If you didn't know Alan Kelly and
you put this CD on, you'd be greted by a first track that is an international,
jazzy, funky number and sounds a bit French. However, this young man is
also a genius of trad Irish. Track 2 is brilliantly 'session' stuff, composed
by Alan himself and full of Irish fiddle, bodhran and well, yes, a mean
bit of accordion tossed in by 'yer man himself'.
The rest of the CD is here and everywhere. A crossover fron trad Irish
to whatever is cool (and back again, round the dresser and mind the crockery)!
it's great. Arty McGlynn, great tradder, guitarist and composer, helped
Alan produce this CD, tossing in a few tunes of his own as well.
Alan comes from hugely trad Roscommon and is an All-Ireland Champon. Since
his debut album in 1997, he mixed with the great and the good and has
been in great demand with the best in the land. Names like Cooney &
Begley, Arcady, Sean Tyrell and on his secont album, there's a rake of
the finest musicians in the land rootin' for him. Great Stuff!
Irish Dancing International - July 2003
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BELFAST TELEGRAPH Live
review Alan Kelly and Friends, Belfast Festival at Queens 9/11/01
"Piano accordionist Alan Kelly brought three of his friends to the
Festival Folk Club last night, and ended up making a lot more. The four
musicians from four different counties gave the happy Friday night audience
a session to remember.
There was Kelly from Roscommon, fiddle player Sean Smyth from Mayo, percussionist
Jimmy Higgins from Galway and guitar professor Artie McGlynn from Tyrone.
They took off with a pulsating set of west of Ireland reels, and set the
tone for an evening of pure Irish rock n' roll. If you wanted songs -
and some did - then you were at the wrong venue. These guys were there
to play tunes. Reels, jigs, Kerry slides, hornpipes, Scottish strathspeys,
waltzes, slow airs - they gave us the whole heap. They even managed to
include Ireland's first samba, a witty McGlynn composition called the
Salamanca Samba.
Kelly showed what it is possible to produce from his much derided instrument,
Smyth kept the faith on fiddle, Higgins supplied the heartbeat and McGlynn
was just vintage McGlynn, the consummate guitar pro, guiding and goading
his colleagues on to greater heights.
By the time they exited with a riproaring set of slides, all demands for
songs had been forgotten. It had been, as McGlynn, laconic as ever, put
it, "good craic". He can say that again."
Neil Johnson, November 10, 2001
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Alan Kelly's 1996 debut, Out of the Blue, was aptly titled. The
piano accordion suddenly burst into life with Kelly's innovative playing.
He skillfully created an album which was brimming with appeal, emotion,
gusto and color and a flowing, loose style.
Mosaic is a change, not so much in material as in interpretation. These
11 tracks are from a variety of sources, mainly traditional Irish tunes,
with some from Scotland, and a handful of others composed by Kelly, album
producer Arty McGlynn, and Liz Carroll. The difference is, creative juices
are allowed to run free when it comes to arrangements.
"Eva's Reel," the opening track, is a rolling accordion-led reel, with
a guitar accompaniment highlighting the melody and a bass punctuating
the rhythm. What really sets the tune apart is the fruity Hammond organ's
chording, along with the trumpet and sax which sweep around the melody,
and the light, unobtrusive drumming.
McGlynn really comes into his own on the following slip jigs with his
delightful airy accompaniment on the first tune and real push on the second.
Similarly, the keyboards provide a strong majestic bed to begin with,
but take on more of an aggressive nature at the change. The turnover in
tunes is enhanced by the introduction of fiddle playing melody along with
accordion. The backing throbs with unexpected chord sequences and the
added sound of trumpet.
New elements are introduced on each track. For example, "Salamanca Samba,"
as the title suggests, brings in South American themes. Kelly sits back
at one point and lets sax take a solo, but for the most part, he is there
leading the ensemble through this Irish-Brazilian hybrid written by McGlynn.
Guitar, bass and percussion drive the melody while fiddle, trumpet and
sax accent the chorus lines.
Throughout the album, Kelly explores the possibilities different styles
offer and succeeds where many have fallen in the past. A charming strathspey,
full fledged Irish reels and salsa are all deftly handled with the understanding
of someone who knows and loves the music.
And accompanying him throughout is McGlynn along with a dozen others
playing instruments ranging from flute and fiddle to guitar and bass to
trumpet and saxophone as well as piano and percussion. And with that instrumentation,
the possibilities are endless. Kelly is aware of that and takes full advantage.
