That bit at 3:34 where Seamie kind of half-majors the tune is spellbinding. How he just switches into that sort of mode without hesitation is amazing, and it’s like a sudden portal back into the sound of those classic recordings of Coleman etc.
Hi, Benjamin, thank you for replying. My GGGrandfather was an O'Dowd and there was music in the family, all the way down to me. Still trying to get that Sligo feel.
Caisléan An Óir is well known to be a composition of Junior Crehan (1908-1998) from Co. Clare, so definitely not part of the older Roscommon repertoire.
On the strength of the fact that seven months have passed and you haven't been able to come up with a credible reply to my last correspondence, I think it's safe to say that your "knowledge" of Sligo music is well and truly a busted flush. The offer still stands, if you have any questions that you want answered about Sligo music, either put them here or go to my facebook page and PM me and I'll do my best to answer them. Best wishes.
Your comments reveal that it is not the objects of your denigration, but you yourself who need to be open to the history and origins of Sligo style : because what is here in these musical dialogues (that I listen to repeatedly and learn something more each time) is a revelation of the layers of interpretation, skills, and the handing down through immediacy of experience through generations of musicians, in tune with fellow interpreters, and gifted to others with generosity and freedom of spirit. So having obviously listened to the series and given your pointed remarks about this particular episode, exactly how, to take an example, is your rendition of 'Jenny's chickens' coming along after punching the stop and repeat button repeatedly while taking up YOUR fiddle to absorb the basics and nuances? What interpretive experience does this effort engage with YOUR own playing.? What as a result do you show in the development of your technical and interpretive skills ? In the larger picture, exactly what are YOU bringing to the inclusive table of musical traditions beyond flippant dismissive scorn? Let's hear what YOU bring to the table! We are all ears awaiting your contribution to current music making and nurturing of current and future generations! Seamie O'Dowd, whose skills bridge multi-instrumental and multi-musical styles, brings multi-generational Sligo style to the table, literally inherited through immediate generational experience with playing with those who have passed (and to whom he pays tribute) and still living while explaining the delicate balance in performances between individual interpretations when playing solo and the respective nod to other musicians' interpretations when playing in a group. Do take up Seamie's kind offer to put forward your specific questions in the effort to find answers to your queries about 'Sligo' music. This is a public fora, so we will all benefit! Leave your virtual couch existence behind. Come to Sligo instrument/s in hand. Join the musical dialogue. Contribute to the passing of the mantle of what is Sligo traditional music making. Do the positive (P.S. It's a LOT HARDER than casting negativity).
@@seamieodowd as a Derryman who grew up in Sligo, frequenting many of the traditional pub scenes in Sligo, from Ellens, the Stables, to Shoots or Hardagans and many more pubs or the many Jam sessions in the houses of the many musicians in and around the northwest, Seamie was not far away and would be a credible witness of Sligo music scene and its origins. best wishes Mull
@@seamieodowd don't be wasting your time , I like many think your an Irish / Sligo Gem .. Fabulous Musician , and also " one of us " .. God Bless and hope to see you again soon
Great musicians, but the Sligoman seems to only play a very marginal style ( while wickham drowns him out),and neither has any historical/anecdotal information on the rich history of the Sligo Style origins. Yawn.
Hi Patrick.Your use of the phrase "the Sligo style" is interesting Do you feel that there is only one style particular to Sligo players? If so, then you haven't listened to anywhere near enough Sligo music to commentate credibly on any assessment or discussion on the subject. (I'm not really sure what you mean by the phrase "marginal style" either.) I will admit that half an hour is not really long enough to go into the whole story of Sligo and its music.I answered any questions that I was asked as thoroughly as time would allow. I think that Steve probably strayed a little bit beyond strictly talking about Sligo music through our mutual liking of Kevin Burke.Kevin was born of Sligo parents in London and has an affinity with Clare and Kerry music as well as Sligo, hence the playing of Caislean Na n'Or, which Kevin got from Clare fiddler Martin Rochford. And I think that Kevin's Sligo connections make this valid in the context of the presentation. If you have any questions about Sligo music that weren't dealt with in these four programmes (and I suspect that a lot of questions were answered in the previous three by Declan Folen,Oisin Mc Diarmuida and Philip Duffy.) please feel free to ask and I'll help you as best I can. I would be interested to see what facets of Sligo music that you felt weren't discussed adequately or in sufficient depth. .
Ahhh this is pure gold. Wish my dad was here to watch and listen with me...
This is masterclass from two of the best. Anyone who cares about ANY style of music should listen to this. Brilliant.
0010' 8for
That bit at 3:34 where Seamie kind of half-majors the tune is spellbinding. How he just switches into that sort of mode without hesitation is amazing, and it’s like a sudden portal back into the sound of those classic recordings of Coleman etc.
Is interrupting a sport in Ireland?
Serious tone from the way Seamie is playing that fiddle
The man's a magician!
I never knew Seamie as a fiddler. I knew him as one of the greatest trad guitar players of all time.
Always hurts a bit when someone is miles better at their ‘second study’ than you are at your first!
Thanks for a great explaining of the different individual styles
Great playing and great examples of the Sligo style.
