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From Hidden Ground to Common Ground: More shared notes from Martin Hayes

New music from Martin Hayes is always worth the wait. He is primarily a live performer but his recordings are unique, accomplished, and accessible. Peggy’s Dream is a graceful and adventurous album, building afresh on his other ensembles: The Gloaming, The Blue Room Quartet, Brooklyn Rider, and his long, profound partnership with the late Dennis Cahill. The album is dedicated to and inspired by Cahill and Hayes’ mother, Peggy.

Hayes brings a high degree of artistic, intellectual, and cultural credibility to Irish music, universally defined. He takes traditional music to the most prestigious arenas where it meets many other music genres as an equal and a willing partner. He has expanded and enriched Ireland’s cultural capital as a musician himself and as a facilitator of imaginative combinations. His partners on this new album are luminaries in their own right, selected for their musicianship and mutuality.

Cellist Kate Ellis is a prolific performer and musical leader. She is the artistic director of Ireland’s leading contemporary music group, Crash Ensemble. Her folk and traditional interests are well established, having played and recorded with Iarla Ó Lionáird, Gavin Friday, and Karan Casey. Guitarist Kyle Sanna has worked with Seamus Egan and Dana Lyn. Cormac McCarthy is a pianist, composer, arranger, and conductor from Cork. He is primarily a jazz and contemporary music artist with an album/band called Cottage Evolution. Brian Donnellan is the most mainstream traditional member of the group playing bouzouki, concertina and harmonium. Like Hayes, he is from an East Clare family and is a member of the legendary Tulla Céilí Band.

I have long thought that there is a case for the cello in the Irish tradition. The seminal Hidden Ground recording in 1980 from Paddy Glackin and the late Jolyon Jackson was a major influence on my thinking in this respect. I described it previously as the most artful deconstruction of Irish traditional music up to that point. Jackson played cello and a multitude of other instruments on the album, and his playing was also featured on The Chieftains Boil the Breakfast Early the previous year. More recently, Iarla Ó Lionáird’s thrilling and brilliant 2011 album, Foxlight, had two cello players, a viola, and Caoimhín Ó Raghallaigh! It sets a new bar for the integration of cello into traditional arrangements. It could well be an inspiration for Peggy’s Dream and this grouping. The hidden ground is now part of the commons.

The cello brings other dimensions and flow to the slower, more contemplative tunes. The Boyne Water opens with a jaunty melody from the fiddle and piano, then darkens with the cello’s arrival and a set of low, deep chords on the piano. Cá Bhfuil An Solas is a Peadar Ó Riada composition first recorded on the Triúr Arís (Three Again) album. The piano lays down a lively backing. Garrett Barry’s Jig has a moody, dissonant start with somber cello and harmonium throughout. It’s a mesmerizing piece with a perfect tonal balance of low and high. The Glen of Aherlow was written by Tipperary fiddler the late Seán Ryan, a prolific composer. Here it gets the “high lonesome” treatment from Hayes with a tight bit of ensemble playing, Sanna channeling Dennis Cahill on guitar. The piano and cello colorations are delightful. Aisling Gheal is a “goltrai” (an old Irish term for a lament) classic where the fiddle gets pride of place with empathetic piano.

The title track, Peggy’s Dream, was sourced by Steve Cooney from the Goodman Collection, like the Fainne Geal An Lae track on Foxlight. Plucked strings (is it piano or cello?) give a percussive base to the tune that is picked up by the concertina and fiddle. Like a few other tracks, this has a gentle, fade-out ending, perhaps dictated by the limitations of making a record. Live performances of these tunes may be very different.

The more up-tempo tracks contain the bones of Hayes’ trademark long sets. Toss The Feathers/The Magerabaun Reel opens with fiddle and guitar before McCarthy embarks on a jazzy piano section with shades of The Gloaming and Thomas Bartlett. Hayes soars to a big flourishing finish spurred on by the company. Johnny Cope, an old hornpipe I first heard on a Planxty album, is paired with the vivacious Hughie Travers’ Reel. The Longford Tinker has the rhythm of a joyful train journey. 

Hayes worked with McCarthy and Donnellan on a gorgeous EP recording, Live at the NCH 2020. Like any creative person, Hayes does not like to repeat himself. Even with tunes he’s played hundreds of times, he is always looking for another angle, a deeper emotional realm to explore. In his musical memoir, Shared Notes, Hayes describes it like this:

I must go to the space that I want others to enter, go as deep as possible and trust that the invitation is powerful enough for others to come along.