Crossover albums do not always work, but this one does possibly because
Kelly never loses touch with his roots. For each swing or slide he introduces
from another genre, there is something from his own background to give
foundation. The sweeping new age keyboards on the air "Leaving Haines"
are perfectly offset by the orthodox approach of the accordion. The exotic
rhythm of the bongos on "Micho Russell's Reel" blend with straight traditional
combination of accordion and flute. The jazz-styled accompaniment of "Hanley's
Tweed" only emphasizes Kelly's Irishness.
And along with Kelly, much credit must go to Arty McGlynn, whose playing
is impeccable, compositions appealing and production spot on. He's the
perfect foil for Kelly. This album shows the great understanding and sympathy
the two have for each other, and promises much for future collaborations.
Perhaps the highlight comes at the end of the album with Flowers of the
Forest, a Finnish tune well assimilated into the Irish repertoire. I've
not heard it done this way before. And, like with the album as a whole,
the only thing to do as it ends is press the repeat button.
Jamie O'Brien - rootsworld.com
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Currently Trad's hottest ticket, Alan Kelly's live show has been
hailed as "a brilliantly talented, effortless and exuberant performance"
by The Irish Times, while New York's Irish Voice has called the man himself
"in league with the best piano accordionists in the world". Such lavish
praise is not misplaced, certainly on the evidence of his second album,
Mosaic, where he displays a dexterity and an understanding of the music
as well as his instrument. It is without doubt one of the best Irish releases
of recent times.
Produced by Arty McGlynn, the album reveals a seemingly playful, experimental
approach to Irish music. Indeed, the two McGlynn compositions on the record
indicate that here is a fruitful partnership in the making. Most notably
of these, Salamanca Samba is truly a joy. With the South American rhythms
and Mike Nolan's trumpet, this up-tempo number really gets the feet tappin'.
Recent years have seen so many explorations in Irish music, mixing and
matching with styles and genres from all over, sometimes with inconclusive
results. The South American material really works though, and you just
can't help imagining the band wearing moustaches, flowery shirts and sombreros.
The album starts off, however, in a fanfare of cinematic jazz, with Eva's
Reel. Written by Kelly himself, it shows not just what a good writer he
is, but the breadth of his musical imagination. God knows what he could
have done with a Miles Davis or a Charlie 'Bird' Parker. With Richie Buckley
on saxophone and a luscious Hammond organ in the background it is sweeping,
meandering uplifting music and a great start to any album.
Arty McGlynn's guitar playing throughout the record is, as is to be expected,
top class. Nowhere more so, that at the beginning of the Kelly-penned
The Wing Flapper, where the lazily-strummed chords set the tone for a
nice, laidback slip jig.
Despite his experiments with salsa and jazz, most of the album is made
up of reels, jigs and hornpipes. His playing (and indeed that of his band)
is perfect throughout, drawing the tunes out of the box like a sorcerer,
because some of the playing really is magical.
A couple of Scottish tunes (one with the fantastic title Campbletown Loch
I Wish You Were Whiskey), some hornpipes (one written by Liz Carroll)
and plenty of reels pack this album with a wonderful feast of music. Another
standout is the second Arty McGlynn track, Reminiscing. A slow thoughtful
tune, it really does invoke a sense of nostalgia in the listener. An Eastern
European influence gives a nice jauntiness to the piece.
Certainly one of this writer's favourites is the Collier's/Paddy Taylor's
Reel. Two reels played with freshness and passion, McGlynn's clean (without
being glossy) production teases the best out of the meandering accordion,
punctuated throughout with jabs of Liam Bradley's snare.
If ever there was a case of saving the best 'til last, then surely the
final track Flowers of the Forest is a contender. A traditional Finnish
waltz, Kelly has taken it and made it his own, all salsa'd up and sexy.
McGlynn provides some wonderful arpeggios of guitar and the overall ensemble
playing is a real treat. Just try and sit still to it. You can't. And
then, with a flourish from the brass section, it's all over.
On just his second album, Kelly shows himself to be a force to be reckoned
with. A brave, talented artist, it will be really interesting to see where
he goes from here. The jazz furrow is one he will continue to successfully,
I would say, but it is difficult to imagine him not reaching out to other
genres and branding them with his own stamp. He seems to be a maverick
even by today's standards.