Two great guys
Seamie is a music God.
Oh this was heaven. I love this music.
instablaster...
Fantastic exposition - thank you!
i like his aproach ., play the tunes you love
thank you
he's too good at too many things
Wickham needs to stop playing over seamie whilst showing the style
Hear hear!
i think they are both great dont knock him
Can someone post the name of the last tune please. Jan who has an O'Dowd on the family ancestry record. From Roscommon I believe.
Caisleán An Óir
Thankyou for that
Hi, Benjamin, thank you for replying. My GGGrandfather was an O'Dowd and there was music in the family, all the way down to me. Still trying to get that Sligo feel.
There was another tune after that one. I think it might be a version of The Morning Star.
Caisléan An Óir is well known to be a composition of Junior Crehan (1908-1998) from Co. Clare, so definitely not part of the older Roscommon repertoire.
Savage.
title should read Cork style, what with ponytail man and all
What??
Why they are both excellent musicians ,its apparent one knows little of the history/origins of the Sligo style,and one knows nothing.
On the strength of the fact that seven months have passed and you haven't been able to come up with a credible reply to my last correspondence, I think it's safe to say that your "knowledge" of Sligo music is well and truly a busted flush.
The offer still stands, if you have any questions that you want answered about Sligo music, either put them here or go to my facebook page and PM me and I'll do my best to answer them.
Best wishes.
Your comments reveal that it is not the objects of your denigration, but you yourself who need to be open to the history and origins of Sligo style : because what is here in these musical dialogues (that I listen to repeatedly and learn something more each time) is a revelation of the layers of interpretation, skills, and the handing down through immediacy of experience through generations of musicians, in tune with fellow interpreters, and gifted to others with generosity and freedom of spirit.
So having obviously listened to the series and given your pointed remarks about this particular episode, exactly how, to take an example, is your rendition of 'Jenny's chickens' coming along after punching the stop and repeat button repeatedly while taking up YOUR fiddle to absorb the basics and nuances? What interpretive experience does this effort engage with YOUR own playing.? What as a result do you show in the development of your technical and interpretive skills ?
In the larger picture, exactly what are YOU bringing to the inclusive table of musical traditions beyond flippant dismissive scorn? Let's hear what YOU bring to the table! We are all ears awaiting your contribution to current music making and nurturing of current and future generations!
Seamie O'Dowd, whose skills bridge multi-instrumental and multi-musical styles, brings multi-generational Sligo style to the table, literally inherited through immediate generational experience with playing with those who have passed (and to whom he pays tribute) and still living while explaining the delicate balance in performances between individual interpretations when playing solo and the respective nod to other musicians' interpretations when playing in a group.
Do take up Seamie's kind offer to put forward your specific questions in the effort to find answers to your queries about 'Sligo' music. This is a public fora, so we will all benefit!
Leave your virtual couch existence behind.
Come to Sligo instrument/s in hand. Join the musical dialogue. Contribute to the passing of the mantle of what is Sligo traditional music making. Do the positive (P.S. It's a LOT HARDER than casting negativity).
@@seamieodowd He's a useless gobshite Seamie
@@seamieodowd as a Derryman who grew up in Sligo, frequenting many of the traditional pub scenes in Sligo, from Ellens, the Stables, to Shoots or Hardagans and many more pubs or the many Jam sessions in the houses of the many musicians in and around the northwest, Seamie was not far away and would be a credible witness of Sligo music scene and its origins.
best wishes
Mull
@@seamieodowd don't be wasting your time ,
I like many think your an Irish / Sligo Gem ..
Fabulous Musician , and also " one of us " ..
God Bless and hope to see you again soon
Great musicians, but the Sligoman seems to only play a very marginal style ( while wickham drowns him out),and neither has any historical/anecdotal information on the rich history of the Sligo Style origins. Yawn.
Look up Shane McGowan and seamie odowd or arty with the same two, hes a next level player you're misinformed.
Hi Patrick.Your use of the phrase "the Sligo style" is interesting Do you feel that there is only one style particular to Sligo players? If so, then you haven't listened to anywhere near enough Sligo music to commentate credibly on any assessment or discussion on the subject.
(I'm not really sure what you mean by the phrase "marginal style" either.)
I will admit that half an hour is not really long enough to go into the whole story of Sligo and its music.I answered any questions that I was asked as thoroughly as time would allow.
I think that Steve probably strayed a little bit beyond strictly talking about Sligo music through our mutual liking of Kevin Burke.Kevin was born of Sligo parents in London and has an affinity with Clare and Kerry music as well as Sligo, hence the playing of Caislean Na n'Or, which Kevin got from Clare fiddler Martin Rochford. And I think that Kevin's Sligo connections make this valid in the context of the presentation.
If you have any questions about Sligo music that weren't dealt with in these four programmes (and I suspect that a lot of questions were answered in the previous three by Declan Folen,Oisin Mc Diarmuida and Philip Duffy.) please feel free to ask and I'll help you as best I can. I would be interested to see what facets of Sligo music that you felt weren't discussed adequately or in sufficient depth.
.
Did you bump your head at some stage?