Some of Hayes’ favorite melodies get beautifully reconsidered on this album: Lucy Farr’s Barndance and, one of my all-time favorites, The Wind Swept Hill of Tulla.

Hayes is a vivid expression of the history of Irish music, a procession of musicians, composers, and listeners that stretches back many hundreds of years. His playing was so rooted in the best of the past that, in his early years, older musicians called him a ghost. Martin Hayes’ ensembles seem to be almost covenants. They are a set of intentional relationships intended to advance the tradition and enhance the Irish musical legacy. The Common Ground Ensemble enriches the musical identity of high-level players like Ellis, Sanna, McCarthy, and Donnellan. This is a beautiful recording brimming with inventiveness, intelligence, and integrity.

Sources, Resources, and links to the artists:

The next opportunity to see Hayes perform with some of his many musical partners will be August 23-27, 2023, at the West Cork Music venue in Bantry.

https://www.westcorkmusic.ie/masters-of-tradition/

The Ensemble has a tour of Ireland and England in the works for later this year. Some details here:

The Common Ground Ensemble in full flow playing at the New York Irish Arts Center in 2022. Recording by Bruce Egar.

For some details on the many musical activities of Kate Ellis start here:

https://www.crashensemble.com/

Explore the music of Cormac McCarthy and Cottage Evolution here:

https://www.cormacmccarthymusic.com/

Kyle Sanna and Dana Lyn have a series of albums that showcase their environmental activism:

https://danalynkylesanna.bandcamp.com/album/the-coral-suite-ep

The little gem of an album with Hayes, Donnellan and McCarthy is available here:

https://martinhayesfiddle.bandcamp.com/album/live-at-the-nch-2020

And, finally, the complete seminal Hidden Ground album from Paddy Glackin and Jolyon Jackson can be heard here:

The Team’s the Thing: Reflections on the 2022 World Cup

Morocco player Sofiane Boufal dancing with his mother

Watching the games of the 2023 World Cup in Qatar was, in equal measure, uncomfortable and compelling. How do we assess the moral balance sheet of this tournament? Is the notion of morality even applicable with FIFA? Can moments of footballing loveliness ever be considered more valuable than the lives lost, the obscene spending on transitory stadiums, and the astounding, continuing carbon footprint? But the football and Messi were exciting, often beautiful and highly competitive. It was a humbling experience for some of the big football nations: take your pick from Germany, Holland, Spain, Belgium, Brazil, Portugal or England.

Morocco were the feel-good story of the tournament and the images of Moroccan players dancing with their mothers are unforgettable. But there were many admirable teams who played their hearts out. Neutral fans like myself found it hard to pick a side in the third-place game where Croatia’s compact, creative midfield finally ended Morocco’s dream. Then, there was the speedy, purposeful football from Japan; the valiant South Koreans, and the rugged play of Australia and Switzerland.

Messi showed up with his magic feet and a renewed commitment to winning. I have written about him glowingly before and his influence on the time-space continuum. And more critically, the team around him were deeply invested in giving him a fitting farewell to his international career. Argentina’s victory was like the second coming of Diego Maradona who brought the Cup home in 1986. Messi is a more complete player but less charismatic person than Maradona, as my former East Bay United teammate and Argentinian, Andy Connell notes.

Maybe lifting the World Cup will correct that charisma deficit. Messi has always been easy to admire and love, unlike Ronaldo, who is an equally graceful player, but rarely gracious. Teammates seldom wax eloquent about Ronaldo but nobody has a bad word to say about Messi. Ronaldo’s egotism often got the better of him in team dynamics. He seemed to spend more time sulking on the sideline than playing in this competition, an inelegant finale to his international career.

It was not a happy tournament for those who fixate on star individual players like Neymar, De Bruyne, Van Dijk, or Lewandowski. None were able to bring their team beyond the quarter-finals. The two best individuals, Mbappe and Messi, were integrated into solid teams and showed their class in the exhilarating finish to the Final with the two best goals of the tournament. And then, there were other stars in waiting who stepped out of the shadows here: Brighton man Mac Allister for Argentina, Chelsea player Ziyech for Morocco and Gvardiol for Croatia. 

