a publication of the southwest celtic music association...

Céilí September-October 2011 1

NTIF as seen through other eyes, pages 15-17, 20-22

July-August, 2013Vol. 32, No. 4 In this issue

NTIF 2014 headliners named.................2SCMA President’s Letter............................3Toss the Feathers.........................................4Music and Chat..............................................6Keltic Dead Music........................................7Jed Marum interview.................................8Editor’s column....................................10-11CD reviews................................................12-13O’Flaherty Retreat preview......................14

‘For What It’s Wirth’....18-19Celtic Calendar..............23-26On the Dance Floor.......27-28Scottish Fest wrapup.........31Minden Scottish Fest.........34

A dog’s day out...........................................35NTIF volunteer picnic.............................36

Initial Trad Camp successful

CeiliA Publication of the Southwest Celtic Music Association

SCMA photo by Phil WirthUnder a shady tree, on a gorgeous afternoon, Alan Justice practices a tune on his fiddle during the first Trad Camp, held this past April in Richardson.

Week with master fiddlerBy Peggy FlemingSpecial to the Ceili

When those of us of a certain age first struggled to learn how to play Irish fiddle some 30 years ago (here in the cultural hinterlands of Texas), we had very little to lean upon.

Aside from straining for any style, we could scrounge from recordings (LPs in those days) and the occasional post-concert pointers when we would corner Kevin Burke or Liz Carroll and demand, “How do you get that distinctive sound?”

We would puzzle over diagrams on notations about the intricacies of long rolls and triplets in the prefaces of O’Neil’s and Tony DeMarco’s manual and cadge a place next to great fiddlers at the occasional festival session to glean a glimpse of bowing styles. We envied our New York,

See TRAD CAMP, pg. 32

2 September-October 2011 Céilí = page 2 July-August 2013 Ceili =

2014 NTIF headliners announcedBy Chuck BloomCeili editor

Much like a child who simply can’t wait to unwrap presents on Christmas morning, the folks at the sponsoring Southwest Celtic Music Association (SCMA) couldn’t keep the “secret” for long – announcing the headliners for the 2014 North Texas Irish Festival (NTIF). And the lineup will be one of the strongest, in terms of star power, in several years for NTIF.

Leading the pack is the husband-and-wife fiddlers extraordi-naire Natalie MacMaster and Donnell Leahy (from Cape Breton, Canada) – hoping to finally deliver the special performances originally set for 2012 (until unknown last-second immigra-tion problems prevented Leahy from crossing the U.S.-Canada border).

Not only will they perform their vaunted “Two Fiddles, Two Pianos” sets, but MacMaster will be showcased with her own band for that weekend (Feb. 28, March 1-2 at Dallas’ Fair Park).

“We’re doubling the pleasure from two of the world’s most renowned Celtic music performers,” said Sheri Bush, SCMA president. “In fact, this lineup covers almost the entire spectrum

of Celtic music and should provide every visitor to NTIF with a great time and great memories.”

Joining MacMaster and Leahy will be legendary quintet Solas, fresh off two rousing DFW appearances for the Christmas concert

last December and a show at the Kessler Theatre in North Oak Cliff in April.

Three other groups – Dervish, the Makem and Spain Brothers and The Town Pants (from Vancouver) – have delighted previous NTIF crowds, Scotland’s best musical ambassador, Ed Miller, will bring a myriad of songs and stories from his homeland and two NTIF “newbies” will be spotlighted – the Nuala Kennedy Trio and We Banjo 3+1.

“Our 32nd annual festival is going to be one for the ages, sim-ply based on this headline lineup, but there will more announce-ments in the coming weeks about our regional groups, the 2014 theme and other special attractions,” Bush added. “Support from the public, by their attendance over the past 5-6 years, has helped us steer the festival in the correct direction.”

Natalie MacMaster, who played at the Eisemann Center in Richardson this past January in a classical performance, captures the Celtic sounds from her hometown (Cape Breton).