Incidentally, on the sleeve notes he thanks another maverick, Martin O'Connor,
a man whose spirit is detectable all through the record. And that is not
taking anything away from Kelly. One thing is for certain though. His
next release is to be looked forward with relish.
Sean Walsh - Arts West (Apr 2001)
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Alan Kelly is an Irish box-player, but unusually he plays the piano
box. This is definitely his second album, and confirms him as the
most talented and innovative Irish piano accordionist around. Alan Kelly
rocks - you can tell that straight away, mainly from the sunglasses -
but his rocking almost always enhances the tradition. He's supported on
this recording by fellow rockers Arty McGlynn, Nollaig Casey, Rod McVey,
Sean Smith and others. At 39 minutes Mosaic may be lacking in quantity,
but there's more than enough quality to make up for that.
The eleven tracks here are mainly tradition Irish music, seasoned with
salsa, samba, a Scottish stratspey and several contemporary compositions.
From the opening notes of "Eva's Reel" the accordion wizardry is awesome,
as hardly a finger goes astray in a stunning display of skill. If Alan
Kelly's marks for technical merit are high those for artistic impression
are even higher: the pairing of his own jaunty "Grier's Slip Jig" with
a modal version of "The Kid on the Mountain" is an instant success, and
Arty McGlynn's Balkan samba which follows is one of the best new tunes
I've heard.
Track 4 is a bit of a low point. Irish Musicians never quiet seem to
get enough snap into a stratspey, and "The Glendaruel Highlanders" suffers
slightly from slushy synthesiser effects. However, things soon pick up
with a great Kelly slow air and a fistful of fine traditional dance tunes.
A slow march by McGlynn provides a change of pace, and then another handful
of reels are given the Kelly beauty treatment before the album climaxes
in a truly miraculous transformation of the Finnish waltz "Forest Flowers",
eat your hearts out Cathal, Aly and Phil.
It's nice to hear a new instrumental release from Tara Music, who have
rather quiet of late. It's even nicer to hear a release of such high quality
and originality. Nicest of all, though, is hearing traditional music handled
with such flair and taste. Alan Kelly's playing brings out the magic in
the tunes without compromising their identity. Mosaic is an album for
everyone who enjoys good music. It's pleasant in the background, perfect
in the foreground, and dynamic enough for the underground. Get one Now.
Alex Monaghan - Living Tradition
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Alan Kelly is the man who made the piano accordion hip
in Ireland again. Roscommon born Kelly has the savvy and the musical
expertise to paint a grand canvas and achieve the necessary affect. His
debut album Out of the Blue was a cracker - lively, intuitive and brimful
of good tunes played with skill and energy. Now comes the bigger label
follow-up on John Cook's Tara imprint. Wisely Alan Kelly has altered the
same plan to go for a wider, more expansive sound hitting everything in
sight from traditional music to Latin and samba styles and a bit of Glen
Milleresque big band pyrotechnics along the way.
The assembled band with which he has already gigged with
in Ireland - include Arty McGlynn, Nollaig Casey, James Blennerhassett,
Sean Smyth, Richie Buckley and that's just for starters. But can Alan
Kelly carry the load and more importantly pull off an album as broad in
depth and wide of scope as Mosaic is? Happily the answer is in the affirmative.
Eva's Reel opens with Mike Westbrook-like scoring and French musette inflections
before exploding over a back drop of Rod McVey's Hammond and Liam Bradley's
jazzy drumming. The Wing Flapper has Nollaig Casey's fiddle providing
a melodic foil, and threatening doom-laden keyboards. The salsa element
is prominent on the continental sounding Salamanca Samba, composed by
Arty McGlynn, with its mix of Brazilian rhythms allowing saxophonist Richie
Buckley to let rip over a carnival backing. Also salsa flavored, Flowers
of the Forest allows for more pronounced experimental strains which work
conclusively. Kelly's accordion makes light work of Earl Grey's cadences
and Leaving Haines shows his power with slow airs. Wisely on this occasion
Kelly holds back on the throttle, allowing the tune to weave its magic
through a less-is-more approach.
Arty McGlynn's production is spot on throughout, always
seeking the melodic cadences and giving them ample space to shine. Mosaic
delivers the goods and promises maximum satisfaction, even for listeners
with an aversion to piano accordions. Kelly's next moves will be watched
with interest.
