Irish Music Center John J. Burns Library

Boston College Chestnut Hill, MA 02467-3801

www.bc.edu/burns

Boston College Irish Fiddle Festival Collection

1990 March 25-26 and 1990 April 19

IMC_M003_1990

Last updated: 2010 May 18

COLLECTION OVERVIEW:

AUTHOR: Boston College SOURCE: Boston College and Dr. Mícheál Ó Súilleabháin COLLECTION #: IMC_M003_1990 ACCESSION DATE: 1990 April 1 and 1991 January 3 QUANTITY: 0.5 linear feet (2 boxes) LOCATION: Irish Music Archives, Level 1, Room 115, Aisle 8 and Aisle 12 PROCESSED BY: Finding Aid prepared by Jeffery Jones, August 2002; revised January 2003;

reformatted January 2008; revised May 2010 LANGUAGES: English and Irish RESTRICTIONS ON ACCESS: Collection is open for research. Original audio, visual and

manuscript materials are not the use copies; reference copies have been provided.

COPYRIGHT RESTRICTIONS: Copyright interests have not been transferred to Boston

College. For further information, see the section on copyright in the Burns Library's Rules for the Reading Room.

ABSTRACT: On Sunday, March 25, 1990, the Boston College Music Department and

Irish Studies Program co-sponsored "My Love is in America," a gathering of sixteen of the finest traditional Irish Fiddle players living in the United States. This collection includes sound and video reference copies of the original DAT, VHS and ¾" videotape recordings, as well as documents and photographic materials associated with the festival.

PREFERED CITATION: Identification of item, Boston College Irish Fiddle Festival Collection,

IMC_M003_1990, Irish Music Center, John J. Burns Library, Boston College.

PROCESSING NOTES: Listeners of the audio CDs may notice a very brief pause each time a

CD proceeds from one track to the next. These pauses do not indicate any absence of audio content from the original recordings.

Identification of song titles in the inventory listing has been based on the

designation given by the performers. Where the audio is unclear, the closest approximation of title has been provided by the collection processor. Music for which the title was not pronounced or is unknown has been designated as unidentified.

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HISTORICAL NOTE: Festival Background On Sunday, March 25, 1990, the Boston College Music Department and Irish Studies Program co-sponsored "My Love is in America," a gathering of sixteen of the finest traditional Irish fiddle players living in the United States. Festival director and visiting ethnomusicology professor Mícheál Ó Súilleabháin afforded these performers the rare opportunity to collaborate with other master fiddle players, reuniting old musical acquaintances and sparking new ones. Following an afternoon of informal sessions, the festival culminated in an evening concert featuring the sixteen master fiddle players in various performance combinations, from solo to full group accompanied by bodhrán. Although Green Linnet Records released an audio CD highlighting many of the festival concert performances (My Love Is in America, 1991), the audio recordings at the John J. Burns Library capture the festival in its entirety. A groundbreaking event in many respects, the festival established Boston College as a meeting place for traditional musicians of varying ages and playing styles, inaugurated the Irish Music Archives at the John J. Burns Library, and prefigured the creation of the Gaelic Roots Festival at Boston College (1993-2003).

Schedule of Events

March 24, 1990 Performer Meeting and Session (circa 11 p.m., probably Gasson Hall) After Mícheál O Súilleabháin meets with fiddle players to discuss Sunday's events, the fiddle players play several tunes together.

March 25, 1990 Festival Liturgy (11 a.m., St. Ignatius Church) Irish traditional singer Nóirín Ní Riain with fiddle players and the Boston College Liturgical Choir in a festival mass. Festival Lecture (12:30 p.m., Gasson Hall, Jenks Honors Library) "New Directions in Irish Fiddle Style": an illustrated talk by Mícheál Ó Súilleabháin on the music of Tommy Potts (1912-1988). Music Promenade (2:30 - c. 5:00 p.m., Gasson Hall, Irish Hall (Gasson 100)) Along with the invited fiddle players, our guests are the Set Dancers of the Boston branch of Comhaltas Ceoltóirí Éireann under the watchful eye of Larry Reynolds. 2:30 p.m. Fiddle session with invited fiddle players 3:30 p.m. Set Dancing with Larry Reynolds and Comhaltas Ceoltóirí Éireann 4:30 p.m. Open session Festival Concert (8:00 p.m., Gasson Hall, Irish Hall (Gasson 100)): Performances by invited fiddle players Kevin Burke, Liz Carroll, Séamus Connolly, Brian Conway, Johnny Cronin, Paddy Cronin, Tony De Marco, Martin Hayes, Eileen Ivers, James Kelly, Andy McGann, Johnny McGreevy, Brendan Mulvihill, Paddy Reynolds, Dale Russ, Martin Wynne, with Mel Mercier on bodhrán and bones.

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March 26, 1990 Festival Interviews (Monday morning, Burns Library, Irish Room): Johnny McGreevy, Andy McGann, and Johnny Cronin individually interviewed by Mícheál Ó Súilleabháin (with musical interlude by Dale Russ).

April 19, 1990 Festival Interview (Boston College Audio-Visual Studio): Paddy Cronin interviewed by by Mícheál Ó Súilleabháin.

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BIOGRAPHICAL NOTES: Fiddle Players

Kevin Burke was raised in London by Sligo-born parents and has always returned to his root-inspiration-the early pioneer American 78rpm recordings of the three great Sligo fiddle players: Michael Coleman, James Morrison, and Paddy Killoran. Currently a member of the group Patrick Street, Kevin's extensive discography includes much-acclaimed solo albums (If the Cap Fits, Up Close), as well as recording with the legendary Bothy Band, Micheál Ó Domnhaill, Jackie Daly, and many more of the great figures in Irish musical tradition. Sligo at heart, but global in scope best describes this musician's energy. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Liz Carroll was born in Chicago and much influenced in her youth by the Irish button-accordion player Joe Cooley, celebrated for his robust and driving style, and by fellow Chicago fiddle player and festival participant Johnny McGreevy. Liz's own style is a personal reworking of these and other Irish influences, and its unique power may owe something to that fact. Recordings include A Friend Indeed, Kiss Me Kate, and an important release on the Green Linnet label entitled Liz Carroll. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Séamus Connolly hails from Killaloe, East Clare and immigrated to Boston in 1976 with a string of National Fiddle Competition Awards to his credit. Already influenced by the 1920 recordings of Coleman, Killoran and Morrison-and by his time spent with the famed Kilfenor and Leitrim Ceili Bands-Séamus' brilliant fiddle technique has been widely heard on all three national tours of the "Masters of the Folk Violin," as well as at the Smithsonian Festival of American Folklife and other prestigious events. His creative energy has recently found expression in two much-awaited solo recordings-Notes from My Mind released in 1988, and in the recently released Here and There (both on Green Linnet). (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Brian Conway inherited his sense of fiddle tradition from his father Jim-himself a fiddle player-and from Martin Wynne, fellow New Yorker and festival participant. Another major figure, the late Martin Mulvihill, provided the opportunity for Brian's initial traditional music experience, and the Conway house in the Bronx where Brian was born and raised provided an excellent environment for hearing the best of New York's contemporary Irish tradition-including the fiddling of Andy McGann, another festival participant. In common with those among our guest fiddle players who have entered the round of competitions, Brian has distinguished himself by winning the All-Ireland 1985 award. Recordings include The Apple in Winter (with Tony De Marco) on Green Linnet Records. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Johnny Cronin was born in Gneeveguilla, Co. Kerry, and, as a result, he and his brother Paddy have inherited the rich Sliabh Luachra tradition carried by blind fiddle player Tom Billy Murphy, itinerant fiddle-master Pádraig O'Keeffe, and legendary fiddle player Denis Murphy. Johnny has nurtured this inheritance in New York where he has lived now for more than thirty years. Shanachie Records released a recording of his music entitled Cronin and Burke on which he

