The North American Uilleann Pipers Scene

Uilleann Pipes
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Thought that I’d stir up some more trouble on the list. And, yes, I know some of this has been discussed. I’m just blabbering. :smiley:

There are plenty of pipers in the world but only a handful of them have the skills to go on to be really superb world class pipers. As I reflect on the scene in North Amerikay (US and Canada) this the month of the 7th anniversary of my start with the pipes I must say that I am impressed with the talent the lads and lassies in this country are demonstrating with the pipes. I am also warmly impressed with some of the other changes I’ve seen in American piping in that short period of time. There are so many who have been playing for less than a decade who have the ability to become quite good but only a few will rise to the world class level.

Everyone, I suppose, knows of Isaac Alderson and of his skills and of his All-Ireland titles. There’s Benedict Koehler, Eliot Grasso, Jerry O’Sullivan, Patrick Hutchinson, Sean Ryan, and Deb Quigley, and perhaps Todd Denman and Eric Rigler just to name a few others. I’m sure that I’ve left out several other notables…fell free to add them in discussion but make sure that you can identify what it is that makes them world class and separates them from the bevvy of other good or even excellent pipers.

Patrick d’Arcy, although a native of the Emerald Isle, started playing here in the US and is included in my mind as an “American” piper. Patrick Cannady is a stellar piper and musician who hails from Chicago. These two “have it” and will be “heard 'round the world” in the years to come.

Without a doubt, one of the next great American pipers is Skip Cleavinger of Bowling Green, Kentucky. Skip has played GHB’s for innumerable years. He has played Uilleann pipes for only 4-5 years. He was a regular member of the Celtic rock group Ceili Rain. He has recorded and toured with numerous well known artists of several genres. I first met Skip 1.5 years ago at a tionol we held at my home. He was an impressive piper then and since has progressed at an amazing pace. We had an opportunity to sit in session together once again this past weekend. I was blown away by his pipering. His playing is quite articulate, rhythmic with a lovely lilt, and his hands are nothing less than superb. His repertoire is quite impressive. Those of you who don’t know Skip will one day have the pleasure to hear and enjoy his playing.

Further, we now claim to be the country of residence of one of the best reedmakers (Benedict Koehler) and also one of the best pipemakers (David Quinn) the world has and will ever see. Seth Gallagher has established a fine reputation and Kirk Lynch is also well known and admired by those playing his pipes. There are others on both coasts and a few in the middle of the continent making pipes here and a tincture of time will be needed to measure their successess. Then, there are others, such as Ted Anderson, Wally Charm, Dean Karres, and even David Daye, who have done much to advance our knowlege, expand our networks, and spread the word to advance piping in this country. Some, such as the late Tom Standeven and the late Paul Levin and, alive and kicking, New Yorker Bill Ochs have a reputation for having taught numerous students.

“The Pipers Review” out of Seattle has become a valuable and resourceful periodical. The tionol scene is now best described, for better or worse, as TNTC (too numerous to count) and piping clubs are popping up everywhere. Tuition at these events is generally excellent and one is occasionally forced to choose between two tionols taking place on the same weekend.

Several notable pipers from Ireland (Tommy Martin, David Powers, Ivan Goff) have made their home in America for one reason or another and we will continue to greatly benefit from their involvement, influences, and tutelage.

In all, I must say that I am amazed at what is going on in North America at the moment compared to where we were 7 years ago. This is a great era for pipering on the continent. :party:

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Indeed, these are great times to be pipering in the North American continent.

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Glands, you’ve left out one of the greatest players of all - the Internet! Would there be anywhere near as many people getting involved, getting informed/disinformed/misinformed, and generally swimming in this great stew of churning attitudes/ideas/opinions without the 'net? The availability of recordings, music, instruction has literally exploded. Contacts with pipers, pipemakers, news and events drips off every screen. Its hard for anyone to claim to be an isolated piper anymore. Certainly we are all a bit further along than we would have ever been without this excellent resource.

djm

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Frankly, I’m a little surprised by the flourishing of piping here. Back in the seventies and eighties, the folk revival of the sixties was still a presence, and a jolt was provided by the supergroups Chieftains, Planxty, Bothy Band. But by the end of the eighties, this period had passed. New York had a lingering music scene, although piping was practically dead there. There was a handful of West Coast pipers carrying the torch, and a scattering of players elsewhere. There were Celtic radio shows and such, but there wasn’t much interest in folky stuff in the popular culture any longer.

But piping and I suppose Irish music generally has held on and flourished, one convert at a time. In the time that I’ve been playing, I’ve noticed changes in the Irish music scene, both here and in Ireland. It’s interesting that traditional music continues to be a living, changing phenomenon, in spite of commercialization pressures, recordings, etc. Part of Liam O’Flynn’s spiel in his recitals of 1971/72 included the comment that the “future of uilleann piping looks dubious at best.” He must be amazed at what has happened.

