Marie & Martin Reilly, Marie &
Martin Reilly (BoxFiddle, 2002)
Though only in their twenties, fiddler Marie Reilly and her
younger brother, accordionist Martin Reilly, have been highly regarded players
in New York City's Irish session scene for quite some time. Both have also
recorded and toured with a number of different acts, including several incarnations
of Riverdance. In addition, Marie has been part of Cherish the Ladies
for several years now, and Martin just recently broke the gender barrier for
the musicians in that band when he joined as well. This past year, the two
siblings recorded their first album as a duo. Self-titled, self-produced,
and issued on Marie and Martin's own label, this collection of thirteen instrumental
tunes has a warm, homemade feel to it -- which, for Irish traditional music,
is a very good thing, especially when the quality of the playing is as high
as it is here.
Stylistically, most of Marie & Martin Reilly is straightforward,
traditional Irish session music; namely, there are plenty of jigs and reels
of varying tempo and intensity. However, Marie and Martin throw in some variety,
including a 4/4 "sand jig" called "Kitty O'Neil's Champion Jig", a spicy old-time
American tune called "Dry and Dusty", a slow air of an old Welsh song called
"Calon Lan," and the barn dances "Mick Carr's Barndances / Sean Hayes'." While
most of the tunes are traditional, Marie and Martin do add their own composition,
the jig "Nora's Kitchen" named in honor of their mother, to the second set of
tunes.
Marie and Martin are joined on this album by a number of family members and
friends. Martin Sr. plays some tin whistle. Sister Brenda also plays whistle
as well as percussion, in the form of step dances on the opening track, consisting
of the reels "The Hamill" and "Karen Tweed's." Joanie Madden from Cherish
the Ladies adds some flute on the rapid, yet restrained reels "Sean
Parnell's / Donegal Reel / Billy's." Besides playing banjo on the jigs "Old
as the Hills / Sean Ryan's / Scartaglen Jig" and the barn dance set, Mick Moloney
provides a very detailed, and very flattering, bio of Marie and Martin in the
liner notes. Rhythm was provided alternately by bozouki ace Zan McLeod, current
Solas guitarist Dónal Clancy, and noted local Irish session guitarists
Eamon O'Leary and James Riley. Riley's guitar playing, heavily influenced by
former Solas guitarist John Doyle,
is particularly effective on the energetic set "Declan Rourke's Reels." By incorporating
percussionist Steve Halloway on a number of the sets, Marie and Martin show
a willingness to stretch the boundaries of the tradition in those instances
where they feel it adds something to the tunes.
Despite the number of guests, the album clearly revolves around
the stellar playing of Marie and Martin. On the set "Maureen
O'Loughlin's/The Opera Reel/Miss McDonald," Marie plays a series of
reels of different styles and speeds, all with the same remarkable
clarity and sweetness. Martin gets to show off his considerable
chops on the rollicking set of reels "John Brennan's / P.J. King's."
Throughout the album, Marie and Martin demonstrate a firm grasp of
the breadth of Irish traditional music, allong with a willingness to
take some chances, and have fun with it as well. The tunes are all
tastefully arranged, and flawlessly performed by the guests as well
as the featured attractions. Fans of the instrumental Irish
traditional music will enjoy this album considerably.
[Scott
Gianelli]
