Hey all.
I am meeting someone next week to discuss recording a flute cd. My question to all of you is how to go about choosing material for such a project? Do I go with tunes I am comfortable playing, or tunes that I really like, or tunes that are off the beaten path? Standards? What?
Thanks. I am open to suggestions and input from those of you who have recorded, and those of you who have given this topic any thought.
Arbo
The geezer reel?
Where did that name come from?
I know that as The Floating Crowbar/The Rathcroghan Reel.
You are absolutely right! I learned it off of the ‘Geezers’ recording, and alas, had no name for it. At a session last week someone identified it as the floating crowbar. I shall correct it directly!
Arbo
Thanks for sharing!
hehe…
Heck I’ll just add that to the list of names it has already.
See you’ve already contributed to ITM posterity.
Wow! Imagine that.
Arbo
Now, any suggestions regarding the topic at hand?
I think the answer to your question is yes to it all. I recorded tunes that I was real comfortable with and some that I wasn’t. The one thing that they all had in common though was that I loved playing them. I have always found that you have to love what your playing or else it will come through in your recording. Just my two cents.
See what your budget is for royalties for the tunes you might be playing, or be sure to line up gratis permission for use from the composer.
And my answer to your other questions is YES, to all.
Standards bring a level of comfort and familiarity to the listener, but you also have to consider their expectations when you have given it your own interpretation. It might well put people off if they feel you’ve changed the phrasing, pace or rhythm beyond what their minds can wrap their knowledge of the tune around. For example, Norman Holmes playing Garrett Barry’s as a hornpipe on Wooden Flute Obsession 3, or Niall Keegan’s jazzed up approach to Dunmore Lasses/My Love is in America on WFO1 might take a more open mind than you are marketing to.
Many of us like to hear tunes that are off the beaten path, such as rarities passed on by family in a particular region of Ireland, that don’t surface much (or ever) at sessions, as well as for original modern compositions.
And it just seems to me common sense that you might have a better result (in terms of your satisfaction, and hopefully of your intended victim) if you LIKE the tunes you play, and have sufficient COMFORT in playing them well. I think both factors contribute highly to a less stressed recording environment and towards a recording of value.
Kevin Krell
Oh yea,
good luck with everything! It is exciting and stressful all rolled up into one. It was the best pain in my A$$ so far in my life 
Well, I will certainly keep that in mind! It won’t happen till next year, but I am lining up tune sets and players at the moment. It will also not be ‘Traditional’ in the strictest sense of the word as I have both a beat boxer, and a latin jazz bassist lined up to play on a couple of tracks. I am hoping to include some musical friends who are basically unknown, but strong players. Should be a fun project. Any suggestions for tunes and/or sets?
Arbo
Kevin,
Are you suggesting that I have to have the history of all the tunes I record, and a list of all performers that have played them (recorded) documented in the liner notes? I know all Kevin Burke did when he recorded one of my tunes was put my name after the tune title. He did change the timing, but it still sounds like my tune. I was never even notified . I heard it from a friend who heard my tune being played on a Prairie Home Companion by Kevin. It just so happened that my friend was one of the first people I taught the tune to. Go figure. I know how Kevin got the tune, but I never followed up with the recording company. Figure it’s part of the tradition now.
No, I never even remotely suggested that at all.
However, if the tune you are playing is not truly public domain, then royalties for the composition (known as a Mechanical License) are due to the composer (or family, or label - whoever owns it).
It’s not clear whether the Floating Crowbar is a composition of Brendan McGlinchey or not. It might just be that he has been credited for passing it on (as in, “learned from Brendan McGlinchey”).
There are still plenty of tunes in our session repertoire for whom composers are known (Vincent Broderick, Ed Reavy, Junior Crehan, Flook, etc.), and these should not only be attributed correctly, but payment provided, unless a gratis (free) license has been granted. Many players have chosen to allow free use, as a part of their honoring the traditions by which they also learned and shared tunes. Some (or their labels) require that you pay the current rate for a Mechanical License on the composition, per copy distributed. For the U.S., the rate is as follows. Most countries have reciprocal arrangements for copyright protection. Rates for European Union releases are generally based on a percentage of anticipated retail pricing, rather than a flat rate as the U.S. does.
So, for a set that contains 3 such composed tunes in 1 track, the resulting cost might be $0.273 per CD distributed. BTW, distributed includes sold, given away, etc. (unless your Mechanical License includes an allowance for promotional, review and airplay copies - usually limited to 20%). A minimum # of copies may also apply for processing licenses (last I recall was 500).
For each Wooden Flute Obsession volume (approx. 40 tracks each), approx. 90 contracts were needed. You can see on the web pages for WFO) and in the CD liner notes, where a composer is acknowledged for their contribution.
I’m hoping this was a clearer representation of what I was getting at.