Argentina had hundreds of “brujas” casting spells to protect Lionel Messi and the team. England, on the other hand, were undone by a kind of karmic deficit (Brexit?) against France. Olivier Giroud, who is so familiar to English Premier players, slipped between Stones and Maguire to head home the decisive goal and then, almost unbelievably, Harry Kane misses the second penalty kick. It was disappointing for Gareth Southgate who has shown leadership qualities that are sadly lacking elsewhere in the English political sphere. And ironic because the quality of football in the Premier League (itself an anti-Brexit project before that nightmare was foisted on English people in 2016) is a big reason for the renewed credibility of the English team.

During the competition, I watched the Netflix series, FIFA Uncovered. It made for sobering viewing exposing the full stories behind the disgraceful shenanigans that brought the World Cup to Russia and Qatar and cast some shade on the decision to award a World Cup to South Africa. The revelations about behind-the-scenes bribery, corruption and sports-washing that went into the decisions to hold the World Cup in two totally unsuited locations were distressing and depressing.

Of course, there is a long history of politically ambitious, power-hungry administrators with a purely transactional attitude to football. In Ireland, we had John Delaney running the Football Association of Ireland as his personal fiefdom for years and the 2002 debacle of Roy Keane’s abrupt departure from the Irish squad’s preparations in Saipan.

Sepp Blatter, who is banned from participating in the game until 2024, had no regrets and claimed he was not responsible for the actions of representatives from other countries or cultures. The U.S. representative on the North American federation (CONCACAF), the late Chuck Blazer, was finally forced by the FBI investigators to spill the beans on all the illegal wheeling and dealing. Two notable and timely tidbits about him from the documentary: he lived in Trump Tower and had not paid any taxes for 15 years -is it something in the water there?

I have written about the FIFA scandals previously in 2015, when the s-word hit the fan, a piece called Bye, Bye Blatter.  

“There has always been a certain type of narcissistic, immature -invariably male- character attracted to administrative roles in soccer. In my experience, it can happen even in youth leagues. The opportunity to exercise power and authority is irresistible for some who are patently ill-suited to the responsibility. They are generally disinterested in the more beautiful elements of the game which don’t readily translate into bottom-line or status considerations. FIFA is a graphic, global example of this phenomenon and maybe the worst offenders will finally be held accountable.”

But don’t take my word for it. The late Eduardo Galeano, in his extended love poem to the game, Soccer in Sun and Shadow, has plenty to say about administrative ineptitude and the stench of corruption which has hung over FIFA for years. His pithy indictment of FIFA: “Like everything else, professional soccer seems to be run by the almighty, even if non-existent, UEB (Union of the Enemies of Beauty).

Or Phillip Lahm, the German international and Bayern star, who Pep Guardiola called “the most intelligent footballer I have ever coached.”

“There is nothing wrong with football itself. But the people who govern, manage and market it are squandering the unrestricted joy of it. They forget that they are merely service providers for a common good.”

It is time for FIFA to start making reparations for past and current sins. The decision for where the 2030 World Cup will be played has not been made. Let’s cut through the crap and award it to Morocco, who has tried five times unsuccessfully to host the Cup. Saudi Arabia is said to be interested, but please?

One other annoyance in the World Cup coverage in the United States is the unevenness of Fox Sports coverage. It leans towards jingoistic, lowest common denominator commentary and analysis. Yes, I am talking mainly about Alexie Lalas who dug a fine hole for himself by admitting early on, that he had never warmed to Messi.  Fox Sports is stuck in a kind of early 90s time-warp where U.S. audiences needed spoon-feeding about tactical approaches, styles of play, and the rules of the game. They don’t seem to realize that almost ten years of continuing soccer education from NBC Sports sophisticated coverage of the Premier League has greatly expanded knowledge and appreciation for the game. The coverage on the Spanish channel Telemundo was often more enjoyable to watch.

****

Commonwealth Closing

A sad note for East Bay soccer fans was the closing of Commonwealth Pub in Oakland at the end of the World Cup. It was a fine, friendly location with good food and drink that drew a diverse crowd. I went to the US-Iran final group game. The place was packed. Brian Watt from KQED radio was working the room, interviewing fans. I have always enjoyed his work, so it was a fun sidebar seeing him in action.

*****

Women’s World Cup 2023

I plan to write more about football in a sub-section of the blog titled Foot Notes. I will be in New Zealand next summer for the Women’s World Cup and I plan to offer a series of pieces about the teams and the players before and during the competition. I have tickets for six games, four in Auckland and two in Wellington. The competition opens in Auckland with New Zealand against Norway followed by the United States versus Vietnam, a meeting with a big historical shadow. Can the women’s game transcend the misogynistic FIFA culture? We shall see. If you come for the football, please stay for the music.

