The long-awaited sophomore effort from Robbie Hannan is finally available! It has been nearly 18 years since Robbie’s debut album. Piping enthusiasts and fans of his playing have recorded him whenever the opportunity arose, and it is those recordings from tionols, radio appearances, Willie Clancy week, and home recordings that have been passed around with much fervor for years.
It is an indisputable fact that Robbie Hannan has influenced a generation of pipers. Simultaneously, there is an apropos expression that should follow; “…often imitated, but never replicated!” Therefore, it is indeed a breath of fresh air to hear the signature sound and style from the source, Robbie Hannan!
“The Tempest” is the title of this new record. It was recorded and produced by NPU. The record has 12 tracks, is pitched in the key of B, and is purely solo piping. The moderate use of regulators does not interfere with Robbie’s signature style. The chanter work is clear, rhythmic, beautifully executed, and unmistakably “Hannan.”
This album was recorded over two days, a week apart, in August of last year. Robbie told me that despite not having a practice routine per se, he did make a list out in advance to prepare the possible selections. Therefore, he played multiple takes of each selection in order to have the opportunity to pick the best take. You will notice that two minutes and 36 seconds into the track of “The West Wind/Seán Reid’s” , (nearly the end of the track) the tone of the bass drone starts to slightly wobble. Robbie told me that the bass drone reed had had enough at that point. He liked that particular take and kept the track.
Similar comparisons can be drawn between the sound of Robbie’s chanter and the sound of the chanters heard on the most recent recordings of Eliot Grasso and Séan Og Potts. The reason for this is that they all play Andreas Rogge B chanters. Robbie, not being a reed maker himself, had several reeds by Rogge from which to choose. This recording is a fine testimony of the quality and overall tone of Andreas’ instruments and also his reed making skills. Rogge B chanters sound bold, full, powerful, and have what is widely described as a wide bore flat chanter sound. On many of the tunes, the Rogge chanter/reed combo produce a lovely “hard E,” especially when Robbie comes up from a hard D passing through the E.
Throughout this high-quality recording, with all of its clarity, the sounds of the musician at work (aside from just the notes) were not washed a way, which is something I personally like. On some tracks, the soft thumps and quiet slaps of Robbie’s fingers hitting the wood of the chanter can be heard, echoing the closures, doublings, tight passages, and legato refrains.
There is a handy array of sets on his record including reels and jigs, 1 fling, and 2 airs. Those familiar with Irish traditional music will recognize all of these tunes. The settings prove to be interesting and there always seems to be a subtle, yet unexpected variation that will have listeners remarking, “Why didn’t I think of that?” A tune of particular note with some Donegal flavorings is a version of “Bunker Hill” that Robbie got from a commercial recording of fiddler Seán Keane.
There are many remarkable facets to Hannan’s playing. From a global perspective, it is his sense of time, inextricably connected to and facilitated by his mastery of the chanter, which fiercely drives his music. To the unfocused ear, his playing might be described simply as linear and fluid yet void of lift or swing. This is simply not the case. For example, “The Flax in Bloom” weaves back and forth between short swung passages followed by straight figures, punctuated by tight playing, legato phrases, and a judicious use of doublings. The articulations themselves weigh in on how they influence the rhythm. All of this amounts to an evolved, soulful, and highly complex (internal) clock. Many imitators of Robbie Hannan have yet to be able to solve this rhythmic puzzle, and indeed it is a puzzle well worth investigating!
Doublings are a prominent characteristic of Robbie’s playing, yet his music is not imprisoned by that technique. Whether it was a conscious effort or not, I feel as though Robbie makes the real-time editorial decisions whether or not to use that technique. There is no doubt that his deft usage of doublings has not only influenced a generation of pipers, but in some cases, has morphed itself from an effective musical device, into a sheer excess of notes that camouflage a melody. Again, it is another puzzle worth working on.
Robbie does explore a range of tempos on this record. Though tempos on this record do not quite reach the clip found on “The Whirlwind,” none of the selections are slow. On this album, Robbie seems to gravitate towards certain jig and reel tempos. In addition, he tends to play his airs quicker than most. Every C natural, (with or without his signature 2 note grace) off-the-knee F roll, clarity of his crans, and smart usage of chanter closure, all simply sound great!
Many listeners will surely feel that this record was well worth the wait and I would concur, only to add that a piper of this depth, magnitude, and originality will hopefully leave far less time in between recordings.
Bhain mé an sult as an taifeadadh seo. Is mór an inspioráid dúinn ar fad agus do shaol an cheoil traidisiúnta do chumas píobaireachta.
