In fact, though, that's one of the quibbles that some people have with Molloy: through his huge influence he has shifted the modern flute-playing tradition toward a style that is less "flutey" and more like the pipes. In contrast, Harry Bradley is probably helping, through his own influence, to shift things back a bit -- to my ear he's one of the "flutey-est" players around today, there's very little piping influence in his playing despite the fact that he's quite an accomplished piper himself.djm wrote:Liam O'Flynn notes Molloy as being one of the few flute players who can find the piping in the music, so you know Molloy must be doing it right.
djm
I'm still a Molloy fan and always will be, and when I listen to some of his recordings now I can hear a lot more flutey bits than I remember; his style is complex and is not always as smooth, flowing, and overly ornamented as one might think. But there are a lot of other fish in the flute sea, and Matt himself would urge people to go back and listen to the same people who influenced him.