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features with banjo player Joe Burke. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Paddy Cronin has been living in the Boston area for over forty years. "I was born in the village of Gneeveguilla. That's in East Kerry, and takes in part of Cork. It's famous for its musicians and characters. I was taught by Pádraig O'Keeffe. He was the greatest. Pádraig was across the fields maybe three or four miles away, and then Denis Murphy. Why I could go to the window and see Denis' house, and Pádraig was on the opposite side again, just over the hill. So the three of us were very close" (from notes to Paddy's album The Rakish Paddy as quoted in the Festival Program). Paddy was recorded at the age of twenty-four for the London BBC archives, and his first commercial recording, entitled Music in the Glen, was released by Fleetwood Records in the fifties. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Tony De Marco grew up in an Irish-Italian parish in Brooklyn and was drawn from an initial interest in American country fiddling into the sound-world of the New York-based fiddle players Paddy Reynolds, Johnny Cronin, Martin Wynne, and Andy McGann. Successive trips to Ireland, in particular County Sligo, led to a deepening of Irish roots which was nurtured by an important musical relationship with Paddy Reynolds. Attendance at the weekly session in Jim Conway's house in the Bronx led naturally to a musicale friendship with Brian Conway which is recorded on The Apple in Winter (Green Linnet Records). (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Martin Hayes was born in the townland of Maghera between Feakle and Tulla in County Clare. Martin inherited his fiddling directly from his father P.J. Hayes whose name is synonymous with the Tulla Ceili Band. From the age of fourteen Martin played with his father in the Tulla band and also came under the influence of important local names including Paddy Canny, Martin Rochford, and Vincent Griffin, all of whom lived and played around North East Clare. Like so many Irish traditional musicians before him, Martin emigrated to America and no lives in Chicago working professionally with a band called Midnight Court. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Eileen Ivers is the youngest of the fiddle players at the Festival. She studied at the Martin Mulvihill School of Irish Music in her native New York. With eight all-Ireland prizes already behind her (one of them on the banjo-mandolin), she represents a younger generation of musicians seeking to make their tradition relevant to the world around them. AS well as playing with the all-female group Cherish the Ladies, Eileen plays regularly with flue player Joanie Madden in the New York band Jigsaw. Her recording with John Whelan (accordion) entitle Fresh Takes was released by Green Linnet. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

James Kelly At the age of three, James was introduced to traditional fiddling by his father John. John Kelly was a major influence on the Irish composer Seán Ó Riada in whose pioneering band Ceoltóirií Chualainn John played throughout the sixties. Well established as a player of virtuosity and depth, James in turn has brought his tradition to an ever-widening audience through his involvement with many groups including the post-Ó Riada group Ceoltóirí Laghain, Planxty, and Patrick Street. He is known for his fiddle master-classes at the Willy Clancy Summer School and

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recently presented a twelve-part series of traditional music programs entitle The Pure Drop for Irish television. Grounded in the fluent and understated Clare style of his father, James is also influenced by the more direct virtuosity of the Sligo style. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Andy McGann was born in 1928 in New York City where his Sligo-style fiddle playing remains a charismatic influence. Introduced to the fiddle at the age of seven by a student of Michael Coleman, Catherine Brennan. Andy came into direct contact with Coleman in his early teens. Coleman, who died in 1945, used to visit the McGann household during the final years of his life; it was during these visits (which could last for several days) that Coleman seems to have passed his legacy on to Andy. In the late fifties, Andy recorded his first album, Joe Burke, Andy McGann and Felix Dolan Play a Tribute to Michael Coleman (Shaskeen Records; reissued in 1994 as A Tribute to Michael Coleman). Two later recordings followed on Shanachie, one with Paddy Reynolds (Andy McGann and Paddy Reynolds), and the other a solo recording with the guitar backing of Paul Brady (Andy McGann and Paul Brady). (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Johnny McGreevy More than forty-years-old before he visited Ireland, Johnny was greatly influenced by the Mayo-born fiddle player Jimmy Neary whom he met in his late teens. Born in Chicago of Irish parents in 1919, McGreevy in turn took inspiration from the recordings of Coleman, Morrison, and Killoran. Working with Pat Roche's Harp and Shamrock Orchestra, Andy made his first recording in 1938. Since then he's played on a number of recordings, including McGreevy and Cooley (produced by Miles Krassen on Philo Records in 1974) and Joe Shannon and Johnny McGreevy (produced by Mick Moloney for Green Linnet Records in 1980). (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Brendan Mulvihill The source of Brendan's fiddle playing may be traced to Ballygoughlin in West Limerick where his father Martin was born. Brendan's birth in Northampton, England and the subsequent emigration of the family to New York (where Martin established an important school for Irish music) may have clouded some of the surface connection between the fiddle styles of father and son, but the musical passion remains the same. Brendan's music displays a sweetness of tone matched by an intuitive sense of variation. Several earlier recordings with the group The Irish Tradition have given way to his most important recording to date entitled The Steeplechase (accompanied by the sensitive piano playing of Donna Long). Brendan is in the process of preparing a collection of his father's music for publication. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Paddy Reynolds When he was six years old, Paddy was first taught the fiddle by his mother. Born in 1922 in Ballinamuck, Co. Longford, Paddy immigrated to America in the late forties and settled in the Bronx. His friendship with fellow festival fiddle player Andy McGann goes back for many years and led to the recording of Andy McGann and Paddy Reynolds (Shanachie Records) on which the influence of legendary fiddle player James "Lad" O'Beirne may be heard. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Dale Russ Irish music may emanate from the Irish, but-being a thing of the spirit-it is not the sole property of the Irish. Dale represents the growing number of non-Irish musicians who have

