Purchased at the Willie Clancy week CD launch, and highly recommended.
I’ve posted it in the “Recordings” section at “thesession.org” - see comments there :
Hm, you were at the launches. Our paths did cross.
It was a bit busy by the time I got there, Mr.G. Didn’t see you, I’m afraid.
Just thought I’d add that the back of the CD has contact details :
" All enquiries to www.noreenosullivan.com "
There’s also an email address and phone number which I won’t post here, but if anyone should have difficulty getting a copy, or would like to get a copy of the CD direct from the artiste, then send me a pm, and I’ll pass these details on to you.
I know. I was late myself and only did a quick round before going home again. I tried to avoid being tempted to have a go at the traditional soggy creamcracker and cheddar.
Noreen O Sullivan posted a lot about the CD release about a month/five weeks ago over on Tradconnect, some more info there maybe.
It seems the CD came out in late February - there is a “Youtube” clip of Noreen playing a couple of tracks in Custy’s recorded at that time.
You’re right, my sense of time is a bit off, things seem to fly by. The Tradconnect posts were around mid March, I just checked. There’s a video there too.
" All enquiries to > www.noreenosullivan.com > "
seems to go to an ‘unable to load page’ dead site
I was at the cd launch at the Crane in Galway some time ago, nice traditional way of playing and a good feel to it.
Added this to the Whistle Recordings sticky.
As a newbie, I just wanted to thank kenny for posting Noreen O’Sullivan CD release. 
I purchased & downloaded CD and gave a good close listen. And a second close listen. I love this stuff!
and here is the YT clip mentioned, thank you for that as well!
keep’em coming
Hadn’t watched the video. The tune says to have from Tom Busby struck me as an odd way to approach it, not at all as Tom had it or anyone after him. Then it struck me it’s actually a Willie Clancy tune that he played in low and high versions on the whistle. She plays the high one (I have always had the low one on the pipes, probably the reason it took a few minutes to sink in and make the connection). They’re very similar tunes though, they’re easily confused.
Here’s how Willie had it
Which has the unusual feature of him playing a sort of roll on the A instead of plainly playing eAA. In the low version he plays a short cran on the E. As far as I am aware this is the only tune where he does this.
Just registered with C&F. Back from Éigse and Fleadh Ceoil na hÉireann.
Also, my website if no active www.noreenosullivan.com
Noreen, welcome to C&F! 
I’m just the newbie chasing your music around. Your website is up and a complete breeze through was wonderful. You have a big fan here. I hope you post here often. There will be others coming along to greet you soon, as there are many good resourceful and pleasant people around here (I just jumped in with my excitement). Again, welcome!
I just noticed on Noreen’s website in the “contact” section that there are multiple choices of topics to contact her about. Noreen is offering Music classes, Master classes, Skype classes, Music festival requests, Recital requests, CD sales, Other matters.
That about covers it…
Agreed! Got mine last week (apparently Noreen’s first PayPal customer!) and have just been enjoying my second listening. Think everything’s got a lovely sense of pace (tunes given both room to breathe and forward impulse, with a consistently attractive ‘lilt’ even in the reels) and it was a nice surprise to discover that the sample track (a lovely, bouncy reel with almost ‘hornpipe’ feel) I’d found captivating enough on Noreen’s site to be placing my order is not only the title track but a composition of her own that’s clearly special to her. Have to say the recording’s close-sounding (no disguising the articulation and breath noises!) but (from a player’s perspective) I don’t mind that, and I found the double-tracked (?) whistles in the unaccompanied Tom Busby’s/Rambling Pitchfork jig set almost dizzying in a kind of ‘out of phase’ way despite the timing being pretty good. Accompaniments are nicely done (never dominating or fighting the whistle) throughout, with a fair proportion of unaccompanied whistle to delight those who like their whistles ‘neat’. It’s quite a short album time-wise (though never short on quality!) and perhaps the interesting sleeve notes could have been made more readable with a more contrasting choice of text colour, but I’d still thoroughly recommend it for the lovely playing. And Noreen’s also a lovely person to deal with when you order yours!
Having now viewed the Custy’s vid, and heard a couple of tracks from the CD thanks to a kind friend … I have to agree with the commenters that it’s lovely playing. Light and flowing, with just the right bounce.
Thought so, anyway, but (having read Kenny’s comments on The Session and given it all another listen) would now concede that the whistle’s getting somewhat swallowed by the ‘band’ on a couple of tracks (the reels of track 4 and jigs of track 12). So could be more prominent there, though I still quite like the changing colours these bring to the whole, and it’s clear as a bell over the fairly full backing of the closing track 14!
As a newbie whistler and attempting to develop a listening ear (skillset vocab), I have learning questions. Keep in mind I have little to no experience with musicianship, sound recording/engineering, studio/CD production, Noreen or band. My interest is focused on learning to play the whistle by listening to good whistlers. When you say the “whistle’s getting swallowed by the band…” could that be a matter of who is “leading” at the moment? Does the whistle have to lead at all times? Could Noreen be moving away from microphone momentarily? (looking around at band, looking at sound engineers booth, etc., hence the whistle level drops out?) Or possibly, is it during postproduction where the engineers “adjust” everything, tracks, that the whistle level is dropped somewhat for whatever reason? In sound recording, are each of the instrument levels/decibels supposed to be equal to each other? Or does that depend on the instrument being that some are inherently louder than others? Any response is always appreciated.
I can see where all the technical aspects of creating a CD can be overwhelming, time consuming, and distracting from the simple love of playing the whistle. It is appreciated though.
Not knowing the specific tracks … The simple answer to your questions is that on a studio recording like this, there are no “accidents”. The artist and producer/engineer are in control of the result, so what you hear is exactly what they intended. The instruments are recorded on separate channels, and the blend is carefully crafted. Mistakes like turning from the mike are very unlikely, and bad takes will be discarded anyway. Even the balance between over-engineering everything to perfection and allowing natural performance to shine through is deliberate. And though Noreen may be new to recording, her family and “band” are certainly experienced hands at it. With the right mindset, recording can be as much a liberating as a restricting experience.
So Peter’s comment is simply a matter of aesthetic judgment, with no one right answer. And of course, I don’t know anyone who can listen to their own recording afterwards and not hear (wince, wince) all the things they might have done differently. But at some point you have to stop second-guessing yourself and release a recording.
Could be any/all of those things in other circumstances, but here it’s pretty well got to be a conscious artistic decision to present these tracks more as ‘band’ numbers because you’d never put out studio takes (as opposed to single-take live recordings) where you were ‘losing’ key instruments as suggested above. So, yes, the engineers (NB ‘mixed by Frankie Gavin and Noreen O’Sullivan’) will have known what they wanted and (as already stated) I ‘still quite like the changing colours these bring to the whole’, but some might argue that the whistle’s still quite recessed for a ‘solo’ album on these two tracks.
In sound recording, are each of the instrument levels/decibels supposed to be equal to each other?
No, balance is something you’d expect to judge by ear and is at least as much subjective as objective.
Absolutely, and made as much to cover my own back as anything else. Hadn’t read Kenny’s ‘Session’ comments before posting my own, but respect his judgement, thought I should check (was probably too busy just enjoying the music to notice!) and found myself in agreement when I did. But we’re really not criticising (well, constructively if we are!) when Kenny described it as ‘the best solo whistle recording [he’s] heard in years’ and I loved it too.