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October 29, 2007

After the Fall

Seamusfrontpage By Denise Foley

He learned guitar at 14 and at 15 he was playing gigs around his native Galway. Then it was onto the local band circuit and eventually, to a 14-year stint with Sean Fleming in New York. In 1995, he joined the hot Philly-area Celtic rockers, Blackthorn, as lead guitarist.

He’s been in the music business since Nixon was president, so why, at the age of 53, is Seamus Kelleher just getting around to putting out his first solo CD? “I just wasn’t ready,” says Kelleher, whose independently produced “Four Cups of Coffee” is getting both critical claim and airplay.

“I just didn’t have all the tools to say what I wanted to say,” he tells me over his cellphone while he’s driving home to north Jersey after a Blackthorn gig a few weeks ago. “I didn’t feel my voice or my songwriting was in the right place. I’m highly developed as a lead guitar player. It took me a while to get the confidence in all the rest. I didn’t want to do a CD where there were five or six good songs and all the rest junk.”

And this is the spot in the story where you find out that he succeeded. There’s not a clunker in the dozen tunes on the CD, from Kelleher’s touching “My Friend Ben,” a tribute to his late friend, Brendan Glyn, to the direct-to-trad “Nashville Ceili Band” on which he’s accompanied by musicians who usually sit behind Garth Brooks, Vince Gill, or LeAnne Rimes. In fact, the CD was produced in the home of country music by Pete Huttlinger, 2000 national finger pick guitar champion who played with John Denver and can be seen and heard on YouTube backing up Rimes. Huttlinger also arranged some of Kelleher’s tracks.

“I was so intimidated having someone of that skill producing my CD, but I felt it was a chance to really open my eyes and it did,” he admits. “Pete elevated my playing and I came back a better musician, not just a guitar player.“

In fact, Kelleher was awestruck by the caliber of the musicians Huttlinger assembled, most of them Grammy winners. “And not one of them was ego-driven,” he says. “I was talking to one guy who never told me he plays with The Dixie Chicks. We talked about how he has this new house in the woods that he loves and oh, he goes out on tour every once in a while. ”

And he was totally blown away when Huttlinger invited him to a birthday party for one of Huttlinger’s friends, country megastar Vince Gill. “It was toward the end of the week and I put on my one remaining shirt, a silly Hawaiian thing, and we get to Vince’s house and this beautiful lady answers the door,” he says. It was singer Amy Grant, Gill’s wife. “She smiled and put her arms out and said, ‘Congratulations on finishing your CD!’ I was speechless.”

There was a tent set up in the Gills’ backyard and Kelleher mingled with people whose work he’d long admired from afar--songwriters whose credits included “The Gambler” and “Mr. Bojangles,” singers like Janis Ian. “One guy got up--he looked like a tramp--and started singing. I never heard a voice like it. He sounded like a 90-year-old blues guy. Then Vince and Amy sang together. I said to someone next to me, ‘If the Lord were to take me, this probably wouldn’t be a bad time.’ Six weeks later, he almost did take me.”

“Four Cups of Coffee” was just five days old when Kelleher, drinking with some friends at Kildare’s Irish Pub in King of Prussia, tumbled down a steep flight of stairs as he was leaving to go home. “Someone called me, I looked back, and the next thing I remember I was in a chopper. I had fractured my skull, several ribs, and hurt my back,” he recalls. He was taken in critical condition to the University of Pennsylvania Hospital where he remained in the intensive care unit for three days.

Once he was weaned off morphine, the pain hit him with a vengeance. But that wasn’t his biggest concern. “The hard part was wondering if I would get better,” he says. “I had a brain injury and not everyone comes back from that. These were very tough days, to be honest with you. I even had trouble remembering my kids’ names. I covered it up because I didn’t want anyone to know. I knew I was fighting a battle.”

When he came home, he was besieged by constant headaches and excruciating back pain, and for a time was mostly bedridden, though he would force himself to get up and walk back and forth in a hallway with the aid of a cane. “I was determined to get better,” he says. He realized he had so much to live for -- “four lovely kids, a wife, my CD and a great band” -- that he just couldn’t quit. “It’s amazing what you can do when you want to do it,” he says.

