The flute and Irish history

[PB+J]

It is, perhaps, worth pondering Coleman never recorded with a flueplayer (I conveniently ignore the piccolos he did record with) while Killoran loved the flute. Killoran had a radio show in New York, often played duets with McGovern on the flute, lovely stuff. On his visits to Ireland he sought out flute players as well, recording them and playing with them I even have a recording of Killoran playing with a eleven or twelve year old Matt Molloy.

That's an interesting question. Don't some accounts suggest Coleman cold be a little "difficult?"

[Conical bore]

There's so much about the way Coleman is explained that I don't understand. You're told he was typical of the style of the region, and that his brother was a better player, but nobody in Ireland ever bothered to record his brother, and for some reason the records--which were typical of the region--sparked a revival of interest and not the brother, who was still playing when the records started to arrive I believe. Like why did they need to get it in records from NYC for there to be a revival?

Were Michael Coleman's recordings being played over the radio in Ireland? His later recording dates roughly coincide with the beginning of home radio receivers starting to arrive. If that's the case, then it might explain why the recordings had more influence in Ireland than his brother playing live in just one location.

[Mr.Gumby]

Hammy's thesis was on the role and influence of commercial recordings. That may give a more founded perspective.

The role of commercial recordings in the development and survival of Irish traditional music

[Mr.Gumby]

There's so much about the way Coleman is explained that I don't understand. You're told he was typical of the style of the region, and that his brother was a better player, but nobody in Ireland ever bothered to record his brother, and for some reason the records--which were typical of the region--sparked a revival of interest and not the brother, who was still playing when the records started to arrive I believe. Like why did they need to get it in records from NYC for there to be a revival?

Michael Coleman had a very highly developed sense of how to approach a melody in different ways. There's a constant, very inventive sense of variation. His was a lyrical music, at times hinting at great sadness. We don't actually know how his brother played and why he was perceived as 'even better'. It can have been the eye of the beholder and priorities they had when formulating an opinion about the quality of a player's music.

Two other brothers come to mind: pipers Johnny and Felix Doran. Today we know Johnny as the vituoso, like Coleman he could endlessly vary a melody, was exciting and in ways unsurpassed in what he did. Felix was solidly rhythmic in his playing. Reading accounts from the early sixties into the seventies, it always surprised me Johnny was always referred to as 'Felix's brother', hinting at Felix being the more wellknown of the two at that time. Johnny was only ever recorded, almost by chance, at the Folklore commission, fiddle player John Kelly 'had a premonition' and arranged the recording on short notice. He phoned and was told to bring Johnny in for a recording session. A wall fell on him and broke his back before a second session could be arranged. The recording sat in the archive and weren't let out until the mid-eighties. Samizdat copies circulated among pipers, Breandám Breathnach would hand out copies to some of us but by and large, they were rare and hard to come by for the uninitiated.

Now, who was the better man? I remember someone, well placed, saying 'Johnny was the virtuoso, a one off. But Felix was The Piper'. By all accounts you could put Felix on stage at a dance and he'd play for the sets all night , bring the house down with his music. It's a quality prized above all by some. Johnny was much admired for the wildness of his music and his lyrical playing. Mostly by musicians in the know, not so much by dancers, who felt Felix had the upper hand. Do you prefer your music to be played for the head/heart or for the feet?

Was there something like that at play with Michael Coleman and his brother? Who knows, perhaps. Or was is just good old Irish begrudgery, one sticking his head above the parapet, getting the fame while the other stayed in his locality and played for the dances at home? I wouldn't rule that one out either.

[an seanduine]

Can´t add much about Michael Coleman. Somewhere I have an interview, conducted by Rag and Bone of Clare FM of an older lady, a former pupil of Michael Coleman. The lady always referred to Michael Coleman as ´The Professor´.

In the Sean Reid Society Files there was some mention by Brother Gildas describing the Doran Brothers almost as a force of nature. They might appear, unannouced at Gildas' door unannounced, periodically, for tunes and reeds. Johnny, being the older, would be the dominant one with Felix in tow. They would similarly make appearances at O´Mealey and Rowsome´s workshops. Johnny, being older, and making most of his living busking would as often be solo in these visitations.

Bob

[Mr.Gumby]

Can´t add much about Michael Coleman. Somewhere I have an interview, conducted by Rag and Bone of Clare FM of an older lady, a former pupil of Michael Coleman. The lady always referred to Michael Coleman as ´The Professor´.

Wasn't Morrison 'The Professor'?

[an seanduine]

Peter, these ´senior moments´ are killing me. You are right. On checking, the lady involved was Veronica MacNamara, and she was indeed referring to Morrison, who was her teacher.

Bob

[AlanG]

I remember fiddle player Johnny Henry telling me that when anyone came home from the States with some of Michael Coleman's records the local musicians would journey miles by foot, bicycle or donkey & cart to listen to them. Even if Coleman's records were played on the radio many of the rural musicians wouldn't have been able to hear them. Doocastle, in N Mayo, didn't get mains electricity till 1956.