John O'Regan - FOLK ROOTS
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Paddy's
Day - Lens style with the Alan Kelly Band Deep in the industrial
heartland of Northern France, a poster announces the forthcoming St. Patrick's
Day concert of Alan Kelly and friends. Local radio station Radio Pas-de-Calais
assures the 'burghers' of Lens that this is a 'spectacle a ne pas manquer'
(not to be missed), and by the end of the night, the Lensois have discovered
their new heroes of Irish traditional music.
Lens is a town of 'Germinal' character, equally renowned for its footballing
as for its musical prowess, and from the first note, the assembled crowd
of 700, were out of their seats and jigging and reeling with an enthusiasm,
which in the words of accordion maestro Alan Kelly, 'reminded me most
of the Festival Club nights at the annual Ennis Trad festival held each
November', high praise indeed for this French town.
The genesis of this Leonsois 'en masse' revelry could be explained with
one glance at the array of on-stage talent. Alan Kelly is regularly feted
as 'one of today's finest exponents of the piano accordion' and tonight's
accolades of 'magnifique' and 'formidable' is immense praise indeed from
people steeped in the accordeon tradition.
Alan's rich armory of tunes, his infectious zeal for the accordion and
his on-stage mastery of the crowd, allied with his wonderfully articulate
playing was richly supported by the spirited backing of Frank Kilkelly
on guitar and Damian Evans on double bass. Frank's wonderfully agile guitar
expertly driving the 'ensemble' into the first Red Haired Lass set of
reels and Damian's double bass melodically navigating a path in the musical
expanse.
The participation of special guests Mike McGoldrick and Dezi Donnelley
on this short French tour was a special treat, fondly treasured by Festival
Director, Didier Riez, who has been organising this Celtique gathering
over the past 10 years. From the firmament of Irish music, 'nous avons
le plaisir de vous presenter…' and what a musical pleasure it turned out
to be. From the first memorable sortie into the slip jigs Gusty's Frolics,
Alan and friends convincingly engaged the consenting 'publique' and it
was love at first 'slide'. The people of the Lens love to dance and dance
they did; on the tables, in the balconies and alarmingly on the stage,
at one point a reveller being so overcome with the sheer brilliance and
'tempo' of The Berehaven Lassies and Matt the Thresher that he presented
Alan with a bunch of white lillies.
The performance encompassed a wonderfully eclectic and energetic mix
of traditional arrangements and self-penned tunes from Alan Kelly & Mike
McGoldrick. From the exquisitely rhythmic James Brown March to the hauntingly
beautiful The Noone Lassies, the virtuosity of the musicians and in particular
McGoldrick's low whistle and flute, transported the audience collectively
to that Celtique twilight which is the stuff of Gallic dreams. Dezi Donnelly's
versatility and spirit of adventure on the fiddle was awe-inspiring throughout
the concert and the beautifully executed Hot Club influences in the Diarmuid
Moynihan-penned Paper Bird underlines the rich talent of the often 'Stocktons
Winger'.
As the concert moved to its soaring apex, a form of Celtique conga was
brought to life on the dance floor and within minutes the 'salle' had
become a rhythmically flowing mass of people, spellbound by the on-stage
musical sorcerers. Clifden-based Duchas, who had opened the concert, joined
the on-stage constellation for a Grande finale, which culminated in the
inevitable eruption of applause.
A footnote to this amazing concert, further underscoring its achievement
was the fact that the Alan Kelly band had returned from the Dallas Irish
festival, only days previously and had linked up with Mike & Dezi, literally
hours before the concert. Alan Kelly explains, "when you're working with
musicians of the calibre of Mike and Dezi, they just dovetail with the
music, they meet you half way and it just worked perfectly". This was
the first performance of the Alan Kelly band in France and with several
summer festival appearances in the offing, it promises to be the first
of many. A spectacular performance from a group of musicians who play
in the premier league of their respective instruments. The Lensois people
have seen a performance to savour and as an audience 'dansant', they have
ably played their part in a musical event 'de la plus haute qualité'
…Alan Kelly & distinguished guests….. le verdict du jury Lensois..Le Prix
D'honneur
Mike Walsh - Irish Music Magazine
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ALAN KELLY - Mosaic (Tara Records
TARA CD 4010) "Not since the opening bars on the first Sharon
Shannon album did I appreciate just how much joy and enthusiasm a performer
could wring from a squeezebox. Now you can add another. In Alan Kelly
we have Sharon's equivalent on that most unwieldy of beasts, the piano
accordion. From the outset with its trumpet led chordal backing, you can
tell this is going to be one hell of an album. Mind you, in the innovative
hands of producer Arty McGlynn what else would you expect? Bringing together
a plethora of Ireland's talented musicians for this session must have
been the ultimate rush for Mr. Kelly. Each track has its own distinctive
'feel' giving the listener what he really wants, an album full of surprises.
