ALTAN

Donegal was the obvious choice for this emblematic band of Irish music, who have been distilling the music of... Donegal for almost four decades.  With the added bonus of the image of Mount Errigal, the region's highest peak, to illustrate the cover.

At the band's helm since the start of their adventure is Mairéad Ní Mhaonaigh, a talented fiddler and singer with a crystalline voice who has been delighting listeners for all these long years. At her side, newcomer to the band, fiddler Clare Friel, who takes the place vacated by Ciarán Tourish in 2017, that of second fiddler who plays in octave with Mairéad, a particularity of Donegal music. In the early 90s, Altan even had three fiddlers in its ranks.
Clare Friel, though very young, is already a seasoned musician, having cut her teeth alongside her sisters Anna and Síle in the Friel Sisters.
And then there are the usual musicians, loyal since the band's beginnings. Ciarán Curran on bouzouki and Mark Kelly on guitar. Daithi Sproule, second guitarist, alternates with M. Kelly on tour. And finally, Martin Tourish, an accordionist of immense talent and encyclopedic knowledge of Irish music.

They are joined on two tracks by long-time friend Jim Higgins on percussion, Steve Cooney on bass guitar and Graham Henderson on keyboards.
As usual, instrumentals and songs follow one another throughout this magnificent opus. Six sets of reels and jigs alternate with four delicate songs that allow us to listen with rapture to Mairéad's angelic voice, in both Irish and English.
Altan has always remained true to its Donegal origins, and has also chosen to respect the traditions of this northern region of the Republic of Ireland. The members of the band have combined respect for the traditional tunes, ballads and songs - three in Irish and one in English - of their County Donegal with subtle touches of innovation in the tracks.
The album opens with a slow reel, The Yellow Tinker, already featured on The Red Crow (1990), whose melodic thread is carried by C. Curran's ethereal bouzouki. The rest of the album follows suit, often featuring delicate melodies - Liostáil mé le Sáirsint or The Barley And The Rye - and more up-tempo tunes - The Donegal Selection or The House of Baoithín. On Faoiseamh a Gheobhadsa, Clare sets her voice in counterpoint to that of Mairéad. The result is strikingly graceful and delicate.

Last but not least, we recognize Gabhaim Molta Bríde, a moving song in praise of Saint Bridget of Kildare, celebrated by the Irish on February 1, which marked the beginning of spring (Imbolc) among the ancient Celts. An unsettling song already sung in 1996 by the late Eithne Ní Uallacháin of the band Lá Lugh on their album Brighid's Kiss.
It's also Port Árainn Mhór / Port Kitty Rua Mooney, two jigs composed by Mairéad, a tribute to her family origins on the island of Arranmore off the north-west coast of Donegal, and also a tribute to her mother, still going strong at over 90.
Finally, The Letterkenny Blacksmith / John Doherty's Favourite / Scread na Bealtaine, a suite of reels that perfectly defines Donegal music in all its diversity. A set that brings this fantastic album to a masterly close. Donegal is a tribute to the rich musical heritage of their native land.

Compass 7 4828 2 - www.altan.ie

https://compassrecords.com