Dublin Can Be Heaven, songs of longing and love from Eamonn Flynn

Anywhere But Home sits atop my collection of albums with Dublin singers and songs

Anywhere But Home is a grooving, moving, tuneful tribute to Dublin by Eamonn Flynn, a proud Northsider, who swapped the docks for the Dock of the Bay some years ago. He plays piano and sings in various genres and with a wide range of musical combinations. He is currently heading out for a West Coast tour with Maria Muldaur and her Bluesiana band. Flynn first came to my attention some years ago when he joined the Black Brothers band bringing new dimensions to their shows. He was a key contributor to their brilliant 2020 album Glackanacker.

Like many people, Flynn was “working from home” these past two years. His usual offices in clubs, pubs and halls were closed and he had to get by on his Spotify earnings! However, he was very productive with regular online performances and two “studio” albums, this one and an excellent instrumental album The King of the Cats. While the album’s tone is nostalgic it surges musically past any cheap sentimentality. Flynn’s experience shows in the way he blends the building blocks of notes and lyrics into a set of songs that will quickly take up residence in your head. 

Flynn builds on a long tradition of catchy songs inspired by Dublin: Molly Malone, Dublin Saunter, The Foggy Dew, The Rare Old Times, and Remember that Summer in Dublin, just to mention a few. Non-Dubliners may be unaware of the (mostly) friendly cross-river rivalries that animate Dublin’s culture. The Southside, for example, gets a lot of airtime in the songs: Grafton Street, St Stephen’s Green, the Coombe, Raglan Road and the Grand Canal. Flynn’s album brings some limelight to the neglected Northside with songs about the Bull Wall, the Docks and St Anne’s Park. He follows the tracks laid down by the late singer-songwriter Mick Fitzgerald, a Cabra man, who also showcased the Northside in his songs.

St Anne’s recalls the childhood joys of playing in a large park in Raheny, a Guinness family property with follies and sculptures that became a public park in the 1930s. The park is home to a modern sculpture carved into an old tree by Tommy Craggs which is featured in a short film Building the Ark by Pat Boran, himself a Northside resident. Boran has created a whole new accessible genre of short poetry films mostly shot on the Northside.

Ringsend Balcony Bingo is a crafty, clever tribute to one of Dublin’s most creative pandemic lockdown responses. In Italy they sang opera from their apartment balconies but in working class Ringsend, community bingo was the favored activity. In other parts of Dublin, local musicians gave impromptu concerts in front of their house while the neighbors came out to watch and listen.

Sack ‘Em Ups is rhythmic opener on the spooky subject of grave-robbers in the 19th Century Dublin.  Bull Wall is an R&B tribute to a Dublin Bay landmark sung with bluesy style. Baile Atha Cliath is a dynamic song with a samba beat and classic potential. The indelible “Strolling” chorus dissolves into a crescendo of pipes and whistles.

Penalty Shootout in the Dockers echoes Christy Moore’s Joxer Goes to Stuttgart in reminiscing about the days when Ireland had international soccer success thanks to Jack Charlton’s management. Flynn wrote this song after Charlton’s death in 2019. It hits all the right notes: Put ‘Em Under Pressure and Oh, Ah, Paul McGrath. He has a funny line, “When Republic had four syllables,” as he squeezes an extra syllable into “television.”

He makes only two trips out of Dublin. An tOilean Tiar honors the people and culture of the Great Blasket Island off the Kerry coast. The now deserted island is “moving through the mist like a dream,” where “We’d a name for everything that we had.” The Meeting of the Waters is from Thomas Moore, a Dubliner, who, as Flynn notes, was a bit of a rock star in his day (1779-1852) and wrote many classic songs. This is Flynn solo giving this old standard a fresh sonic coat. The song is dedicated to his mother who was a Wicklow woman.

Every good album has a song that works in mysterious ways. Sorry for your Trouble is that song, for me. Flynn, solo again, weaves a lovely litany from the phrases and clichés employed to comfort others after a death. It’s a ritual where, as Flynn says, “We all improvise from a well-rehearsed script.” It’s one of the songs that is smoothly bi-lingual with lines in Irish.

