I have an ongoing discussion with a friend of mine about traditional Irish music, what makes it distinctive and how does it stay alive. On one hand, "tradition" implies the music is being played the way it's always been played, note for note in a particular style. On the other hand, no one writes the tunes down -- as they get passed from musician to musician in a live setting, each tune changes as notes are dropped or added. So if it changes, it's not being played the way it always has been. And yet, if it stays the same, it gets boring. So traditional Irish music has the distinct characteristic of music that's been played forever -- differently.

The traditional Irish music you'll hear on Cœig's Prospect certainly falls under that category. This independent project is the first effort from a remarkable group of musicians from Northern England who have since been signed to Green Linnet. There are only 10 cuts on the recording, but each one is rather lengthy. (None is less than four minutes, most are five or six minutes long.) Featured are Martin Matthews on vocals, cittern, dobro, electric guitar, banjo and mandolin, Paul Ruane on fiddle, Dierdre Ruane on accordion, Norman Holmes on flutes and whistles, and Sean Taylor on fretless bass, percussion and keyboards.

The playing is excellent -- all the band members are very talented musicians, and they play well together as an ensemble. The arrangements are tight, innovative and powerful, taking turns showcasing each of the musicians. "Hall's Ball's," the first cut, is a perfect example of what to expect on the entire CD. Melody and rhythm are not sacred to this group, which in turn keeps the music fresh and exciting. When listening to several of the cuts, the thought that comes to mind is, "how do they do that?" In the first tune of the track "American Spire," Martin plays incredible triplets on the banjo. And Dierdre executes remarkable riffs on the accordion.

Not so traditional is the way many of the songs get treated. "The Peacock" is a combination of tunes that includes "The Peacockski," a tune that has been treated to a 10/8 Balkanisation of a traditional Northumbrian slip jig. Long triplets are capriciously thrown in, there's an African beat in "The Prospect," and there are shades of "Jesus Christ Superstar" in the intro to "The American Stranger." In fact, the songs that Martin wrote ("The New Prospect," "The Remortgage Jig," "Malley's Waltz") sound more "traditional" than some of the traditional pieces.

In some respects, this group follows the current tradition of most Irish bands in that each track is comprised of three or four tunes. One melody instrument plays all or part of the first jig or reel, a different melody instrument plays the next one, and they all finish up at the end. This technique lends itself well to building to a impressive conclusion. Transitions between tunes are well-executed, especially in songs where the beat changes dramatically, as in the final cut on the CD, "Lucy Farr's," a set of four tunes including jigs and slides, and one tune they call a slip-slide.

The liner notes are good -- there's a story with every song, relating either credit to who wrote it, or the person from whom they "purloined" the tune. And it's obvious these folks have the Irish sense of humor (they'd have to, living in England and playing Irish music). For instance, the story behind "The Remortgage Jig" is that it was almost called "The Repossession Jig." The life of a musician is never easy, but it is always full of potential song title material.

[ by Alanna Berger ]
Rambles: 10 August 2002