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sensed a common spirit with the Irish tradition and who for some reason beyond articulation have found an empathy with the sound of being Irish. Born in the U.S., Dale's first exposure to Irish music was through the lens of bluegrass guitar-he did not actually begin playing Irish music until he picked up the fiddle in 1973 following a move to Olympia, Washington. Although a latecomer to Irish music, in the eyes and ears of influential figures like fiddle player Kevin Burke (who also plays in the Pacific Northwest), Dale has proven his psychic knowing of Irish fiddle style. Within our community of Irish-American fiddle players Dale represents the universality of musical experience-the creative spirit grounded in, but greater than, tradition. (derived from O Súilleabháin's My Love Is in America Festival Program and Larry Hill's Fiddler Magazine article, "Dale Russ: Irish Fiddling on the Pacific Rim")

Martin Wynne "I was born in Everlaun, Bunninadden, County Sligo, year of 1913. At about ten I started playing the ten-keyed accordion-the songs that were sung in school and other melodies to which I was exposed. Later at about age twelve I was given a violin and after some practice I was able to play on the violin the music I knew on the accordion. I never had a formal teacher-just got what I know from what I heard and saw. I learned a lot of tunes from the gramophone or phonograph, featuring fiddle players Michael Coleman, James Morrison, Paddy Killoran and others. I did learn a number of tunes directly form other neighboring players-one of chief importance was Philip O'Beirne, father of Lad O'Beirne who lived in New York." (From M. Ó Súilleabháin's My Love Is in America Festival Program)

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BIOGRAPHICAL NOTES: Other Festival Participants

Mel Mercier Son of Peadar Mercier (bodhrán player with Ó Riada's Ceoltóirí Chualainn and with The Chieftains), Mel is widely recognized for his technical brilliance on traditional Irish percussion instruments. A graduate of University College Cork Music Department, he is currently a Fulbright Scholar in the California Institute of the Arts where he is studying ethnic percussion techniques from around the world. This sense of Irish tradition connecting with a global network of traditional music expression informs Mel's creativity at the deepest level. The decision to omit any form of harmonic accompaniment this evening, and to substitute instead rhythmic support in the form of bodhran and bones, is an attempt to recognize the melodic and rhythmic interplay which informs the heart of this tradition. By reaching back into an older sound, we hope to propel something of that heart into a new millennium. Mel Mercier is perfectly poised for that task. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Nóirín Ní Riain is well known in Europe and America for her recordings of traditional religious music with the Benedictine Monks of Glenstal Abbey in Ireland. Her interpretation of this tradition has been recognized as surpassing any sectarian divide, as shown through invitations to perform in liturgies of many Protestant denominations, the Unitarian-Universalist Church, as well as within her own Roman Catholic tradition. In Costa Rica at an international peace gathering in 1989, she was invited to introduce the Dalai Lama in song to an interfaith conference on the theme "Seeking the True Meaning of Peace." In recent months she has shared presentations and workshops with the controversial Dominican theologian Matthew Fox on the theme of creation-centered spirituality. Her trilogy of recordings on Gael Linn Records has received much acclaim: Caoineadh na Maighdine (1980), Good People All (1982), and Vox De Nube (1989). (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Mícheál Ó Súilleabháin is head of the Irish Music Program in the University College Cork Music Department which is internationally known for its innovative blend of classical and traditional musicians in a shared degree course. At the invitation of the Irish Studies Program, Mícheál was appointed Visiting Professor in the Music Department at Boston College where he became the moving spirit behind The Irish Fiddle Festival. His two recordings had received international attention: The Dolphin's Way (1987) and Oileán/Island (1989), both on the Venture/Virgin label. In 1987, Mícheál earned his Ph.D. from Queen's University Belfast, writing his dissertation on the music of Tommy Potts. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

Larry Reynolds was born in Ahascragh, County Galway and has been in Boston now (1990) for thirty-seven years. For the past fifteen years, he has been chairman of the Boston branch of Comhaltas Cheoltóirí Éireann. A fiddle player himself, he runs highly successful set-dance workshops whose frequent visitors from Ireland include master dance instructors Donnachadh Ó Muimhneacháin and Joe and Siobháin O'Donovan. (From M. Ó Súilleabháin's My Love Is in America Festival Program)

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BIOGRAPHICAL NOTES: Miscellaneous Others

Denis Murphy (1910-1974) was born in Lisheen, Gneeveguilla, Co. Kerry to a family of fiddle players. Murphy studied with Pádraig O'Keeffe and was friendly with festival participants Andy McGann and Paddy Cronin. His life is recorded on RTÉ radio documentaries, his music on Denis Murphy: Music from Sliabh Luachra. (Derived from Fintan Vallely's The Companion to Irish Traditional Music)

Tom Billy Murphy (1875-1943) Born in Ballydesmond one of seventeen children, Tom Billy contracted polio at age thirteen; as a result, he lost his sight and much of his ability to use his limbs. Despite his disabilities, he became a famed fiddle player and itinerant music teacher, traveling throughout Sliabh Luachra on a donkey. Succeeded as a teacher by Pádraig O'Keeffe, Tom Billy left behind a treasure trove of tunes, and "one of Tom Billy's" may still be heard during sessions in Sliabh Luachra and beyond. (Derived from Fintan Vallely's The Companion to Irish Traditional Music and Anne Lucey's Cork Examiner article, "Monument Honours Noted Blind Fiddler").

Eleanor (nee Kane) Neary (1915-1993) Born in Chicago, Eleanor began piano lessons at age six, continued her education by listening to recordings from Captain Francis O'Neill's collections, and made her first public appearance as a musician playing with Pat Roche and his Harp and Shamrock Orchestra at the 1934 Chicago World's Fair. During the 1930s, she and her husband, fiddle player Jimmy Neary, made their home a gathering place where local and visiting traditional musicians could meet and play. An accomplished pianist, Eleanor Kane, as she is better known, was well respected as both a soloist and accompanist. Her recordings include Irish Traditional Instrumental Music in Chicago, Chicago Irish Musicians, and various anthologies. (Derived from Fintan Vallely's The Companion to Irish Traditional Music)

Jimmy Neary was a fiddle player born in Swinford, Co. Mayo who immigrated to Chicago in 1929 where he married pianist Eleanor Kane. During the 1930s, he and Eleanor opened their home to local and visiting traditional musicians, providing a meeting place for such contemporaries as festival participants Martin Wynne and Johnny McGreevy. The Neary household became an important nerve-center for the tradition at a time when the vibrant Chicago scene (championed by Captain Francis O'Neill of the Chicago police at the turn of the century) was ebbing. (Derived from Fintan Vallely's The Companion to Irish Traditional Music)

Pádraig O'Keeffe (ca. 1887-1963) was born at Gleanntán, Co. Kerry where for a time he followed in his father's footsteps as the local national schoolteacher. When O'Keeffe lost his teaching position in 1920, he became a full-time music instructor. The "last of the fiddle-masters," O'Keeffe traveled on foot throughout the Sliabh Luachra area and trained pupils in the fiddle and accordion using his own system of musical notation. O'Keeffe's contributions to Irish traditional music have been preserved both in Sliabh Luachra and abroad: many of his students-including festival participant Paddy Cronin-have also become well-respected musicians and teachers. O'Keeffe's playing may still be heard thanks to Séamus Ennis' recordings, some of which have been collected on CD-Kerry Fiddles (Ossian) and The Sliabh Luachra Fiddle Master (RTÉ), both issued in 1993. (Derived from Fintan Vallely's The Companion to Irish Traditional Music)