One thing he did quit was drinking. The title track on his CD--a bluesy riff on addictions both harmless (coffee) and not (3 shots of gin and two Irish whiskies)-- turned out to be a little more autobiographical than he intended. “I was poking fun at myself, my own demons, and I’ve battled alcohol to some degree, I don’t mind saying,” he admits.  One line goes, “Lord I’m all alone, I don’t know where I’m going. Can you help me so I can see.” Kelleher now considers it an unwitting prayer.

“I haven’t taken a drink since my fall,” says Kelleher. “This was my ‘come to Jesus’ meeting, though,” he adds with a wry laugh, “I wish he’d put his arms out before I hit the concrete.”

Kelleher was back on stage with Blackthorn six weeks after his accident. The first gig, he admits, was a little shaky. “I was really scared driving up to the gate, petrified really. Was I going to be able to do this or that? Could I bend down to pick up my guitar? Would I remember the songs? I was still in a lot of pain and I knew it could be deadly if I moved the wrong way. And standing next to McGroary (button accordionist John McGroary) you never knew when you were subject to attack.” He laughs. “But after one song, I knew everything was going to be fine. I still had a ways to go, but I was back.”

Read a review of Seamus's CD.

Buy the CD at Seamus's website.

Home page photo by Eric Jacobson Studio from the cover of "Four Cups of Coffee."

October 17, 2007

Local Pipe Bands Win With Amazing Grace

Aahome By Jeff Meade

It’s a fair bet that each pipe band preparing to compete Saturday at the Anne Arundel Scottish Highland Games had hoped—possibly even believed—it was truly ready.

By “ready,” I mean that each band had methodically selected three to five tunes up to a year before. Each had played the same three to five tunes over and over again, for hours at a time, week in and week out, until fingers could remember the notes even when the mind forgot them. They had incurred the ire of abandoned spouses. They had willingly submitted to the searing criticism of petulant pipe majors.

All this, for a contest measured in moments. A solid year of focused effort, sacrifice and commitment—all of it riding on one all-too-brief performance in the fading Southern Maryland sunshine. Win, place, show—or crash and burn.

Fortunately, for three Delaware-area bagpipe bands, it was a day of happy endings. The Ulster Scottish Pipe Band of Devon placed first in grade 3; the Philadelphia Emerald Society Pipe Band racked up a first in grade 4; and the Cameron Highlanders Pipe Band of Lafayette Hill notched a second in grade 4. (Pipe bands are lumped into grades so that they’re more or less evenly matched with the bands against which they might compete. Grade 5 is entry-level; grades 4 and grade 3 are more advanced; and grades 2 and 1 are reserved for the scarily good pipe bands. Not surprisingly, there are lots and lots of grade 5 bands in the United States, but there are only a few grade 1 bands.)

For those whose interests do not include the trials of bagpipe band competition (what’s wrong with you, anyway?), there were lots of other activities to keep you occupied in a Celtic sort of way, including sheep dog trials, Highland athletics, haggis eating (thanks, I’ll pass), shortbread nibbling (I’m there), music, Scottish dancing and more.

We have videos, too:

Also, check out these slide shows:

How To Be Irish In Philly This Week and Beyond

By Denise Foley

You have some diverse choices for the rest of this month, depending on where you’re going to be. This weekend, you can help Blackthorn raise some money for the Avalon String Band’s 2008 gear. Avalon will be strutting out with an Irish theme on New  Year's Day, and those feathers and sequins can cost into the six figures. That will be happening Saturday at the Lagoon in Essington.

If you’re planning to be in Havertown on Saturday, the AOH Dennis Kelly Div. 1 is holding a beef-and-beer night to benefit AOH charities (one of them being The Hibernian Hunger Project, which was born right in Philadelphia). Oliver McElhone will be performing.

If you’re up in the Poconos, Pancho, Kevin and Jimmy will be providing the music for the ceili sponsored by the West End Irish American Association on Sunday.

Looking ahead a little, Irish Northern Aid is holding its annual testimonial dinner on Friday, October 26, at The Irish Center. Honorees this year include Kathy McGee Burns of the Philadelphia Donegal Association, Charlie Schlegel of I.N.A. and A.O.H., and Bob Grover of Clan na Gael. The Vince Gallagher Band will provide the music for dancing.

And on the day before Halloween, consider this scary thought: Sinead O’Connor will be in Glenside at the Keswick Theater for a concert. Pretty girl, lovely voice, but as unpredictable as Britney. Who knows what will happen? Anything interesting, let us know.

Check out our calendar for more information.

