Local Ground

Absolutely understand that it is not in Altan to turn out a bad record, even if they came perilously close to becoming the baby-boomer Chieftains (venerable, but hardly exciting), what with the tour with the faux-Mairead (to paraphrase Joan Cusack, 'sure you're blond and can play the fiddle, but that doesn't make you Mairead.') and the parade of guests on recent CDs. But it seems rather convincingly that what drove Altan all through the Green Linnet years has resurfaced, resulting in what is the best CD since ISLAND ANGEL. There is a root sensibility to this that always infused the early records but was becoming lost in the move to a big label. What had been authentic was teetering on cliche in the Virgin-Narada releases of the past years. None of that is the case here.
Instead, Mairead seems more in charge of the proceedings than ever and Dermot Byrne has found an urgency to go with his fleet command of the button accordion, kinda like a Belfast flautist I remember from some years back. It was never just the technique, but the fire within. Dermot's playing is quantitatively and qualitatively different and that pushes this band in ways it hasn't been pushed since the 90's. At the risk of committing heresy, the attack on the second set of reels, leading off with "Tommy People's" ( a reel covered on the Ceol Aduaidh CD) packs a dynamic that actually transcends the earlier take from Frankie, Mairead and the inimitable Ciarn Curran. And while we're on the subject of Curran, I haven't heard him this fired up outside of a live set ever, and it is a joy, in fact one of the reel seminal joys of Irish music to hear Ciaran Curran lit up and playing like his life depended on it. The most unsung hero of the Irish bouzouki ever asserts himself, balls forward, and Altan is the better for it.
There is a terrific take on all the songs. "Adieu, Sweet Lovely Nancy," otherwise a chestnut, verging on party-piece, is given just enough of a countertempo to put a little something in the trunk. That is true throughout the disc, courtesy of unofficial seventh member, percussionist Jimmy Higgins. Steve Cooney drops in for a bit of even heavier bass, though not quite as slap driven as Manus Lunny in Capercaillie. Carlos Nunez appears twice with his earthy gaita playing, and it all serves less to highlight what neat friends they have, and more to underscore what great musicians can do when they surrender to the confidence of Music.
Any complaints? Quibbles only: the reverb is a little too Clannad on "Amhran Pheadar Bhreathnaigh". And why on earth is it necessary to put an FBI warning on a nice bit of graphics. I suspect mairead gave some thought to the artwork selected. Is it really necessary to put a legal threat overlaid upon it? The only other element I continue to ponder is the under-utilization of the voice of Daithi Sproule. In addition to being one of the exceptional guitarists in any discipline, Daithi's Derry accent brings a bittersweetness that is the absolutely perfect compliment to Mairead's unique pipes. In Concert, the man who is essentially at this point the George Harrison of Irish music, gets his couple of tunes, and his backing harmonies give a dimension to the songs they so desperately need. Yet, on CD, you'd have a good night's fun picking out his contribution. Don't quite get that. Lennon and McCartney never quite got it either. There's likely a Derry seige on ALL THINGS MUST PASS somewhere in the pipeline. Let's hope it arrives in the context of his work with Altan.
All in all, though, 5 stars. Altan has recovered the ground, to analogize Heidegger. This is the Truth. Listen.

Nobody does Irish-traditional better than Altan, though they seemed to have lost some of their edge and authenticity since leaving the marvelous Green Linnet label. All that has changed with the release of this CD, perhaps their best since "Harvest Storm". The joy has returned to their jigs and reels (and nowhere in the genre can you hear tighter ensemble playing), and they will indeed make you dance around the house. They've gone back to some numbers from earlier in their career, like "Tommy Peoples", but they've also brought some "new" ones with unusual time changes. In contrast, their ballads and songs have a deeper ache, thanks to the fragile soprano of fiddler Mairead Ni Mhaonaigh, who seems to get better with each album. It's interesting to reflect on the history of some of the songs here. For instance, the band learned "Adieu, My Lovely Nancy" from an American friend, who learned it from a woman from the Ozarks, who in turn learned it from her Irish-immigrant grandfather. So the song seems to have come full circle. "The Wind and the Rain" is a revelation too: it's a story of a young woman's murder of her sister, and her sister's unusual vengeance. It's been told in several versions, including "The Bonny Swans", popularized not long ago by Loreena McKennitt. And Bob Dylan "borrowed" elements of the lyrics and melody for an early work of his, "Percy's Song". But history aside, there's no question this band is heir apparent to the Chieftains, as they expertly carry Irish Celtic music into the next generation. They found the spark again, and Frankie Kennedy must be smiling down on them.

They're back! The lovely Queen Mairead of Irish traditional music is back! She is truly one of the larger than life personalities for her beautific voice, easy smile and laughter, and her whole sense of musical enjoyment. This is a new album, new material and renewed energy. Altan has been with us since the 80's and have been easy to take for granted as Irish traditional music history after a "best of album," a "finest" album and a gap of time. Just when we are ready to bid a fond farewell, they are rejuvenated and back with the inspiration of yesteryear. Mairead's beautiful voice, and spirited fiddle playing, teaming up with her husband, Dermot Byrne playing button accordian, are a grand picture of marital and musical harmony. Ciaran Tourish is back with very spirited lead fiddle. Then there is the solid foundation of Altan music, the excellent bouzouki (deep voiced, large mandolin) playing of Ciaran Curran. He has been one of the real pioneers of this instrument. He teams up with the excellent veteran guitar player, Daithe Sproule. If all lead instruments were muted, this two person team accounting for more than a 60 years of experience between the two of them would be astounding. Jim Higgins is back again on bodhran and provides an extra snap to the faster pieces to get your toes tapping. Taken as a whole, this album repeats a previous Altan formula of playing lively, music and then changing the pace with gorgeous vocals from Mairead. This is a must have for any Irish Traditional Music collection.

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