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Tommy Potts (1912-1988) was an individualistic fiddle player who developed a unique and controversial style of solo playing which set him apart from his fellow musicians. Born in the Coombe, Dublin, Potts was influenced by his father's traditional music aesthetic, as well as the numerous traditional musicians who visited his father, a respected uilleann piper and flute player. Also influenced by classical music and the popular music of the day, Potts frequently wove these non-traditional sources into his improvisational playing. Potts' music-heard on his 1972 recording Liffey Banks (Claddagh Records)-challenges many of our assumptions about the boundaries of Irish fiddle style and of Irish music in general; whether his unique style turns out to be peripheral or prophetic remains to be seen. (Derived from M. Ó Súilleabháin's My Love Is in America Festival Program and Fintan Vallely's The Companion to Irish Traditional Music)

Sources: Though slightly edited for style, the content of most of the biographical entries is copied directly from the original Festival Program notes written by Mícheál O Súilleabháin.

Cronin, Paddy. The Rakish Paddy. LP liner notes. Fiddler Records, 1975. Rpt. in Ó Súilleabháin, Mícheál. My Love Is in America, Festival Program. Boston College Irish Fiddle Festival, 25 March 1990.

Hill, Larry. "Dale Russ: Irish Fiddling on the Pacific Rim." Fiddler Magazine. spring 1997.

Lucey, Anne. "Monument Honours Noted Blind Fiddler." The Cork Examiner. 1999: n. pag. Rpt. in Blaha, Kay. "Tom Billy Murphy." 28 Dec. 1999. Online posting. World Wide Web. 13 August 2002. Available online <http://archiver.rootsweb.com/th/read/IRL-KERRY/1999-12/0946436413>.

Ó Súilleabháin, Mícheál. My Love Is in America, Festival Program. Boston College Irish Fiddle Festival, 25 March 1990.

Vallely, Fintan, ed. The Companion to Irish Traditional Music. Cork: Cork UP, 1999.

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SCOPE AND CONTENT NOTE:

This collection includes audio and video recordings, publicity and explanatory documents, and photographic materials associated with the Boston College Irish Fiddle Festival, "My Love is in America." The audio portion of the collection is composed of ten reference CDs that include musical portions of Sunday Mass, Mícheál Ó Súilleabháin's lecture on fiddle player Tommy Potts, various sessions, the Sunday evening Festival Concert, and Mícheal Ó Súilleabháin's individual interviews with four of the festival's fiddle players (Johnny McGreevy, Andy McGann, Johnny Cronin, and Paddy Cronin).

The video portion of the collection includes five DVDs that capture the Music Promenade, Festival Concert, and the four festival interviews.

The collection is arranged into four series.

SERIES LISTING: I. Audio Recordings, Reference Copies II. Video Recordings, Reference Copies III. Documents and photographs IV. Audio and Visual Recordings, Originals SERIES DESCRIPTION: SERIES I: Audio Recordings, Reference Copies Ten CDs documenting the performer meeting and session, festival Liturgy, lecture, music promenade, concert, and interviews with Johnny McGreevy, Andy McGann, and Johnny Cronin. Inventory list includes track numbers and descriptive track notes. The series has been arranged according to the order of the festival program. SERIES II: Video Recordings, Reference Copies Five DVDs documenting the music promenade, festival concert, interviews with Johnny McGreevy, Andy McGann, Johnny Cronin, and Paddy Cronin. Inventory list includes scene times and descriptive notes, as well as corresponding audio tracks (CDs in Series I). The series has been arranged according to the order of the festival program. SERIES III: Documents and Photographs This small series contains photocopies of printed material, an item of correspondence, and photographic negatives and a corresponding contact sheet pertaining to the Boston College Irish Fiddle Festival, "My Love Is in America." SERIES IV: Audio and Video Recordings, Originals This series contains the original DAT [Digital Audio Tape], VHS, and ¾" videotape recordings documenting the festival. These originals are restricted from user access; however, the entirety of their content is represented in the use copies.

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INVENTORY AND CONTAINER LIST: Box Folder Title, Date SERIES I: Audio Recordings, Reference Copies

Folder 1 - Performer Meeting and Session: IMC_M003_1990_1s_CD1of1 (approx. 31 min.)

Track Description

1 General discussion about Festival Concert format; invitation to fiddle players to play at Mass; brief story about Johnny McGreevy at Mass

2-8 Unidentified session tunes 9 Mícheál O Súilleabháin introduces Chris Lovett of WYNY 10-12 Unidentified session tunes

Folder 2 - Festival Liturgy: IMC_M003_1990_2s_CD1of1 (approx. 51 min.)

Track Description 1 Song by Nóirín Ní Riain and choir 2 Opening remarks by priest; "Kyrie" sung by Nóirín Ní Riain and choir 3 Prayer; 1st reading (announced only) 4 Vocal solo by Nóirín Ní Riain; 2nd reading (from the letter of Paul to the Ephesians)

5 Song (call and response, probably Gospel acclamation); Gospel reading (Gospel of John); Song (call and response)

6 Sermon (incomplete) 7 Tune: "Tabhair Dom Do Lámh" (fiddles, piano and bodhrán) 8 Piano 9 Eucharist (beginning) 10 Eucharist (continued) 11 Song by Nóirín Ní Riain and choir 12 silence 13 "Amazing Grace" sung by choir 14 silence 15 Vocal solo by Nóirín Ní Riain 16 silence 17 Song by choir; Priest thanks musicians; Prayer and closing 18 Reel: "Lucy Campbell" 19 Reel: "My Love Is In America"

Folder 3 - Festival Lecture: IMC_M003_1990_3s_CD1of1 (approx. 54 min.)