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For those of us in the New York City vicinity (and those accessing the station on the internet as well), another great influence is Fordham University’s WFUV radio station, where every weekend, Saturday mornings and all day Sunday are filled with irish music, new and old influences. And no where else can you find such a consistent pressence for the Uilleann pipes, either backing up an aire being sung or with a brood of other instruments or perhaps just the guitar or fiddle, and even solo. occaisionally we are also treated to a musician playing live. I would also like to state that Mr. Ochs should be more prominently mentioned as having largely keeping alive this instrument in NYCbefore the impact of Riverdance, particularly through his instruction; and I would also like to add Don Mead, who is committed to the genre of irish music at large, certainly gives the pipers their due in creating a forum for us to here great pipers play live, and fillin the gaps of history.

Sorry for the local bent to my comments, but they are substantial for this regiion.

Neil

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Actually you reminded me of Riverdance, Braveheart, and American Express ads, so I guess I was wrong about Irish music not being present in our popular culture.

Plus, on a more serious note, I suppose a number of prominent musicians were doing “cross-over” stuff, which may have been providing an entry in a similar way to the Sean O’Riada spin-offs of the seventies that brought so many of us into the music.

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Glands, there was a thread last year, or the year before, called [u]Tom Creegan (and other little known great pipers)[/u]. As with many of the names you mentioned, it’s always good to remember that there’s still a huge crowd of good uilleann pipers that don’t do pipe forums. And some of these guys are really good. Phil White, Pete Heelan, John Pederson, Kevin Carr…just to name a few from California who spent time with Denis Brooks. And they were pretty good 20 years ago. :wink:

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Interesting, I was just thinking today that there are quite a number of beginner pipers (1-2years) and that in 5-10 years there should be a growing number of fairly decent pipers.

I’d say piping is alive and well.

Regards,
Gary

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Thanks for pointing out those folks, Lorenzo.

And, in Chicago, playing a role within the past 7 years Joe Shannon and Kevin Henry.

And in Detroit, the late Al Purcell made an indelible mark.

I suppose there are non-pipers who have also assisted in the strenghtening of pipering on our continent.

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I think glands has missed his calling; his writing is to the point and is always good for a comment or two. Doesn’t anyone need a decent observer of the scene?? Much like Proust?? My daughter told me not to go there EVER

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Kieran O’hare, can’t forget him.

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Is fame really all that important?? I’m always struck by the chaps that just pop out of the woodwork, play an amazing tune or twenty at a session, or someones kitchen..then disappear again.

p.s. I’d have to agree with an above mentioned name..Pat Cannady… grand chap, superb piper with a truly elegant touch to the music…

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David, I don’t think this topic is as much about fame as it is about discussing and honoring those pipers/pipemakers that have kept the piping torch burning in the North American continent, in addition to just how accessible the music, instrument and player have become due to the modern media and technology…without which, we would not be able to see the fine work that you and other US and Canadian pipermakers have been turning out.

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Tim Britton has been keeping the tradition alive for over twenty years. I had my first practice set and my first lesson from him in the mid-1980s. His many years of pipe-making and playing are often overlooked on this forum, but I know many of the contributors here could cite him as an influence.

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ps: It’s David Power, singular and unique.

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To follow up on the comment about WFUV…I’ll add that for those of us who are not geographically blessed, you can access the WFUV archives online at www.wfuv.org. It’s a great resource, one worthy of my support (and yours). Now where’s my checkbook…

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Although not on the scale of others mentioned, Portland’s very own Tom Wilsbach deserves some credit. Tom grew up in Philadelphia, first playing the fiddle. He’s been playing pipes for almost 30 years now. He learned form a fellow, who’s name I forget, who learned from Patsy Touhy. So, he has a great “bloodline”. He was friends with Eugene O’Donnell and other notables. He also made field recordings of Seamus Ennis on one of Ennis’ visits to the states in the 70’s. His master’s thesis was on the vibrational modes of the UP reed. Closer to home, he frequently plays for school groups and others at the city library where he works. I’d say quite a few people were exposed to the pipes over the years here who perhaps never would have seen them otherwise. He’s also been a teacher for many years. Oh, and he plays a Leo Rowsome chanter that kicks butt.

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Keep them names coming!

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Willie Kelly, Boonton, NJ. Better known as a fiddle player, Willie is a fine piper as well. He gave me my first lessons on the pipes, and I owe a great deal of any piping skills that I have to him and his wife Siobhan, who taught me on the whistle while I was waiting for a practice set.

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West Side!!! :stuck_out_tongue:

And Conall O Raghallaigh.

J.