Kevin Krell
I’m with Josh – basically pick tunes you won’t get tired of after playing them 900 million times because that’s what you’re gonna do if you’re wanting to make a nice CD (and woe to those who do NOT practice the tunes 900 million times before recording 
).
I’ll probably never have the guts to record anything solo, but we recently put together a band I sort of led at our local Irish fest and it was actually a surprising success, especially once we got around to our second set and settled into a nice groove. Anyway, my criteria were:
- Tunes we liked and didn’t mind playing over and over again
- Tunes that we had something to “add to” or musically “say something about”
- Tunes that weren’t signature tunes for other, better musicians – why carry coals to Newcastle and make yourself look like a poor imitator in the process unless you can really shed new light something? I mean, why would I pay money to hear Cathy Wilde play the Moving Cloud when I can hear Matt Molloy or Kevin Crawford do it … unless Cathy Wilde had an interesting new take on it (and she doesn’t)?
- Tunes that would make for interesting sets with an arc, texture, and a sense of progression
- Tunes that other people would enjoy listening to because if you’re just going to play for yourself, why play out?
- Tunes that the other musicians might have fun adding something to. We threw in a percussionist who also played djembe, ankle bells, you name it and also some reggae-acoustic guitar stuff and they made things even more fun because they enjoyed themselves.
Good luck to you! 
Right on Cathy.
Good for you and the band. Sounds like you guy’s did a great job at the festival.
Kat,
thanks for the input. I shall certainly keep your suggestions in mind! But 900 million times through a tune? Really, I don’t think I will live that long!
Arbo
Their many checkpoints that you should stop at before you step in front of a microphone to record your record. Aside from all the obvious things, including a good few points that Kathy mentioned… You should have an authority on the music listened to what it is that you’re going to record.If you don’t know anybody who could fill those shoes, then you might even have to pay for somebody to take the time to give your material the once over.
In my mind, an authority figure might be individuals such as; ( fiddler) James Kelly, (box player) Paddy O’Brien, etc. I did not mention any flute players for the obvious reasons… we already know who they are.
It doesn’t necessarily matter if these individuals do not play flute. The breadth of their work/ study of the music is what counts. Granted, playing a few of the tunes that you’re going to record for established flute player certainly wouldn’t hurt.
The two individuals that I mentioned above; Their knowledge and experience transcends their instrument of choice. they have grown up, played with, and learned from all of the people want read about in the Irish traditional music history books. They are true scholars of this music. If you put your music before an individual of that stature, and you can bet that the feedback you will be getting is going to be quite valuable. for example, they can make suggestions on settings, let you know if you’re playing an accurate version, discuss the kind of rhythm with which you’re playing, etc. Most producers could not come close in providing this kind of insight. If you’re set on making a traditional record i.e. sans djembe, bongos, finger cymbals, upright bass etc. and you want to put your best foot ( or flute:-) forward… this is something that I feel bears series consideration.
This is not a PR promotion moment for James or Paddy. They were just the first two individuals that come to mind.
Best of luck with your endeavor…
Thanks for the suggestion. There are many people here in the NYC area that can provide such feedback. I can tell you now that it definitely won’t be a strict ‘trad’ recording. I already have an Argentine bassist and a Puerto Rican singer/beat boxer to accompany some tracks. There are several bodhran players and others who are also available. So, in conclusion, there are plenty of sounding boards readily available for consultation.
Arbo
A few names that come to mind in that part of the world:
Try playing for Mike Rafferty, Willie Kelly, Brian Conway, Ivan Goff
a young guy in his mid 20s now who can who can lend you an ear is Isaac Alderson ( All Ireland champion: flute, whistle and pipes..all in the same year!!! and former Eileen Ivers band member and ). Based on who he toured with, I’m sure he’d have some insightful ideas regarding your fusion approach as well.
Just some thoughts, Arbo, although there’s been some good insights here already. But it seems to me that any tune choice decisions should be based on why the recording is being made. What audience (beyond yourself) is it aimed at? If there’s enough non-trad beatbox/bass material, you’ve most likely lost the purist crowd, anyway, so whether you’re stepping on a signature bit of music or some well-trod session tunes really won’t matter much as your listeners either won’t be that familiar with any of it, or not care if something sacred is being messed with. OTOH, if the recording’s more for the traditional listener, or other musicians, with just some unique stuff thrown in, then I think Cathy’s advice is your best bet. Kevin’s advice is important if your recording is going to be distributed commercially. If you’re mostly doing it for art’s sake (who’s Art?), then play for yourself, play what you most like, and don’t worry about any of these questions.
Gordon,
It’s just me and my artistic interpretation of traditional music as I have come to know it. I am not trying to influence the trad scene at all. As far as I am concerned, if it is something that grabs you, then great. If it’s too far astray, well, just pass it by. I do hope that what ever I do, it is done to the best of my ability, and should people not like it, it is a matter of taste and not merit with respect to playing.
Arbo