Track Description 1 Welcome and introduction; Tommy Potts (1912-1988); The Liffey Banks (Claddagh

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Records, 1972); unusual interpretation of Irish traditional music; Ó Súilleabháin's interest in and analysis of Potts' music

2 Potts broke the round, a communal, traditional style of playing; his music is not session music; younger musicians following in Potts' footsteps

3 Potts the solitary performer 4 Adding/omitting bars--example: "Top It Off" (a slip jig traditionally in 9/8 time) 5 "Top It Off" (Ó Súilleabháin speaks over the example and explains it) 6 Introduces further example: "Toss the Feathers" 7 "Toss the Feathers" 8 Potts' unusual structure 9 Sources of Potts' musical ideas

10 Romantic influences-examples: Chopin's "Funeral March"; Potts' version of "The Pigeon on the Gate" uses Rachmaninoff

11 "Toss the Feathers" (encore) 12 Added/omitted bars (cont'd)--example: "The Rocky Road to Dublin" (slip jig) 13 "The Rocky Road to Dublin" 14 Discussion of a small portion of "The Rocky Road to Dublin" 15 "The Rocky Road to Dublin" (encore) 16 Formal variations--example: "My Love is in America"

17 Further examples: "Julia Delaney" and "Toss the Feathers"; influences on "My Love

Is in America": Chopin, 50's song "Hey Mambo" (first line of "Mambo Italiano") and jazz-style riffs

18 Title-influenced tunes--example: nostalgia in "My Love is in America"; further

examples: "The Butterfly" (slip jig),"Fisherman's Lilt" (reel), "The Drunken Sailor" (hornpipe)

19 "The Butterfly" / "Fisherman's Lilt" / "The Drunken Sailor"

20 Rosemary Clooney singing "Mambo Italiano"; Potts & religious tradition--example: "The Parting Glass" (air)

21 "The Parting Glass" with Ó Súilleabháin on organ and Potts' voice 22 Brief question and answer session

Folder 4 - Music Promenade: IMC_M003_1990_4s_CD1of3 (approx. 1 hr. 5 min.)

Track Description 1-6 All 7 "Hickey's Reel": Solo probably played by Paddy Cronin 8-11 All 12 Solo played by Paddy Cronin 13-15 All 16 Solo probably played by Paddy Cronin 17 "The House of Hammil": Duet played by Kevin Burke & Dale Russ 18 Pause

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19 Duet played by Paddy Reynolds & Andy McGann 20 Solo played by Johnny McGreevy 21-23 Tunes played by All

Music Promenade: IMC_M003_1990_4s_CD2of3 (approx. 1 hr. 12 min.)

Track Description 1 Unidentified tune played by Paddy Cronin, Brian Conway, Larry Reynolds 2-3 Pause 4 Solo played by Martin Wynne 5 Solo played by Martin Wynne 6 Séamus Connolly introduces the fiddle players 7 Mícheál Ó Súilleabháin speaks 8 "My Love Is in America" played by All 9 Pause 10-13 Set dancing 14 Larry Reynolds introduces set dancers 15 Dance Instruction 16 Long pause 17-20 Dancing 21 Pause 22 Waltz 23 Pause 24 Two-hand Hornpipe 25 Pause 26 "The Siege of Ennis" Reel 27 Vocal solo by Nóirín Ní Riain

Music Promenade: IMC_M003_1990_4s_CD3of3 (approx. 38 min.)

Track Description 1 Unidentified tune played by All 2 Unidentified tune played by Paddy Cronin, Brendan Tonra, Dale Russ 3 Pause 4 Unidentified tune played by All 5 Solo played by Paddy Cronin 6 Solo played by Brendan Tonra 7 Unidentified tune played by All 8 Pause 9 Unidentified tune played by All 10 Pause 11 Unidentified tune played by All

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12 Solo played by Paddy Cronin 13 Solo chiefly played by Paddy Cronin with whistles 14-15 Unidentified tune played by All 16 Solo played by Paddy Cronin with Brendan Tonra joining near tune's end 17 Recitation: W.B. Yeats' "A Coat", by Jack White 18-19 Unidentified tune played by All 20 Solo played by Paddy Cronin with Jack White, whistle

Folder 5 - Festival Concert, Act I: IMC_M003_1990_5s_CD1of2 (approx. 55 min.)

Track Description 1 Mícheál Ó Súilleabháin introduces the evening Kevin Burke & Dale Russ Set 2 Mícheál Ó Súilleabháin introduces Kevin Burke & Dale Russ 3 Burke & Russ-Unidentified Jigs 4 Burke-Three Reels: "The Broken Pipes"/"Martin Rockford’s"/ "Miss McLeod's" 5 Russ-Double Jig: "The Humours of Ballyloughlin" 6 Tune Intro 7 Burke & Russ-Reels: "Roll out the Barrel"/"Lafferty's"/"The House of Hammil"

Liz Carroll, Eileen Ivers, & Martin Hayes Set (with Mel Mercier) 8 Mícheál Ó Súilleabháin introduces Liz Carroll, Eileen Ivers, Martin Hayes, & Mel Mercier 9 Carroll, Ivers, & Hayes-Slip jig 10 Carroll-Reels: "The Exile of Erin"/"Seán sa Cheo" 11 Hayes-Reels: "Joe Bane's"/"The Green-Gowned Lass" 12 Ivers (with Mercier, bodhran)-Reels: Unidentified/"The Piper on Horseback" 13 Carroll, Hayes & Ivers (with Mercier, bodhran)-Reel: "The Humours of Lissaddell" 14 Dead space 15 Mícheál Ó Súilleabháin makes announcements Johnny McGreevy, James Kelly, Paddy Cronin, & Johnny Cronin Set

16 Mícheál Ó Súilleabháin introduces Johnny McGreevy, James Kelly, Paddy Cronin, & Johnny Cronin

17 McGreevy, Kelly, P. Cronin, & J. Cronin-Unidentified Tune 18 Tune Intro 19 J. Cronin-Two Jigs 20 P. Cronin (Brendan Tonra's) 21 Gneeveguilla fiddler tradition talk 22 Kelly-Reels: "The Morning Dew"/"Jenny's Chickens" 23 Tune Intro 24 McGreevy-Two Unidentified Jigs

16

25 McGreevy, Kelly, P. Cronin, & J. Cronin-Reels: "The Tarbolton"/"The Longford Collector"/"The Sailor's Bonnet"

Festival Concert, Act II: IMC_M003_1990_5s_CD2of2 (approx. 1 hr. 15 min.)

Track Description 1 Mícheál Ó Súilleabháin thanks Brendan Mulvihill & Séamus Connolly

Brendan Mulvihill & Séamus Connolly Set (with Mel Mercier)

2 Mícheál Ó Súilleabháin introduces Brendan Mulvihill, Séamus Connolly, Mel Mercier

3 Mulvihill & Connolly-Unidentified Reels 4 Tune Intro

5 Mulvihill-Reels: "A Bunch of Keys" or "The Flowers of Limerick" / "Tommy Coen's"

6 Tune Intro

7 Connolly-Slow Air: "Sliabh na mBan"/Hornpipe: "Sliabh na mBan"/Reels (with Mercier, bodhran): "Fisherman's Island"/"The Humours of Westport"

8 Connolly offers thanks & welcome 9 Tune Intro

10 Mulvihill & Connolly (with Mercier, bodhran)-Reels: "The Salamanca"/"Trim the Velvet"

Andy McGann & Paddy Reynolds Set

11 Mícheál Ó Súilleabháin introduces Andy McGann & Paddy Reynolds 12 McGann, Reynolds-Two Jigs: "Joe Derrane's"/Unidentified 13 Tune Intro 14 Reynolds-Reels: "Aggie Whyte's"/"Miss Roddy's" 15 Tune Intro

