In the notes to the new double CD from Gael Linn called SEOLTA/I S/EIDTE the following quote appears on page 36:
“One commercial recording of Reck’s piping had been issued illegally in the United States…”
Is this a reference to THE STONE IN THE FIELD? If so what was “illegal” about it? If not, what recording does it refer to?
It refers to 78s released in the US.
Where can I get a (legal) Tommy Reck recording? Just wondering.
Justine
Thisrefers to a recording mad eby Bill Stapleton in the Moore st studios in 1948. Tommy told me he was hauled into the studio got to play a number of tunes, was given 20 pound and sent on his way. He never thought anything of it but a few tunes were released as a 78 rpm in the States on the Copley label one side has the Scholar, Salamanca and Tom Steele’s (Hand me down the Tackle) and the other side Higgin’s and Alexander’s. Tommy was in great form. We had him over in 1989 and were listening to the recording in a friend’s (who has a collection of 78rpms) house. Tommy walked into the room looking for his breakfast and was greatly surprised, he had never heard the recording. He was pleased with it too.
Copley also released a 78rpm of felix Doran under similar circumstances.
"legal recordings available’ are on Drones and Chanters and the Seolta Seidte, one track (Boolavogue) with the Dubliners, bits and pieces only if the Stone in the Field doesn’t get re-issued.
the other side Higgin’s and Alexander’s.
I have to assume that 78 was the source for the Reck cut on Rounder record’s “From Galway to Dublin” so, that makes half of the 78 easily available.
That cut is some very nice playing. I like the sound of his regulator playing in Alexander’s.
He was a nice regulator player, unfortunately he never seemed to have that Kenna going it’s best.
I was playing away on my own in 1989 with Tommy listening, at some point Geoff Wooff gave him the Harrington saying ‘you may as well play along’. Which he did, with a fully working set of pipes he was magic, doing all sorts of stuff on the regs, vamping etc, we played the Standing Abbey, second time around he played the first part all triplets, lifted me out of my seat.
A Great player he is to. I have a few recordings of Tommy Reck myslef (legal by the way;)). One of my favourites recordings of his is Carolyn’s Concerto. I believe he’s playing the Kena Bb 3/4 set on that track. Good to see that a 150 year old set is still operational and in good condition.
Posted By Peter Laban
He was a nice regulator player, unfortunately he never seemed to have that Kenna going it’s best.
A few notes on the Gael Linn recording are something to be desired 
. However considering the age of the set I think Tommy did a good job with tuning.
One thing that I think is interesting about older recordings (in comparison with new ones). Is that Irish music has gone up nearly a 2 1/2 tones in the bast 50 yrs. Most of the pipe tunes you hear from yestear are in either Bb, B, C, C#. Rairly do you hear recordings in D (even on the fiddle).
Cheers L42B 
I could say a lot but I’ll just say that Patrick Sky had brought Tommy’s set back to a working state with new reeds. The reason there isn’t much regulator playing on The Stone In The Field was merely because Pat hadn’t enough time to put reeds into them.
A superb recording.
Patrick.
An old set of pipes will hold together over time, as long as the blocks don’t crack and the springs stay firm - and both of these are reperable.
Ronan Browne and Seamus Ennis are two examples of pipers with very old instruments that nevertheless played (when in good repair) in perfect tune.
Pipers recording in America mostly were in D or slightly sharp - Taylor(ish) pipes. Leo Rowsome’s own set was almost in Eb. The bio of Leo written by his son Liam mentions that Leo popularized the concert set - mostly made by Leo, of course - before him, pipers played mostly the flat sets, that was what was at hand for one thing. Many old-time musicians didn’t much like the louder concert sets - Willie Clancy’s father. Some still don’t - Kitty Hayes for instance! Taste stays abreast of hearing loss.
[Edited due to quotation snag]
Originaly Posted By Kevin L. Reitmann
Pipers recording in America mostly were in D or slightly sharp - Taylor(ish) pipes. Leo Rowsome’s own set was almost in Eb. The bio of Leo written by his son Liam mentions that Leo popularized the concert set - mostly made by Leo, of course - before him, pipers played mostly the flat sets, that was what was at hand for one thing. Many old-time musicians didn’t much like the louder concert sets - Willie Clancy’s father. Some still don’t - Kitty Hayes for instance! Taste stays abreast of hearing loss.
My pipes in D play slight (not much) higher then A 440Hz. More like A 445Hz. It’s probably the reed but since I can get it to tune to itself nicely (reg’s etc) I don’t see any reason to change the reed. Besides people who arn’t musical (don’t play an instrument) wouldn’t pick it up. Especially if they wern’t listening for that sort of thing 
.
I also know from experience with other bagpipes that it’s nearly impossible to tune them to a temperred (chromatic) tuner. Each note will always be slightly out. Even on the best sets.
I find when tuning to an electronic tuner is to use it as a guide. Not the bible. Once you get close on the electronic tuner. Use your ear to fine tune the set.
Cheers L42B 
You’ve been at that wacky 'backy again haven’t you?!?!?!
Put the pie down L42B… PUT THE PIPE DOWN!
PD.