Whistles of the Stars
- rich
- i see what you did there
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All this thinking about the Ideal Whistle has got me thinking about the Big Names that play their whole career on a single cheap whistle -- and got me thinking about what the <i>rest</i> of the Big Names play. So following the style of a teen guitar magazine (which dedicate a page of an interview to the question "So, what gear do you use" -- especially silly amongst teen-guitar-mag interviewees, because the answer is a more detailed version of "Whatever I get paid to endorse" -- but I digress):
What whistles do the Big Names use?
I can get things started (corrections and additions welcome):
Mary Bergin plays Generations.<br>
Joanie Madden mainly plays O'Riordans.<br>
Paddy Moloney plays Generation and Burke.<br>
Cathal McConnell plays Generations.
Okay, someone else's turn. I'm particularly interested to hear about Big Names that play cheap whistles that <i>aren't</i> Generation.
What whistles do the Big Names use?
I can get things started (corrections and additions welcome):
Mary Bergin plays Generations.<br>
Joanie Madden mainly plays O'Riordans.<br>
Paddy Moloney plays Generation and Burke.<br>
Cathal McConnell plays Generations.
Okay, someone else's turn. I'm particularly interested to hear about Big Names that play cheap whistles that <i>aren't</i> Generation.
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Chris Norman plays a boxwood whistle crafted by Glenn Schultz of Troy, Michigan.
So who's Chris Norman? I hear everyone asking collectively. Well, he's actually a flute-player (early music and traditional American, Maritime, British Isles), but dang that man can play a whistle. Anything by him (Dorian label) is worth the price, but The Mad Buckgoat (Baltimore Consort) is all about the "Ancient Music of Ireland" and his whistle-work on that disc is superlative!
So who's Chris Norman? I hear everyone asking collectively. Well, he's actually a flute-player (early music and traditional American, Maritime, British Isles), but dang that man can play a whistle. Anything by him (Dorian label) is worth the price, but The Mad Buckgoat (Baltimore Consort) is all about the "Ancient Music of Ireland" and his whistle-work on that disc is superlative!
- Loren
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- Tell us something.: You just slip out the back, Jack
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And get yourself free - Location: Loren has left the building.
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I'm also a member of the the James Galway flute forum (www.JamesGalway.com). I initially asked about the whistle on the flute chat section and got the most uninformed answers possible. Sir Galway piped in with his whistle preference.On 2001-07-02 10:35, JessieK wrote:
Wow! Galway plays an Abell? How do you know?
He plays Muramatsu flutes and a Lillian Burkart piccolo.
Jessie
By the way, I bought a Muramatsu flute in college because Galway played one.
- WyoBadger
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- Tell us something.: "Tell us something" hits me a bit like someone asking me to tell a joke. I can always think of a hundred of them until someone asks me for one. You know how it is. Right now, I can't think of "something" to tell you. But I have to use at least 100 characters to inform you of that.
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Mary Bergin plays a Sindt high D whistle. Mary also plays a Copeland A (given to her as a gift from another whistle recording artist who did not give me clearance to say his/her name). In 1999, she played the Sindt in two concerts I saw. In 2000, she some of the Sindt, but mostly the Copeland A. I think that was because she was playing with her sister on harp and vocals, and Myron Bretholtz on bodhran and bones.On 2001-07-02 08:44, tephillah wrote:
I thought Mary Bergin played Sindts???
Laurence Nugent plays Copelands.
Seamus Egan also plays Copelands.
Some of Solas' liner notes states that Seamus egan plays Copeland low whistles, but I was at a Solas concert in Philly (Keswick theater) last year. I had 2nd Row Orchestra pid seats right under Seamus Egan. Seamus did not pull a Copeland out all night (He played almost no whistle). Seamus played mostly flute and banjo for that performance. Mick McAuley handled a majority of whistle playing that night. The whistles Seamus played looked like Cheiftains. They had the aluminum tube with a short mouthpiece (unlike the long mouth piece on Overtons). They also lacked the distinctive round to square transition of Overtons. Note, these were not in the Key of D (high or low), but low whistles in odd keys (I'm not really sure but they could be as low as E and as high as G-flat). Mick played what looked like a mix of both Overton and Cheiftain whistles. I hope to see Solas on their next tour (starting soon). Maybe I'll see Seamus play a Copeland then. They have a new CD due out before 2002.