need a very good excuse not to have this recording in their collection The recording is currently available from Claddagh Records.
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