I doubt that Flynn was ever in the same room as his Who’s Who of musical collaborators but you would never know it from the seamless, rounded sound with stand-out contributions from Mike McGoldrick and Todd Denman on pipes and whistles; Athena Tergis on violins; James Blennerhasset on bass; Mick McAuley on accordion; Brian Collier and James Macintosh on percussion; and, permeating the entire musical enterprise, John Doyle (another Northsider) on guitar, vocals and mixing. 

I’ve had my own Dublin memories activated by the centenary events marking the first public housing development in the Free State in the Tenters on the edge of the Liberties where I grew up. And this bright and beautiful album is good company for reminiscing. It is a fine addition to his excellent collection of recent albums: The Irish Channel (2017) and Black Coddle (2019.) Seek them out and buy them from Flynn, an independent artist who, like many others, could use the support. All are available on Bandcamp in various formats, https://eamonnflynn.bandcamp.com/album/anywhere-but-home

I suggest that you listen to it in the order laid down. Don’t second-guess the creative choices by hitting that shuffle button. And listen a few times before settling on favorites or playing just one song repeatedly. So, there you have it. Flynn takes us down the less rocky road to Dublin’s fair city where you can still have a rare old time on a sunny summer morning as long as you’re alive, alive-o.

Northern Protestants: On Shifting Ground, a book of revelations

In Nostalgia for the Light, the powerful meditation on memory and trauma by Chilean film maker, Patricio Guzman, an astronomer states that the present is, at best, a fleeting entity. Everything comes with a delay, however minute. We are always dealing with the past and in some places, like Chile and Northern Ireland, this struggle is very visible and often confounding. One book that has clarified some questions for me is Northern Protestants On Shifting Ground by Susan McKay. I have not read a more eye-opening and heart-wrenching book in a long time.

This book is required reading for all, at home or abroad, who espouse romantic wishes for Irish unity. I count myself among them. And while distance makes the heart grow fonder, it can and should, also bring a more critical and comparative perspective. (Every Irish immigrant has been asked more than once to explain the “Troubles” in Northern Ireland: it is usually an unsatisfactory experience all round.)

McKay cuts right through the rigid politics and blustering binaries that often infest policy discussions about Northern Ireland. The major myth the book explores is that there are two monolithic, irreconcilable sides in the Northern Irish story, one Protestant, loyalist and unionist and the other Catholic, republican and nationalist. A careful look at the history of the Northern statelet would indicate that it was never so but the ruling Protestant majority nurtured that supremacist illusion for almost 50 years in Northern Ireland.

The revelations come thick and fast. Prepare to be schooled on the wide range of perspectives, values and opinions held by people who embrace the term unionist, often without the big U. McKay seeks out people from Protestant backgrounds, like herself. We hear from many women, feminists and otherwise. From a range of LGBTQ Protestants. From Unionists who fear any form of United Ireland and unionists who, surprisingly, would accept that outcome if that was how a referendum played out.

There are socialists, activists, community organizers, and local elected representatives. A revealing number of her interviewees come from mixed backgrounds, are married to Catholics, or have Catholics in their extended families. Kenneth Branagh’s heartfelt film, Belfast, is set in a mixed residential neighborhood before the violence drove everyone back into sectarian enclaves.

McKay speaks with a number of artists who offer wide-ranging, open-minded and hopeful perspectives on the way forward. Colin Davidson is a painter who created an exhibit called Silent Testimony that was widely seen in the North. He speaks about people’s reaction to his paintings of survivors of the violence: 

People went in and were struck by the fact they weren’t told who the Protestants and Catholics were, and some of them said to me they were ashamed at themselves for even thinking they needed to know. That actually goes to the very heart of what the enduring problem in this place is. We still haven’t got over the “them and us.” In fact, I wonder if we’ve even scratched the surface.

Stacy Gregg is a playwright and filmmaker who says, “a lot of my identity has straddled binaries: gender, nationality, class.” She attended Cambridge where she became painfully aware of her working class status.

You can’t grow up here and not be political. I’m very aware that Protestants don’t get a good rap. I feel uneasy when people mock working-class Protestants -it shows a poverty of empathy.

But she also comments on the waning of Protestant privilege:

I think most of that protestant privilege is essentially gone or going, but the residual entitlement remains, and can become brittle or defensive. So this bizarre Protestant entitlement helps me understand why some behave as they do.

