A downside of modernization is the tendency for cultural distinctions and their expression to decline, or worse, to be abandoned altogether. An upside is that with the wealth of technology available, those who desire to preserve and celebrate traditional aspects of their respective culture have great opportunities to do so. Enda Seery, a 26 year-old composer, recording artist, music and Irish language teacher, is such a person. Hailing from Streamstown, County Westmeath in central Ireland, the birthplace of famed button accordionist John Joe Gannon, he is the youngest in a family steeped in musical passion and ability. Seery has three musical siblings, each who play instruments used in traditional Irish music, and his parents are coordinators of weekly set dancing classes. As part of Ceoltóirí an Mhuilinn, the resident group of the new Comhaltas Regional Centre at Aras an Mhuilinn, Mullingar, County Westmeath, he plays whistle and flute.
On The Winding Clock, his debut solo recording, Seery primarily plays the six-holed woodwind instrument known as the tin whistle, penny whistle, Irish whistle, or simply whistle. In addition, he also plays keyboard on several tracks and is supported by accomplished musicians including the All-Ireland Champion bodhrán player Colin Hogg and guitarist John Byrne.
Nearly all of the thirteen tracks on The Winding Clock are medleys of two or more compositions. Seery composed seven of the pieces, demonstrating his own writing abilities in addition to interpreting and arranging the music of others. Perhaps owing much to the fact that Ireland is an island nation, its unique musical heritage has stood the test of time. With The Winding Clock, Enda Seery makes a skillful and impressive mark, injecting youthful enthusiasm into time-honored traditions.
“Roscommon Reel/April Sunshine/Castle Kelly” offers a rustic blend of Seery’s whistle melodies, Byrne’s strumming acoustic guitar and Hogg’s understated yet formidable bodhrán rhythms. What is astounding here and throughout The Winding Clock is the display of breath control and breath, period. Those accustomed to hearing music where those playing wind instruments apply their craft only in chosen passages will find something quite different here. “Roscommon Reel/April Sunshine/Castle Kelly” is an enjoyable selection that gradually builds in both tempo and accompaniment, exuding a brisk confidence.
Byrne’s crisp acoustic guitar provides the rhythmic and structural support for Seery’s whistle, on “The Winding Clock/Ballybrown Jig/Ber’s Favourite.” Displayed here and throughout the album are the musicians’ abilities to seamlessly blend the various compositions that make up the medleys. The changes in rhythm and melody as the track progresses make for a most pleasing result. Incorporating a technique reminiscent of Native American flute, Seery flies solo with a bittersweet blend of short bursts and flowing lines on the first portion of his original “Fonn an tSrutháin/Friday’s Finest.” As the piece progresses into its second movement, Seery adds fittingly simple piano accompaniment, with his whistle gently bobbing and rolling like gentle waves on a sea.
Dreamily thoughtful “The American Hornpipe/Eamonn McGivney’s,” with Byrne’s acoustic guitar backing, is memorable and delightful as passages both pensive and warmly optimistic are brought together. “The Leitrim Lilter/Richard Dwyer’s/Jim Donoghue’s/I Wish I Never Saw You” steps things up with Seery’s fast-paced whistle techniques, tastefully supported by Byrnes and Hogg as they unexpectedly join in about a third of the way through. Hogg’s bodhrán patterns, far from bombastic yet fully inspired, might make one wonder about connections between Ireland and Africa.
“Fly in the Porter/Willie Coleman’s” is a genuine family collaboration as Seery on whistle and keyboard is joined by brothers Ciarán and Padraig on button accordion and fiddle respectively, while sister Siobhán adds flute. Conjuring up images of traditional Irish dancers, the result is cheerfully swaying and smile-inducing. Next, with rapid pitter-patter thrums on the bodhrán setting the stage, at times with talking drum-like tones, “Carmel Mahoney Mulhaire/Congress Reel” is a Seery-Hogg combination abounding in earthiness and robust appeal. Tinged with both beauty and sadness, “Cailín na Gruaige Báine” is a contemplative piece, followed by “The Bellharbour Reel/The Old Road to Garry/Swallow’s Tail” which radiates with joy that is obvious but not overwrought.
In contrast to other selections, Byrne’s rhythm guitar takes on a more folk-oriented approach on the lovely and reflective “Easter Sunday/The Stage Hornpipe.” Hogg and Seery team up again on “Colonel McBain’s/Grogan’s Favourites/The Green Fields of Rossbeigh”, revealing evident synergy. Hogg’s ability on the bodhrán to augment Seery’s shifts in melody and mood is nothing short of impressive.
Sparkling with a sense of cultural pride and impassioned interplay, The Winding Clock is irrefutably authentic. If there is any question as to whether musicians of his generation have a respect and affinity for traditional Irish music, Enda Seery’s answer is a resounding affirmative.
Enda Seery's The Winding Clock can be purchased by clicking HERE
Review by Mike Roots
Rating: 5 Stars (out of 5)
No comments:
Post a Comment