"Live from North Hero" CD

Review from The Bagpipe Society

The Bagpipe Society was formed in the mid-1980's with the object of providing a means of communication between players, makers and researchers, or indeed anyone simply interested in any form of bagpipes.

Whilst the Society is UK based it has many overseas members, particularly in Europe but also in the USA and Australia. The Society publishes a Newsletter, Chanter, four times a year with news on the world of piping; reviews of recordings, concerts and publications; discussions on aspects of piping and pipe music and lists of events involving piping.

We thank Dave Rowlands for the following review in Chanter, the Society's newsletter.

 

This CD is a record of the principal concerts at the Piper's Gathering, an event which has been running at North Hero, Vermont, USA, since 1985. The best performances from 2001, 2002,and 2003 were chosen, and it shows. The introduction on the insert states, "Most people are introduced to bagpipes through the Great Highland Bagpipe of the Scottish Highlands. Many miss the wide array of other bagpipes played throughout the world." This CD goes some way to addressing this lack of knowledge, but it is a shame that the only pipes they choose to enlighten us about are those linked to a traditional British Isles theme. There are Scottish smallpipes, Northumbrian smallpipes, Border pipes, and Uilleann pipes. Visiting their website, www.pipersgathering.org, it is obvious that there have been Spanish, French, Leicestershire, Cornish pipes at North Hero over the years. I would have liked to have heard these represented as well. Maybe next time round!

So on to the recording. There are 19 tracks, totaling just under 70 minutes, from Scottish smallpipes, Northumbrian smallpipes, Border pipes, and Uilleann pipes, some with accompanying musicians that include harp, guitar, fiddle, and cittern. On the SSP's there are performances from Iain Mac Harg, playing smallpipes in A, and two from Iain MacInnes, broadcaster of BBC Scotland's "Pipeline" programme, playing in D, and I find it difficult to single out one track as outshining the others. On the NSP front there are pieces from Dick Hensold playing in D and Ian Lawther, in F, but the outstanding performance is Andy May's "Holey Ha'penny." Chris Ormston, writing in "The Clough Family of Newsham," says that the staccato approach to playing "is one of rippling, flowing cascades," and quotes one of the Cloughs as saying about this tune "man, you can roll the notes off just like shelling peas." Listening to this, you know what they both mean. Border piping was once nearly lost to us. Luckily, it is now firmly restored, and the three performers on this recording show three of the distinct directions that it is taking. Fin Moore plays a powerful set, which sounds to my ears, very Scottish, though whether that is the choice of tunes, or gracing style, I'm not sure. Moebius play two pieces, characteristic of Jon Swayne's early composition style, and it is nice to hear different versions to the ones found on their CD. Jon and co seem, however, to have lost their usual measured composure, and, maybe influenced by the high octane Celtic playing present, have speeded up significantly. I¹m not sure this works for me, but it is different.

Lastly, Matt Seattle plays "Lindisfarne." Now I will admit that I thought, "Not that tune again, there must be another one he can play." But this is Matt at his most lyrical and is by far the best recording of this tune I have heard. I can do no better than quote Jim McGillivray, Highland pipe luminary, tutor, composer and winner of most, if not all, open GHB piping competitions, who says of this recording: "of course, Matt is not a Highland piper and he has been working hard on his Border piping for some years now. His gracing in this set is really quite spellbinding, totally un-Highland, almost like a voice."

Uilleann piping is represented by a whole host of players Benedict Koehler, Brian McNamara, Patrick Hutchinson, as well as Kevin Rowsome, whose free flowing playing and use of the regulator shows what the connection of five generations of playing Uilleann pipes can do for a man. The uilleann piper who makes this CD for me though is Deborah Quigley. Born in County Down, she emigrated to Canada as a teenager and studied Uilleann pipes under Chris Langan. Her playing is rock solid, and feels as if it is being played for step dancing; measured and allowing each gracing to speak for itself, not struggle to be heard in the rush. It is a real delight to hear playing like this.

The notes that accompany the CD give the usual information about tune, source, player, and accompanist etc. as well as details of the makers for each set of pipes played. This means that those thinking of investing in another set of pipes can make a comparison of different makers quite easily with this recording.

On the whole, this is a very entertaining disc, and one that I have enjoyed reviewing very much. The differing styles giving a balanced view of the state of piping for the represented pipes very well. I am looking forward to the next one, which will hopefully feature more types of bagpipe.

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