Take McGlynn's own composition 'Salamanca Samba' which as the sleeve notes
state sounds like it were made for the accordion. Coupled with Richie
Buckley's sax, and again, the use of those trumpets the good-time groove
would have everyone bopping at a Mardi Gras. On another track, 'Leaving
Haines/Johnny McGreevy's Jig' the setup rhythm on guitar leaves you feeling
that the musicians are about to go into a reel but from the title you
should realise nothing is what it seems. Kelly may be a musician's musician
but I'm glad to report that he allows the warmth of his playing to encompass
the most hardened of souls."
PETE FYFE
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"An idle thought crossed
the mind lately: wonder what Arty McGlynn is up to? Here's the answer,
a great collaboration with Alan Kelly. It goes borrowing on the accordion
flavours of other countries and traditions, and Alan, with his awesomely
neat triplets and limpid tone from the Saltarelle is in great form. The
key to the success is that each style is treated with respect, on its
own terms, and a real sense of enjoyment comes across, plus the confidence
born of being a truly fine player. Thus one track is called the Salamanca
samba: oops said I, is this a big reel reborn? Not at all: it's a great
sprightly tune from Arty on which Alan mixes it with Richie Buckley on
sax. Other guests include Nollaig Casey and Jimmy Blennerhasset. The very
next track is a brace of strathspeys, played with an equal understanding
and love of the tune. It may be an eclectic mix, but there's nothing forced
or artificial about it, and there are fair few surprises. For instance,
the Flowers of the Forest has nothing to do with Flodden, 1513 and all
that: it's a Finnish waltz given salsa treatment. It works. It's amazing
how some tunes come into prominence: Alan has the Colliers, and the Pride
of Rathmore/The Girls of Farranfore. He's not the only one with these
on display but it's a great version he has. There are 13 musicians in
all, including Alan's brother, John, on flute for three reels: it's the
sort of playing that when you encounter it at a fleadh, you know you can
settle in for while, 'cos you've hit pay-dirt. There's also a lovely lazy
hornpipe, The Plane of the Plank, composed by Liz Carroll: she should
be very happy with this recording. Maybe at 39 minutes, it's a short experience,
but there isn't a weak track on it. It's an excellently produced showcase
of a very talented and genuine musician."
John Brophy IRISH MUSIC MAGAZINE (OCTOBER 2000)
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ALAN KELLY--MOSIAC TARA RECORDS
Master of the stomach Steinway....
Piano accordions can be scary things. Alan Kelly's is scarier
than most. Scarily, fantastically good!!
For many the piano accordion is an acquired taste, but Alan
Kelly can convert even the most wary listener into a rabid, slavering
maniac for the piano accordion. Trust me. Alan doesn't just play the accordion,
he celebrates it in way that draws you into the passion he puts into the
music he plays. And besides, he has a great, wacky way of turning a waltz
into a salsa, or adding sax and trumpets in reels. But don't underestimate
him. He may have some fun with the tunes, but his traditional ties are
solid gold.
Roscommon born Kelly released his first CD "Out of the Blue"
to rave reviews and this follow-up, "Mosaic", is further evidence of the
enormous talent this man has. In fact, the first track on this CD, "Eva's
Reel", tickled me so much that I couldn't get past it to listen to the
rest of the tunes. With its skiffle beat and whimsical light-hearted sound,
all I could do was hit the "repeat" button on the CD player while the
grin on my face got wider and wider. Composed by Kelly, it is hoped that
he will put more of his compositional skills to use on his next release,
cause this one's a beaut!
A mosaic is a picture or pattern made up of small, colorful
pieces of tiles and Kelly's CD is of a similar nature. Fearless in his
approach to the music, but never sloppy, the "Salamanca Salsa", penned
by guitar guru Arty McGlynn smokes with Kelly on accordion. In complete
contrast on the next track,Alan slips into "Earl Grey", a delightful strathspey
he got from Capercaillie's Donald Shaw.
While Kelly might have some fun with tunes like "Salamanca
Salsa, there's" no messing about when he goes into the reel sets like
"Pride of Rathmore/Micho Russel's" and "The Colliers/Paddy Taylor's Reel".