16 McGann-Air: "Gaelic Lament"/ Reels: "The Lads of Laois"/"The First Month of Summer"

17 Tune Intro 18 McGann & Reynolds-Hornpipe: "The Banks Medley"

Brian Conway, Tony De Marco, & Martin Wynne Set

19

Mícheal Ó Súilleabháin introduces Brian Conway, Tony De Marco, & Martin Wynne

20 Tune Intro

21 Conway, De Marco, & Wynne-Hornpipes: "The Flowers of Spring"/"Jim Coleman's"

22 Tune Intro 23 Wynne-Slip Jig: "The Boys of Ballisodare" 24 Wynne-Reel: "The Wexford Lass" 25 Conway-Air: "The Lament for Staker Wallace"/Reel: "Farewell to

17

Ireland"/"Farewell to Erin" (with Mercier, bodhran) 26 Tune Intro

27 De Marco (with Mercier, bodhran)-Reels: "The Wind that Shakes the Barley"/"The Reel [of] Bogie" ["The Tramp's Reel"]

28 Tune Intro 29 Conway, De Marco, & Wynne-Reels: "Lad O'Beirne's"/"Leinster Buttermilk"

Final Set

30 Dead space 31 "What would you like to hear?" Intro 32 All-Hornpipes: "The Plains of Boyle"/"Dunphy's Hornpipe" 33 S. Connolly introduces tunes 34 Three Double Jigs by Michael Coleman: "The Wandering Minstrel Medley" 35 J. Kelly expresses appreciation 36 Reel: "Lord McDonald's"/"The Fair of Ballinasloe" 37 Tune Intro 38 All-Reel: "My Love Is in America" with opening bodhran solo by Mel Mercier

Folder 6 - Festival Interviews: Johnny McGreevy, Andy McGann, & Johnny Cronin: IMC_M003_1990_6s_CD1of1 (approx. 56 min.)

Mícheál Ó Súilleabháin and Johnny McGreevy discuss McGreevy's upbringing in Chicago; Captain Francis O'Neill; dance bands; Eleanor Kane and Jimmy Neary; learning to play. McGreevy plays three jigs: "The Bride's Favorite" and two unidentified jigs. McGreevy talks about Joe and Seamus Cooley; visiting Ireland for the first time (1959); traditional music in Chicago.

Dale Russ plays two reels: "Love at the Endings"/"The Reel of Rio," followed by two hornpipes: "The Stack of Wheat"/"Bantry Bay Hornpipe."

Ó Súilleabháin and Andy McGann discuss McGann's family background; Michael Coleman; reading and learning music; Michael Coleman's death and influence; the fiddle festival. The interview concludes with McGann playing "Saint Anne's Reel."

Ó Súilleabháin and Johnny Cronin discuss Cronin's background; Sliabh Luachra teachers and musicians, including Tom Billy Murphy and Padraig O'Keeffe; the Sliabh Luachra style; coming to the States; Jimmy Neary and Eleanor Kane. Cronin concludes the interview by playing "The Morning Star."

Track Description 1-14 Johnny McGreevy interview 8 "Bride's Favorite" 9 Two Unidentified Jigs 15 Dale Russ-Reels: "Love at the Endings"/"The Reel of Rio"

18

16 Dale Russ-Hornpipes: "The Stack of Wheat"/"Bantry Bay Hornpipe" 17-21 Andy McGann interview 21 "Saint Anne's Reel" 22-33 Johnny Cronin interview 31 "The Morning Star"

Folder 7 - Festival Interview: Paddy Cronin: IMC_M003_1990_7s_CD1of1 (approx. 51 min.)

Mícheál Ó Súilleabháin and Paddy Cronin discuss Gneeveguilla and Cronin's family background (born July 1925); first fiddle and first lesson with Padraig O'Keeffe. Cronin plays a polka: "The Munster Bank" (first tune learned from O'Keeffe). Cronin talks about Padraig O'Keeffe and Denis Murphy; teaching and learning; set dancing; arriving in the States (June 1949); living and working in Boston; living in Chicago (3 years); Eleanor Kane, Jimmy Neary, and Johnny McGreevy; the state of contemporary traditional music in the States; Irish musicians immigrating to the States. Cronin plays an unidentified O'Carolan tune/unidentified reel from Paddy O'Brien and "The Drunken Sailor" (2 attempts). He discusses Tommy Potts, soul, and the qualities of a good musician; plays a dance tune: "Maud Miller." Discusses playing Sliabh Luachra dance tunes and Eleanor Kane then plays an unidentified Eleanor Kane tune. Talks about the contemporary traditional music scenes in Boston, New York City, and San Francisco; the state of traditional music in Killarney; Tom Billy Murphy of Sliabh Luachra; economics in Ireland, especially the economics of teaching; Sliabh Luachra musical tradition; returning to Sliabh Luachra to live (May 25, 1990). Cronin concludes the interview by playing two unidentified Sliabh Luachra tunes.

Track Description 1-19 Paddy Cronin interview 1 Gneeveguilla & family background (born July 1925) 2 First fiddle & first lesson with Padraig O'Keeffe 3 Polka: "The Munster Bank" (first tune learned from O'Keeffe) 4 More Padraig O'Keeffe & Denis Murphy; Teaching & learning 5 Set dancing 6 Arriving in the States (June 1949); Living & working in Boston 7 Living in Chicago (3 years); Eleanor Kane, Jimmy Neary, Johnny McGreevy

8 State of contemporary traditional music in the States; Irish musicians immigrating to the States

9 Unidentified O'Carolan tune/Unidentified Reel from Paddy O'Brien 10 "The Drunken Sailor" (2 attempts) 11 Tommy Potts; Soul and the qualities of a good musician 12 Dance tune: "Maud Miller" 13 Playing Sliabh Luachra dance tunes 14 Eleanor Kane & an Unidentified Eleanor Kane tune

19

15 Contemporary traditional music scenes in Boston, New York City, and San Francisco; State of traditional music in Killarney

16 Tom Billy Murphy of Sliabh Luachra 17 Economics in Ireland, especially of teaching

18 Sliabh Luachra musical tradition; Returning to Sliabh Luachra to live (25 May 1990)

19 Two Unidentified Sliabh Luachra tunes SERIES II: Video Recordings, Reference Copies,

Folder 8 - Music Promenade: IMC_M003_1990_4v_DVD1of1 (approx. 1 hr. 59 min.)

