Nowadays, Celtic music tends to take up the largest part of the world music section in stores. There are new recordings available by musicians galore -- not just performers from Ireland, Scotland and far-flung corners like Galicia to Cape Breton Island, but also from Irish centers overseas such as Boston, New York and Philadelphia. In fact, delve deeper and you'll probably find releases from folks you know just down the road. But sometimes, it just might be an idea to look back at where this music has come from.

Thanks to the dedication, perseverance and extensive record collection of Reg Hall, you can easily turn back the years to the 78 rpm era, when Irish music first began to appear on disc; before sophisticated recording techniques were developed, before influences from outside Ireland and outside the tradition began to make their mark.

In these early days, four musicians led the way: Michael Coleman, James Morrison, Paddy Killoran and Hugh Gillespie. The first three of these fiddlers came from and played in the style of Co. Sligo; Gillespie was from Donegal, but his playing was strongly influenced by Coleman. Because of the availability of their music on 78s, Sligo style went on to become to a great degree the norm in Irish music, and accordingly is well represented on Past Masters of Irish Fiddle Music.

All four fiddlers perform a couple of tracks each. There are also examples of the playing of other fiddlers including Frank O'Higgins, Neil O'Boyle, Michael Hanafin and Michael Gorman. Most of the tracks feature accompaniment (usually piano) and sometimes other melody players. For example, Gorman teams up with flutist Mick Flynn, and Morrison performs a tremendous jig set with piper Tom Ennis and John Muller on piano. Each player has his own approach within the style, making their playing individual -- there's no confusing the lilt of Morrison with O'Higgins intricately ornamented approach; compare Gorman's version of "Pigeon on the Gate" with O'Boyle's.

A parallel approach to music is also represented on the album -- that of the ceili band. Hall offers examples of three such ensembles: the Ballinakill Traditional Dance Players, the Aughrim Slopes Ceilidhe Band and the Moate Ceilidhe Band.

Each group is made up of at least a couple of fiddlers, along with a piano accompaniment. The latter two also have accordion and the former a flute. (The Moate Band also has the rarely heard banjo-mandolin, which provides an unusual percussive clipping to complement the flowing fiddles and jagged accordion.) These bands create a moving, full sound without the use of special effects the musicians drive the tunes mainly in unison, in perfect time, still good enough to dance today.

This collection of 25 tracks consists mainly of reels, along with a handful of jigs and hornpipes, as well as an air and a set dance. Naturally, many well-known pieces are included ("Farewell to Erin," "Pigeon on the Gate," "The Sligo Maid" and more) but these are probably the earliest recorded examples of the tunes still in existence. There are also many tunes which have fallen out of favor over the years.

Hall has put together a collection which allows the listener to travel back and hear what was common and the styles in the earlier part of the last century. (The oldest recordings date from 1922 and the newest are from 1951.) The sleeve notes are informative and easy to read -- you'll learn much from them.

Perhaps what is most fascinating about the album is the fact that, even to the modern ear, these performances are spot on -- the playing is excellent, the interpretations exciting, the delivery vibrant; these recordings are highly entertaining and enjoyable. There's a lot to learn from these past masters and Reg Hall's collection is a wonderful way of learning. More than that, it's a great way to spend 77 minutes.

[ by Jamie O'Brien ]
Rambles: 16 June 2002