If you know of an Irish-flavored event coming up, let us know! We’ll put it on our calendar and maybe even crash it so you might see your picture on www.irishphiladelphia.com.  That's the kind of people we are.

Memorial Mass Honors St. Pat's Parade Chaplain

Chaplains By Denise Foley

The late Father Kevin Trautner, for 30 years the chaplain of Philadelphia’s St. Patrick’s Day Observance Association, was remembered at a memorial mass on Sunday, October 14, as a dedicated priest whose “smile was infectious and whose eyes would light up” when he talked to people, said Bishop Joseph McFadden.

“The last weekend I saw him he was so full of joy. He lived for the mass on St. Patrick’s Day,” said the bishop, who officiated at the special mass held in the ballroom at the Irish Center in Mt. Airy. Instead, in the ultimate irony, Father Trautner, 57, and pastor of St. Francis of Assisi parish in Norristown, was laid to rest on St. Patrick’s day last year. He died of a massive heart attack while jogging in Valley Forge Park just days after marching in the St. Patrick’s Day parade.

“We will miss his joy and happiness,” Bishop McFadden told the more than 60 people who gathered at the memorial service. “But we know that he is truly with us here today.”

And if he was, said parade director Michael Bradley, he was surely thrilled to see that he was replaced by not one chaplain, but three, including Bishop McFadden, who was named emeritus chaplain of the organization that runs what is the second oldest St. Patrick’s Day parade in the country, now more than 235 years old. “He would have loved the idea that he could only be replaced by two priests and a bishop,” Bradley joked with fondness.

Father Chris Walsh, chaplain and church history teacher at Archbishop Wood High School in Warminster, will be sharing parade chaplain duties with Father Kevin Gallagher, parochial vicar at St. Denis Church in Havertown. “Having two of us will make life easier for both of us,” said Father Walsh, who participated in the memorial mass along with Father Gallagher. “One of us will always be there for meetings.”

Philadelphia’s 2008 St. Patrick’s Day Parade will be held on Sunday, March 8.

October 15, 2007

Round and Round He Goes


aaathletics1
Originally uploaded by Irish Philadelphia Photo Essays

This is the weight throw. (Note that there is no weight CATCH.)

It's basically a huge, heavy weight on a chain. You heave the thing as far as you can, one-handed, aided by a good spin.

This big fella was competing Saturday at the Anne Arundel Scottish Highland Games.

Ulster Scottish Pipe Band Marches Off With a Win

The Philadelphia-area grade 3 pipe band took first place at the Anne Arundel Games.

Philadelphia Emerald Society Pipe Band Marches Off

The Philadelphia Emerald Society Pipe band took first place in grade 4 at the Anne Arundel Scottish Highland Games on Oct. 13, 2007. Here the band earns the privilege of marching off first. (more)

The Philadelphia Emerald Society Pipe Band's Winning Set

This is the drummer's-eye view of competition. (Not a drumcam, but, hey, we're working on it.) Anyway, this is the band marching into the circle at the Anne Arundel Games in October 2007.

Anúna's Lush Harmonies Come to Annenberg

By Jeff Meade

Picture long, flowing robes and long, flowing pre-Raphaelite hair. (Except for the guys.) Envision silken-voiced sopranos hitting notes so high, dogs two states away stop dead in their tracks and say, “Hey, what the heck was that?”

Yup. That’s Anúna.

Even though the group has been around 20 years—exactly the same age as its youngest member—it only just made its Philadelphia debut on Friday at Penn’s Annenberg Center.

It was not a full house (unfortunately), but director John McGlynn and his band of singers made the best of it.

Anúna is currently flacking a new CD and DVD, “Celtic Origins,” and PBS stations all over the country are promoting the heck out of that performance for fund-raising purposes. No complaints there. Anything that gets the local PBS programmers off the odious André Reieu can only be a good thing.

Anúna’s live performance turns out to as thrilling as what you see on the PBS special. It’s better, actually. In live performance, Anúna takes full advantage of the whole theatre. At the show’s beginning, voices come at the audience out of the dark from all directions, rising and falling, filling the hall with superb, complex harmonies. Eventually, after a bit of mystical meandering, all the singers do wind up on stage, and pretty much remain there for the duration of the show.

In Philadelphia, the group performed several cuts form the new CD and DVD, including “Greensleeves,” “Scarborough Fair” and “I Dreamt I Dwelt in Marble Halls,” the latter performed beautifully by the smoky alto Miriam Blennerhassett, the group’s choral mistress and a founding member of Anúna.

