Brendyn Montgomery with Mike Considine, Mountain Air
(Independent, 2002)
Bohola, Bohola (Shanachie, 2002)
There are a number of reasons why CDs are recorded and released. In the pop market the reasons are obvious -- the quest for global domination and loads of cash. The reasons become more obscure in the lesser markets, particularly so in the field of Irish Traditional Music. The simplest and most altruistic pursuit belongs to the two auld lads from the back of beyond encouraged by the local guitar player to record "something in the kitchen" for no better reason than just doing it. Having long given up any hope of fame and glory, the heyday of the ceilidh band well behind them, they set about to leave a little bit of themselves on terra firma, often with surprising results. I can think of a number of recent releases that fit into this category -- the charm and culture of a nearly lost generation preserved forever on plastic. Another motivation would be at the request of the local cultural lobby who, in recognising a prodigious talent or specifically localised style, would say, "We need to record you for posterity's sake". Yet another would be the weekend session warrior who runs up a quick CD to flog at the gigs during tourist season on the off chance that something in Germany might come about as a result.
Perhaps the most common reason is the musician or collective
who, in expressing clear ideas about the tradition and music in general, genuinely
want an avenue for their ideas and in releasing an album find a voice and
eventually a following. Ultimately, though, it all comes back to commerce.
No matter how you look at it someone, somewhere, is trying to make a few bob
out of it, or at least to break even. From the time when Michael Coleman first
stormed Ireland with fiddle tunes recorded in New York studios the market,
no matter how big or small, has called the shots.
New Zealand has produced very few examples of Irish Traditional Music through the years. Sure, there are the locally known players who play at the ceilidhs and bush dances. There are the long established immigrants who might play quietly on a Sunday afternoon for their grandkids. Given the level of emigration to New Zealand it is a little surprising that the musical culture did not survive. Brendan Power would be the most well known export; a harmonica player of exceptional talent, he took the Irish music world by storm with his New Irish Harmonica release. The latest export is a young man by the name of Brendyn Montgomery, who having released this CD has upped to Ireland to attend the Limerick University Irish Traditional Music course. (Bringing it all back home, if you wish.)
In listening to this work I hear a lot of potential and must
say that I am really looking forward to another effort from Brendyn knowing
that he's going to be spending the next couple of years in the musical eye
of the storm. Overall the album has a "West of Ireland feel", helped
in no small part by the bouzouki of Mike Considine.The influences are apparent
track by track. This CD is more the product of having learned music outside
of a tradition where the only sources are obscure tapes, new CDs and the odd
passing musician than a deliberate attempt to emulate other musicians. No
harm in that. As to be expected there is a healthy mixture of jigs and reels
with a couple of airs and polkas. The selections are all standard session
fare with the exception of two self composed sets and one tune from local
fiddler Jono Lonie. Brendyn plays flute and whistle throughout and Mike backs
him up with bouzouki and bodhran.
While this release doesn't really hold up against the majority of flute and
whistle albums -- the production qualities leave a bit to be desired and some
of the playing is a little naive -- it is certainly a fine first effort. Far
more importantly, though, I think that this album marks a nascent point in
New Zealand's music history in that an album of good traditional music from
a young Kiwi player has finally been realised. Despite the shortcomings there
is a sense of quiet confidence about it that should mark the birth of a new
generation of New Zealand musicians.
Bohola comprises Jimmy Keane on accordion, Sean Cleland on fiddle
and Pat Broaders on strings and vocals.
This band was born out the vibrant but tough Chicago Irish Music scene. In
order to rise above the crowd you have to be very good, and believe me these
lads are. Individually they are amongst the finest exponents of their instruments
in the States, Jimmy Keane particularly is rightly regarded as one of the
great piano box players around. Immediate inspection shows only 10 recorded
selections; a closer glance sees that there are songs worked in with tunes,
which brings the total running time up to the 65 minute mark. That's a lot
of music for your buck these days.
The arrangements are very well worked out, with complex yet
effortless segues between the tunes/songs. In a way it harkens back to another
era of recording when this was common practice. There's nothing surprising
in the content; all pieces are well known chestnuts for the most part. What
sets this apart from the rest of the flock are the arrangements. While harmony
playing and contrapuntal movement might not be to everyone's taste there is
plenty of it here and unashamedly so. Simple melody lines are explored through
several turns stacking up the big change to the next tune. The studio values
are great with a very smooth sound overall and there is a coherence from start
to finish. Very urban and urbane, Bohola sum up the current trends in traditional
music in the States.