An Irish language revival has been underway in the North for some years primarily in nationalist areas. The official use of the Irish language has been championed by Sinn Fein and is bitterly opposed by many Unionists. The real story is more nuanced. The fastest-growing group of Irish language learners in the North are Protestants. Linda Ervine runs an Irish language school, Turas (Journey), in East Belfast and speaks about the long history of Irish-speaking Protestants, something which I was sadly ignorant about:

We are steeped in this language. Protestants who reject it don’t know their history. Catholics who claim it as their own don’t know it either. Language doesn’t vote, doesn’t sectarianise, doesn’t fly a flag.

And, with a nod to the book’s cover image of the effigy of “Traitor” Robert Lundy that is burned annually in Derry, scholar Sophie Long says she accomplished a Full Lundy by learning Irish in England.

Jan Carson, author of the acclaimed novel The Fire Starters, is grateful for her upbringing enriched with biblical language and stories. But she is critical of how reductionist the church teachings have become.

I’m interested in an inscrutable God. That’s how the church has failed artists over and over again, because it’s not about the unknown and it should be. Instead the model of the church is corporate worship, for we all sing the same thing at the same time. Artists want to play and think and work outside the box.

And Pamela Denison, a Protestant businesswoman from Antrim, believes the churches were to blame for their decline.

I think religion can be dangerous, very dangerous. I’m not anti-Protestant. I’m just anti-religion.That is how they were reared, a lot of people can’t see past the end of their own lanes. They haven’t opened their minds to other cultures and ideas.

The paucity of politics among loyalists is highlighted. One interviewee calls it geriatric politics, with its singular focus on slogans like No Surrender and What We Have We Hold. Dawn Purvis, from the progressive Unionist party, pinpoints the barrenness:

Northern Ireland for the British. What does it mean? What does it mean when that happens for people who hold onto this notion of identity that they can’t explain, but it is something that they hold onto, like somebody’s trying to steal it from them.

The book also explores the differences between Protestants and Catholics in higher education and career pursuits. Queens University in Belfast is described as a “cold house for Unionists” since Catholic students are the majority and exhibit a stronger drive for educational advancement. Younger Protestants often leave to study in British universities and don’t return. This is considered a grievous generational loss.

History gets a nationalistic spin in most countries. I was taught Irish history by a rabidly republican Kerryman: Britain never did anything right in 700 years of occupying Ireland and propped up the sectarian statelet in the North. The Irish, heroically, never did any wrong. It’s an old story. Even Theobald Wolfe Tone, a hero and martyr of the 1798 rebellion, admitted that hatred of England was always “an instinct rather than a principle.” It’s still being taught with a slant. My 10-year old granddaughter completed a class assignment on The Troubles at her parochial school in South Dublin last year. She came home with this revelation: Protestants were the bad guys here.

The book is a set of interviews with a wide range of Northern Irish unionists and Protestants conducted between 2019 and 2021 and a sequel to her earlier book, Northern Protestants: An Unsettled People. It’s an ethnographic tour-de-force with journalistic flourishes. Many of the segments, pithily headlined, open with the words of the interviewee, some are almost entirely quotes from the person’s testimony. McKay only intervenes to contextualize key events or provide some history for violence or atrocities from the “Troubles” for general readers.

The place of Unionists in some form of a United Ireland (United Island? New Ireland?) has been front and center in the public conversation especially since the passage of Brexit. Andrew Trimble, a retired Irish rugby star, offered his argument in a recent interview in the Irish Times. Rugby people should be heard since it is the one major sports that resisted division after partition and always fielded an All-Ireland team.

Any talk of uniting Ireland must explore this set of fundamental questions. How are the Unionist Protestants accommodated? How do you learn to accept a somewhat unlovable crowd, people who are not just British or Irish but their own awkward selves as Michael Longley put it? What kind of neighbors would they be? How do you avoid creating a “cold house” for them in the new arrangement? And, for some Sinn Fein supporters, how do you resist the temptation to include payback for years of running a vicious, sectarian statelet?

The book offers satisfying answers to those questions. Many of the interviewees come across as sound, thoughtful, and reliable persons. They would be good neighbors, resourceful in an emergency, and respecters of boundaries. The politics and religious attitudes of some would be hard to live with but the present-day Republic is a more diverse, multicultural and tolerant community. The Reverend Ian Paisley’s old jibe about the South being ruled by Rome seems utterly outdated now. One interviewee notes that a unified Ireland would work out all right in the end but the 10-20 years it took to get there could be hellish.