There were also some tunes from previous CDs, including the wonder “Winter Fire and Snow,” “Dúlamán,” “Riu Riu,” “Siuil A Ruin” and the haunting “Piè Jesu.”

Small though the audience was, it was hugely appreciative, rewarding the group with a standing ovation. Anúna returned the gesture with a blazing performance of the tongue-twisting “Fionnghuala.” (If you think saying it is hard, try singing it.) If you have no idea what “Fionnghuala” is or what it sounds like, head on over to our YouTube channel for a video I recorded (not a very good one, I’m afraid) during the group’s summer promotional tour at the Center City Borders.

And, if and when Anúna shows up in your neck of the woods again, catch this very polished and memorable act.

October 14, 2007

"Amazing Grace" at the 2007 Anne Arundel Highland Games

At the closing of the massed bands ceremony at the 2007 Anne Arundel Scottish Highland Games, the bands finished up in grand traditional fashion by playing "Amazing Grace."

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CDs We've Reviewed

  • Athena Tergis -

    Athena Tergis: A Letter Home
    Tergis seems to be not so much playing the tunes as savoring them. (You will, too.) (*****)

  • Christy McNamara: The House I Was Reared In
    This is a very worthwhile addition to your collection, especially if you have a fondness for the lovely and unhurried music of County Clare. (*****)
  • Kevin Burke -

    Kevin Burke: Across the Black River
    As with so many Irish music recordings, it’s impossible to hang a “traditional” tag on it and just let things go at that. “Across the Black River” is solidly Irish, but Burke and Scott gleefully toss many ingredients into the old Irish stew—Cajun, bluegrass, a bit of Texas swing, Parisian sidewalk music—and nothing seems out of place. (*****)

  • Kris Drever -

    Kris Drever: Black Water
    Along comes Orcadian singer-guitarist Kris Drever with “Black Water.” Yes, there are a few sad songs—songs of working-class travails and teary farewells. But even the sad tunes are infused with light and warmth. Drever’s voice has a plangent quality—like a Scottish Rufus Wainwright. He has chosen songs that blend modern influences with age-old themes. Duets with Kate Rusby and Eddi Reader are particularly lovely. (*****)

  • Nuala Kennedy -

    Nuala Kennedy: The New Shoes
    On this CD, Kennedy travels the well-worn road of Irish traditional music, with occasional side trips to Cape Breton, the Hebrides and Brittany. Kennedy's voice is iridescent.;her flute and whistle performances, unearthly. Each track is luscious, exceptional and soul-satisfying. Savor each one. (*****)

  • Old Blind Dogs -

    Old Blind Dogs: Four on the Floor
    The Old Blind Dogs have been around, in one form or another, since 1990. With “Four on the Floor” (Compass), the band loses nothing of the creative energy that has made it one of the most popular traditional ensembles. (*****)

  • Pauline Scanlon -

    Pauline Scanlon: Hush
    In some ways, Scanlon’s delicate voice works against her. It doesn't work well for all of the tunes. Overall, though, a fine effort. An appreciation of her artistry comes gradually. The more you listen to Pauline Scanlon, the more you hear. (Since listening and hearing aren't always the same thing.) (****)

  • Solas -

    Solas: Reunion: A Decade of Solas
    Live CDs often succeed at presenting a band’s work in a new and exciting light. Obviously, an audience changes things. The stomping, clapping, yelling, cheering—it all becomes a part of the performance. But the DVD adds an entirely new dimension to the event. OK, so you weren’t there. (Hey, I missed it, too.) But the quality of this concert DVD will make up for your inability to have snagged a seat. Of course, the true magic of the performance lies in the composition of this one-time-only version of Solas. Backed up by singer Antje Duvekot, guitarist Chico Huff, percussionists Ben Whitman and John Anthony, and keyboardist Michael Aharon, all the past and present members of Solas seem to blend seamlessly into one organic whole—and the whole in this case is certainly greater than the sum of its parts. (*****)

  • Téada -

    Téada: Inne Amarach (Yesterday Tomorrow)
    On Inné Amárach, Téada makes a sonic connection to the old guys, the old tunes and—forgive me, I had hoped never to use this cliché—the old sod. Just about every trad CD goes round and round with reels and jigs, and maybe an air or a song or two. But there is so much more to Irish traditional music, and Téada dips deep into the well. Inné Amárach is like an Irish music primer. (*****)



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