Time From Top

Description Corresponds to audio:Folder CD Track(s)

00:00:00 Unidentified tune played by All (Begins mid-tune) 4 1 11 00:01:35 Solo played by Paddy Cronin 4 1 12 NOTE: Video cuts solo probably played by Paddy Cronin 4 1 16 00:07:32 Duet played by Kevin Burke & Dale Russ ("Blackbird") 4 1 17 00:10:30 Duet played by Paddy Reynolds & Andy McGann 4 1 19 00:13:37 Solo played by Johnny McGreevy 4 1 20 NOTE: Video cuts beginnings/endings off of several tunes 4 1 21 - 22 00:22:25 Paddy Cronin, Brian Conway, Larry Reynolds 4 2 1 00:24:16 Solo played by Martin Wynne

NOTE: Video cuts brief section 4 2 4

00:25:50 Solo played by Martin Wynne 4 2 5 00:27:20 Video cuts to Séamus Connolly's introduction of fiddle

players 4 2 6

NOTE: Video cuts some intros, partially and entirely (Eileen Ivers, Mel Mercier)

00:34:21 Mícheál Ó Súilleabháin speaks 4 2 7 00:35:00 "My Love Is in America" played by All 4 2 8 00:36:50 Video cuts to Set dancing (incl. Larry Reynolds introducing

dancers) 4 2 10 - 14

00:46:44 Video cuts to Dance Instruction 4 2 15 00:52:00 Set dancing 4 2 17 - 20 01:03:46 Waltz 4 2 22 01:08:50 Video cuts through pause to Two-hand Hornpipe 4 2 24 01:14:18 Video cuts to "The Siege of Ennis" Reel 4 2 26 01:19:14 Song by Nóirín Ní Riain 4 2 27 01:22:49 Unidentified tune played by All (Begins mid-tune) 4 3 1 01:25:05 Paddy Cronin, Brendan Tonra, Dale Russ 4 3 2 01:29:42 Solo played by Paddy Cronin 4 3 5

20

01:31:25 Solo played by Brendan Tonra 4 3 6 01:42:11 Solo played by Paddy Cronin 4 3 12 01:43:20 Solo chiefly played by Paddy Cronin with whistles 4 3 13 01:49:15 Solo played by Paddy Cronin with Brendan Tonra joining

near tune’s end 4 3 16

01:51:35 Recitation by Jack White: W.B. Yeats' "A Coat" 4 3 17 01:57:15 Solo played by Paddy Cronin with Jack White, whistle 4 3 20 01:58:54 End of Recording

Folder 9 - Festival Concert: IMC_M003_1990_5v_DVD1of2 (approx. 53 min.)

Time From Top

Description Corresponds to audio: Folder CD Track(s)

00:00:00 Mícheál Ó Súilleabháin introduces the evening 5 1 1 Kevin Burke & Dale Russ Set 00:02:00 Mícheál Ó Súilleabháin introduces Kevin Burke & Dale

Russ 5 1 2

00:03:00 Burke & Russ-Unidentified Jigs 5 1 3 00:05:50 Burke--Three Reels: "The Broken Pipes" / "Martin

Rockford’s" / "Miss McLeod's" 5 1 4

00:10:05 Russ-Double Jig: "The Humours of Ballyloughlin" 5 1 5 00:13:40 Burke & Russ-Reels: "Roll out the Barrel" / "Lafferty's" /

"The House of Hammil" 5 1 7

Liz Carroll, Eileen Ivers, & Martin Hayes Set (with Mel Mercier) 00:18:00 Mícheál Ó Súilleabháin introduces Liz Carroll, Eileen

Ivers, Martin Hayes, & Mel Mercier, bodhran 5 1 8

00:19:15 Carroll, Ivers, & Hayes-Slip jig 5 1 9 00:21:25 Carroll-Reels: "The Exile of Erin"/"Seán sa Cheo" 5 1 10 00:25:22 Hayes-Reels: "Joe Bane's"/"The Green-Gowned Lass" 5 1 11 00:28:00 Ivers (with Mercier, bodhran)-Reels: Unidentified /"The

Piper on Horseback" 5 1 12

00:30:55 Carroll, Hayes & Ivers (with Mercier, bodhran)-Reel: "The Humours of Lissaddell"

5 1 13

Johnny McGreevy, James Kelly, Paddy Cronin, & Johnny Cronin Set 00:33:57 Mícheál Ó Súilleabháin introduces Johnny McGreevy,

James Kelly, Paddy Cronin, & Johnny Cronin 5 1 16

00:34:46 McGreevy, Kelly, P. Cronin, & J. Cronin- Unidentified Tune

5 1 17

00:37:38 J. Cronin-Two Jigs 5 1 19

21

00:40:08 P. Cronin ("Brendan Tonra's") 5 1 20 00:42:42 Kelly-Reels: "The Morning Dew"/"Jenny's Chickens" 5 1 22 00:46:46 McGreevy-Two Jigs 5 1 24 00:49:20 McGreevy, Kelly, P. Cronin, & J. Cronin-Reels: "The

Tarbolton"/"The Longford Collector"/"The Sailor's Bonnet"

5 1 25

00:53:36 End of 1st half of concert Intermission

Festival Concert: IMC_M003_1990_5v_DVD2of2 (approx. 1 hr. 9 min.)

Time From Top

Description Corresponds to audio: Folder CD Track(s)

00:00:00 Mícheál Ó Súilleabháin thanks Brendan Mulvihill &

Séamus Connolly 5 2 1

Brendan Mulvihill & Séamus Connolly Set (with Mel Mercier) 00:00:33 Mícheál Ó Súilleabháin introduces Brendan Mulvihill,

Séamus Connolly, & M. Mercier 5 2 2

00:01:04 Mulvihill & Connolly-Unidentified Reels 5 2 3 00:03:26 Mulvihill-Reels: "A Bunch of Keys" or "The Flowers of

Limerick"/"Tommy Coen's" 5 2 5

00:08:12 Connolly-Slow Air: "Sliabh na mBan"/Hornpipe: "Sliabh na mBan"/Reels (with Mercier, bodhran): "Fisherman's Island"/"The Humours of Westport"

5 2 7

00:16:35 Mulvihill & Connolly (with Mercier, bodhran)- Reels: "The Salamanca"/"Trim the Velvet"

5 2 10

Andy McGann & Paddy Reynolds Set 00:20:04 Mícheál Ó Súilleabháin introduces Andy McGann & Paddy

Reynolds 5 2 11

00:21:50 McGann, Reynolds-Two Unidentified Jigs 5 2 12 00:25:30 Reynolds-Reels: "Aggie Whyte's"/"Miss Roddy's" 5 2 14 00:28:55 McGann-Air: "Gaelic Lament"/Reels: "The Lads of

Laois"/"The First Month of Summer" 5 2 16

00:33:50 McGann & Reynolds-Hornpipe: "The Banks Medley" 5 2 18 Brian Conway, Tony De Marco, & Martin Wynne Set 00:37:08 Mícheal Ó Súilleabháin introduces Brian Conway, Tony De

Marco, & Martin Wynne 5 2 19

22

00:38:04 Conway, De Marco, & Wynne-Hornpipes: "The Flowers of Spring"/"Jim Coleman's"