One way or another, Catholics, Protestants and Dissenters (largely from the Presbyterian tradition) have been interacting and cohabiting in those six counties for hundreds of years. Now a critical point has been reached where the dissenters of various persuasions are edging out the unionist and republican extremes, as Emma de Souza argues recently in the Irish Times. Young people have moved away from traditional religious affiliations making the Catholic-Protestant binary more irrelevant than ever.  The elections coming up in May will reveal the strength of the center and how likely it is to hold.

It’s time to stop the “Othering” of groups of people that has plagued Northern Ireland and many places in the world. The present is fleeting but also immensely fragile. Politics everywhere cannot be simply local when the effects of climate change are omnipresent and poised over our future like a tsunami. Fighting over power and control in a small corner of the world is futile, foolish, feeble and wasteful.

Martin Hayes, the good ancestor.

A review of Shared Notes: A musical journey by Martin Hayes

Martin Hayes has written a memoir that’s every bit as brilliant, engaging and moving as one of his famous extended performance sets. The Irish fiddle player was forced onto the sidelines by the Covid epidemic in 2020 but that gave him the time and space to complete the book. In his music, he’s a master of time and space and those skills transfer to the flow, structure, and measured pace of the narrative. It’s a substantial and welcome addition to the meager store of good books on Irish music. The photograph shows a selection from my own modest collection with Hayes’ book in pride of place.

His story starts in the heart of a hotbed of traditional music in East Clare. He grew up immersed in that culture working on the family farm, walking to and from school, and absorbing the music organically along with its “doctrine of soulfulness.” Hayes opens with a lovely portrait of his mother who was “an independent-minded, free-thinking spirit.” She had worked as a nurse in the psychiatric hospital in Ennis and as a waitress in an upscale restaurant in London. She had also spent a year training to become a nun, something Hayes did not learn about until his father’s death in 2001. Irish mothers can diligently secure their secrets. She only lasted a year in the convent, emerging with a lifelong suspicion of authority and a watchful eye for hypocrisy.

Like mothers in many traditional cultures, she gave up her ambitions and dreams to nurture and tend to her husband and family. Not to mention feeding the steady stream of musical visitors who came to commune with Martin’s father, PJ Hayes, leader of the famed Tulla Céilí Band. His father was a huge influence on him but he had other sound ancestors like his uncle, Paddy Canny and local fiddler and piper Martin Rochford. Other early musical influences included Tommy Potts, Joe Cooley, Tommy Peoples, Peadar O’Loughlin, Junior Crehan and Tony Mac Mahon.

Hayes has a number of aphorisms that he regularly delivers with style and precision. One of them is, “… the 1970s were the 60s in Ireland.” More sociologically sound than it seems on the surface, Hayes was a teenager in the late 70s so he knows whereof he speaks. Early on, he was a conforming non-conformist, a position that many young Irish people began to adopt in that era. He worried that he was, “… a socially compliant cultural manikin at the cost of a normal teenage life.”

But, wanted or not, social change was coming to rural Ireland in the 1970-80s and Hayes, like many others, took off for elsewhere. He is unsparing in describing the ups and downs of his life journey. He was enamored of the drink for a few years but giving it up brought more clarity and focus to his search for meaning. He ended up for a time living illegally under the radar in Chicago on an expired tourist visa, suffering the embarrassment of being ripped off by a shyster immigration attorney when he tried to become a legal resident. He had his fallings-out with fellow musicians and once smashed his fiddle on the head of band member.

His detailed and loving memories of childhood and adolescence are extraordinary. The book covers the paths not taken. At various points Hayes could have been lost to music by becoming a Fianna Fail political figure or a frozen food salesman or, briefly, a stock market trader in Chicago, or even a college graduate with a business degree (he dropped out after a year.) And his musical journey had some unproductive byways. Like playing banjo for a time in the Tulla Céilí Band, or playing an electric fiddle in a Chicago folk-rock band, Midnight Court, or accompanying ballad singers in a bar band.

At one concert, Hayes has had enough of the audience members who talk and drink noisily during the show. He asks them to leave, offers a refund, and they reluctantly depart. It’s an empowering moment when he exercises his right, with righteous anger, as a performer to play in conditions that suit his musical goals and ambitions.

Hayes has done the work to arrive at an authentic self and a workable philosophy of life. He came through a tough period when he felt he was losing his past, was disengaged from the present, and not creating a future. His personal spiritual search brought him back to the music. Integrity for any musician or artist is complicated, Hayes says, and “Sometimes, we’re just not ready to handle our own gifts.” He writes eloquently about his experiences teaching music where he revels in the mutual learning possibilities in that creative exchange.