Kelly's confident bold playing comes from growing up in the rich Roscommon
musical landscape--known throughout Ireland for the flute players--and
some darn good piano accordion players, for Kelly learned the accordion
from his dad, who played in Ceili bands. When Alan's brother John, joins
in on flute for "Jim Donoghue's Reel/Martin Wynne's No. 3/Palmer's Gate",
it simply transports you to another sphere. I fell in love with Irish
music because of playing like this.....it is mighty.
Surrounded by great musicians in their own right on this
CD such as Sean Smyth (fiddle), Nollaig Casey (fiddle), Arty McGlynn (guitar),
James Blennerhasset (bass), Liam Bradley (drums), Richie Buckley (saxophone),
Rod McVey (Hammond Organ, piano) and others, this is a palette splashed
with many colors--all solid, vibrant and immensely enjoyable.
The final track is perhaps the most fun of the lot. A popular
Finnish waltz that somehow headed south and became a salsa. It is gas
altogether, and I defy anyone to stop dancing when you hear it. If you
can't dance to this one, check your pulse, 'cause you've gotta be dead.
Indulge yourself in one of the most enjoyable listening
experiences this year--get on the Alan Kelly bandwagon. The line starts
here..
Cindy Reich - Celtic Connections Magazine
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ALAN KELLY - MOSAIC (TARA) It's
been the revival to beat all revivals. After the born-again triumphs of
the button accordion, the nativity of the piano accordion might have almost
seemed inevitable. But its rehabilitation from instrument fit only for
demonic infernos to acceptable session player, hasn't had quiet the sex
appeal or PR campaign that its buttoned cousin had before it. Still, Alan
Kelly isn't a musician to be boxed in by either image or imagination.
Mosaic is precisely what its moniker suggests: a delicate
arrangement of precisely positioned pieces, each one catching the light
through a prism of its own design. Kelly's music boldly goes where few
have ventured before. This is box playing with balls, stepping way past
frontiers long thought the corral and backbone of the piano accordion
sound. He may not yet be gracing the cover of the Rolling Stone, but Mosaic
should go a long way in ensuring Kelly's music is heard long past the
confines of the pub session or fleadh.
There's a whole rake of moods permeating this collection.
From the lonesome solo run on the slow air of 'Leaving Haines' to the
pelvic swivels of 'Salamanca Samba' and the double-take of 'The Pride
of Rathmore/Micho Russell's Reel' (and a knowing nod in the direction
of 'The Girls of Farranfore' in its midst), Kelly plumbs depths and soars
to heights that are usually only reached with the help of a serious drug
cabinet.
Bearing the hallmark production style of Arty McGlynn (who
also penned 'Salamanca Samba'), and venturing into soul territory worthy
of Curtis Mayfield at his peak ('Johnny McGreevy's Jig'), courtesy of
Rod McVey's hammond organ, this is not a collection for those with a puritanical
ear. This is ecumenism at its come-all-ye best.
Alan Kelly's kept his powder dry for far too long. His debut,
Out Of The Blue was a confident whistle blower of an album, heralding
the luminous talent that's matured magnificently on Mosaic. And with a
gathering of musicians of such impeccable character as Nollaig Casey,
James Blennerhasset, Liam Bradley and Jimmy Higgins - alongside the genius
interloper, Richie Buckley - Kelly can do no wrong. Long may his Mosaic
glisten in the sun.
RATING: 12
Siobhán Long 3/10/2000
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Tønder 2002: Old and new Celtic
and Danish music: Friday evening approached and the usual Tønder dilemma,
which concerts to go to?! I love the atmosphere inside the big tents so
I plumped for The Alan Kelly Mosaic Band in Tent 1 to start with. I have
been an admirer of Alan´s since his work in the Michael Mc Goldrick big
band and his debut CD Out of the Blue from 1997. John Kelly, Alan`s brother,
on flute led into the first three reels and set the tone for the rest
of the gig. Arrangements varied from the the experimental to the traditional
and included some of the tunes he and his brother have just released on
a CD called "Fourmilehouse".This band has so many star performers and
features the very jazzy playing of Richie Buckly on sax and Daniel Healy
on trumpet, not to mention that former showband guitar hero Arty Mc Glynn.
Arty is one of the all time originals of Irish music from the last twenty
years and one baroque piece of his sticks in the mind.When Alan and the
seven members of his band finished the crowd was buzzing as the stage
crew rushed around doing their usual rapid changeover.
Eugene Graham - FolkWorld