5 2 21

00:41:23 Wynne-Slip Jig: "The Boys of Ballisodare" 5 2 23 00:43:50 Wynne-Reel: "The Wexford Lass" 5 2 24 00:45:56 Conway-Air: "The Lament for Staker Wallace"/Reel:

"Farewell to Ireland"/"Farewell to Erin" (with Mercier, bodhran)

5 2 25

00:50:24 De Marco (with Mercier, bodhran)-Reels: "The Wind that Shakes the Barley"/"The Reel [of] Bogie" ["The Tramp's Reel"]

5 2 27

00:53:35 Conway, De Marco, & Wynne-Reels: "Lad O'Beirne's"/"Leinster Buttermilk"

5 2 29

Final Set 00:57:45 All-Hornpipes: "The Plains of Boyle"/"Dunphy's Hornpipe" 5 2 32 01:02:04 Three Double Jigs by Michael Coleman: "The Wandering

Minstrel Medley" 5 2 34

01:06:58 Reels: "Lord McDonald's"/"The Fair of Ballinasloe" 5 2 36 01:09:23 End of Recording -- NOTE: Video cuts off here, cutting the

tune short and omitting the evening's final tune ("My Love Is in America," Folder 5, CD 2, Track 38) entirely.

Folder 10 - Festival Interviews: Johnny McGreevy, Andy McGann, & Johnny Cronin

IMC_M003_1990_6v_DVD1of1 (approx. 49 min.)

Mícheál Ó Súilleabháin and Johnny McGreevy discuss McGreevy's upbringing in Chicago; Captain Francis O'Neill; dance bands; Eleanor Kane and Jimmy Neary; learning to play. McGreevy plays three jigs: "The Bride's Favorite" and two unidentified jigs. McGreevy talks about Joe and Seamus Cooley; visiting Ireland for the first time (1959); traditional music in Chicago.

Dale Russ plays two reels: "Love at the Endings"/"The Reel of Rio," followed by two hornpipes: "The Stack of Wheat"/"Bantry Bay Hornpipe."

Ó Súilleabháin and Andy McGann discuss McGann's family background; Michael Coleman; reading and learning music; Michael Coleman's death and influence; the fiddle festival. The interview concludes with McGann playing "Saint Anne's Reel."

Mícheál Ó Súilleabháin and Johnny Cronin discuss Cronin's background; Sliabh Luachra teachers and musicians, including Tom Billy Murphy and Padraig O'Keeffe; the Sliabh Luachra style; coming to the States; Jimmy Neary and Eleanor Kane. Cronin concludes the interview by playing "The Morning Star."

23

Time From Top

Description Corresponds to audio:Folder CD Track(s)

00:00:00 Johnny McGreevy interview 6 1 2 - 14 00:11:43 "Bride's Favorite" 6 1 8 00:13:50 Two Unidentified Jigs 6 1 9 00:20:22 Video cuts to Dale Russ-Reels: "Love at the Endings"/"The

Reel of Rio" & Hornpipes: "The Stack of Wheat"/"Bantry Bay Hornpipe"

6 1 15 - 16

00:26:31 Momentary pre-interview segment 6 1 5 00:26:39 Video cuts to Andy McGann interview 6 1 17 - 21 00:35:47 "Saint Anne's Reel" 6 1 21 00:37:23 Sound begins without Video: Johnny Cronin interview 6 1 23 - 33 00:37:46 Video begins 00:46:32 Sound cuts out briefly 00:47:17 "The Morning Star" 6 1 31 00:49:12 End of Recording

Folder 11 - Festival Interview: Paddy Cronin: IMC_M003_1990_7v_DVD1of1 (approx. 51 min.)

Mícheál Ó Súilleabháin and Paddy Cronin discuss Gneeveguilla and Cronin's family background (born July 1925); first fiddle and first lesson with Padraig O'Keeffe. Cronin plays a polka: "The Munster Bank" (first tune learned from O'Keeffe). Cronin talks about Padraig O'Keeffe and Denis Murphy; teaching and learning; set dancing; arriving in the States (June 1949); living and working in Boston; living in Chicago (3 years); Eleanor Kane, Jimmy Neary, and Johnny McGreevy; the state of contemporary traditional music in the States; Irish musicians immigrating to the States. Cronin plays an unidentified O'Carolan tune/unidentified reel from Paddy O'Brien and "The Drunken Sailor" (2 attempts). He discusses Tommy Potts, soul, and the qualities of a good musician; plays a dance tune: "Maud Miller." Discusses playing Sliabh Luachra dance tunes and Eleanor Kane then plays an unidentified Eleanor Kane tune. Talks about the contemporary traditional music scenes in Boston, New York City, and San Francisco; the state of traditional music in Killarney; Tom Billy Murphy of Sliabh Luachra; economics in Ireland, especially the economics of teaching; Sliabh Luachra musical tradition; returning to Sliabh Luachra to live (May 25, 1990). Cronin concludes the interview by playing two unidentified Sliabh Luachra tunes.

Time From Top

Description Corresponds to audio:Folder CD Track(s)

00:00:00 Paddy Cronin interview 7 1 1 - 19 00:07:40 Polka: "The Munster Bank" (first tune learned from Pádraig

O'Keeffe) 7 1 3

00:24:20 Unidentified O'Carolan tune/Unidentified reel from Paddy O'Brien

7 1 9

00:28:10 "The Drunken Sailor" (2 attempts) 7 1 10

24

25

00:31:56 "Maud Miller" 7 1 12 00:34:36 Unidentified Eleanor Kane tune 7 1 14 00:47:07 Two unidentified Sliabh Luachra tunes

00:50:53 End of Recording

SERIES III: Documents and Photographs Folder 12 - Festival Documents Festival Folder: Green folder with black-and-white landscape photograph on cover. Festival Press Release (photocopy): Brief description of the festival. Statement of Purpose (photocopy): Mícheál Ó Súilleabháin's typed notes about the creation of an archive of Irish traditional music in the United States. Concert Program (photocopy): "The Irish Woman in Song," Nóirín Ní Riain mid-day concert, Wednesday, March 21, 1990 Festival Program (photocopy): Event listings and descriptions as well as biographical information about many of the festival participants compiled by Mícheál O Súilleabháin. Folder 13 – Photographs and Correspondence Photographic negatives and corresponding contact sheet of photographs from Musical Promenade: photos of several musicians, including Brian Conway, Paddy Cronin, Mel Mercier, Johnny McGreevy, Eileen Ivers, and Kevin Burke Correspondence from Mícheál Ó Súilleabháin regarding negatives Folder 14 – Photographs (originals) Photographic negatives from Musical Promenade (same as in Folder 14); not use copy SERIES IV: Audio and Video Recordings, Originals Boxed separately: 2 original VHS recordings, 3 original ¾" videotape recordings, 5 original DAT recordings, and original of several musicians participating in the festival Musical Promenade NOTE: These originals are restricted from user access; however, the entirety of their content is represented in the use copies.