He is deeply committed to making his music “invitational,” drawing the audience into emotional participation, a reciprocity that can be transcendent. Many older musicians frowned upon stage craft but Hayes found that he had to grapple with the dynamics of performance to bring his playing up to the highest possible levels.

Hayes is the preeminent exponent of Irish traditional music in the world. He has transcended his status as an Irish fiddler to achieve parity with other artists, classical and otherwise, in concert halls far beyond Ireland’s borders. He plays, “Music in the universal sense first, and Irish music second.” And performing in more formal settings brings its share of stress. Since traditional musicians don’t usually read music, playing extended pieces with an orchestra can produce a unique kind of terror and sense of inadequacy. Hayes describes this clearly in the book and it matches the experience that Tony Mac Mahon endured in his first performance with the Kronos Quartet.

He brings a high degree of artistic, intellectual and cultural credibility to Irish music, universally defined. Hayes was fortunate to have a long line of ancestors, many with musical abilities. In turn, he has become a good ancestor, taking the long view back and into the future. He is a master practitioner with the right blend of character, charisma and modesty for younger players to emulate. He has done a great deal to expand and enrich Ireland’s cultural capital as a musician himself and as a facilitator of combinations that have led Irish music into new pastures.

In the first post on this blog in 2008, Hayes and Cahill: Recalibrating the tradition, I concluded: “This is quantum music played with a bonsai sensibility, centrifugal explorations of notes and the spaces in between, pulsing with possibility.” Hayes observes that particular notes in tunes carry more weight than others. In Shared Notes, he weighs his words and deploys them as artfully as he draws out the ancient melodies.

Martin Hayes annotated Blogiography

I was fortunate to hear and see and, in time, talk with Hayes as his playing career ascended the heights. Here’s a collection of blog posts on Martin Hayes. He has been a source of great inspiration for my writing over the years. My first piece on Hayes in the San Francisco Irish Herald in September, 2000, was titled Zen and the Art of Fiddle Playing. I first heard him at the San Francisco Celtic Music Festival held each spring for ten years from 1991 under the watchful eye and ear of the late Eddie Stack.

https://theoldblognode.blogspot.com/2018/08/fiddling-on-dock-of-bay-review-from.html

Later, in that same timeframe, I heard him play in various combinations at the Sebastopol Celtic Music which was guided by Cloud Moss. His book honors the memory of those festivals as seminal influences in his playing career. In the 1990s and early 2000s, Hayes made regular appearances in the San Francisco Bay Area. He savored the spaciousness and freedom he experienced in the city and felt that the spirit of Joe Cooley was still in residence.  

https://theoldblognode.blogspot.com/2008/10/hayes-and-cahill-recalibrating.html

There was something very fitting about seeing Hayes and Cahill play in church buildings around the area. Apart from the acoustics, the settings induced a certain reverential expectation that was often fulfilled.

https://theoldblognode.blogspot.com/2011/10/hayes-and-cahill-at-skyland-church.html

Hayes played many times at the legendary Berkeley concert venue, the Freight and Salvage. One of his appearances with Dennis Cahill from 2004 is recorded on the venue’s calendar wall.

One unique evening is recorded here when sound engineer Tesser Call facilitated an acoustic miracle.

https://theoldblognode.blogspot.com/2012/03/hayes-and-cahill-break-sound-barrier-at.html

Hayes brought every one of his musical groups to Berkeley: twice with The Gloaming, once with his Blue Room Quartet, and once with Masters of the Tradition. Every show was memorable and magical. The two Gloaming concerts are reviewed here:

https://theoldblognode.blogspot.com/2014/12/roaming-with-gloaming-in-berkeley.html

https://theoldblognode.blogspot.com/2017/10/the-gloaming-returns-to-berkeley.html

And the mesmerizing evening with Hayes’ Quartet playing their Blue Room album is reviewed here:

https://theoldblognode.blogspot.com/2018/10/quadruple-delights-from-martin-hayes.html

And here are two insightful reviews of Hayes’ memoir by fellow-fiddle players, Niamh Ni Charra in the Irish Times and Toner Quinn in the Journal of Music.

https://www.irishtimes.com/culture/books/shared-notes-by-martin-hayes-personal-poignant-and-immensely-profound-1.4706747

https://journalofmusic.com/opinion/persist-other-side