“I was born in Cape Breton,” she said. “Fiddling is in my blood; it’s part of who I am and that’s not going to change. You can take the girl out of Cape Breton, but you can never take the Cape Bretoner out of the girl.”

She performs around 100 shows a year, as she enters her third decade of fiddling, having first hit the stage at the age of 9.

Her 11th, and latest, album is “Cape Breton Girl,” for the two-time Grammy nominee (and one win) and Juno Award winner.

In addition to her solo efforts, she has also recorded with Yo-Yo Ma, the Chieftains, banjo prodigy Béla Fleck, dobro specialist Jerry Douglas, singer Hayley Westenra, former Doobie Brother lead singer Michael McDonald and, most recently, Thomas Dolby’s new album “Map Of The Floating City,” plus many of her fellow fiddlers, such as bluegrass queen Alison Krauss.

She and Donnell Leahy, married in 2002 welcomed a son, Alec, in August, 2012 (their fifth child). However, they’ve never recorded an album together, but plans are to do so in the future.

Leahy, the oldest son in one of Canada’s premier family groups, is the featured fiddler when The Leahy Family performs. He attended the University of Guelph, playing on the school’s soccer squad.

See HEADLINERS, pg. 29

SCMA photo by Phil WirthSolas, shown in concert from December’s special Christmas event, will be among the headliners for the 2014 North Texas Irish Festival.

SCMA photo by Perry SmithCanadian master fiddler Natalie MacMaster returns to perform with spouse Donnell Leahy in a special show, “Two Fiddles, Two Pianos.”

2014 headliners Nuala Kennedy (left) and Ed Miller (right).


Southwest Celtic Music AssociationSend All Mail to: 7324 Gaston Avenue, Suite 124-382,

Dallas TX 75214Offices: 2528 Elm Street, Suite B, Dallas TX 75226-1472

(972) 943-4616

SCMA: www.scmatx.org NTIF: www.ntif.org

Board of TrusteesOfficers

President: Sheri Bush [email protected]: John HebleySecretary: Lybo Buchanan [email protected]: Floyd Harris

Trustee Board: Hazel Greene Sandi Hebley Jeanne Eishen Stefan Eishen JamesStinson SteveMonroe BarryKnight KatieGibbs Kenny BurlesonAssoc. Trustees: Betsy Cummings, Connie Ener, Lee KeltonMembership: Lybo Buchanan

Céilí StaffEditor-in-Chief: Chuck Bloom [email protected] Reporter: Chuck Bloom [email protected]: LyboBuchanan [email protected] Reporter: Susan HarrisonAsst. Editors: Lybo Buchanan, Hazel Greene Ceili newsletteristhebi-monthlypublicationoftheSouth-westCelticMusicAssociation,501(c)3not-for-profitTexascorporation,dedicatedtothestudy,promotion,preserva-tionandperformanceoftraditionalCelticmusic,danceandculture in the Southwest. All correspondence should be sent to the Gaston Avenue address above.Allcontributionsareappreciated.

Céilí Advertising RatesAd Sizes 1 Issue 3 Issues 6 IssuesBusiness Card $18 42 661/4 Page $40 96 1561/2 Page $60 144 228Full Page $96 228 3601/2 Back Cover $72 180 288

Deadline for Sept.-October, 2013 issue:

Monday, July 29

Those of you who have read this letter every couple of months over the last five years have, no doubt, real-ized that I usually do some amount of recycling with

these letters. I use them for continuity and to keep myself from forgetting things I would certainly let slip through the holes in the sieve that seems to masquerade as my brain. I do, however, have something new to put out there this month.

I need some help from all of you, as well as the answer to a question. Over the last 10 years, we’ve hosted quite a few area concerts, in various places and at different times of the year. A few of them have been well-attended, but honestly, most of them were not.

And it isn’t just us – other venues have attempted to show-case wonderful Celtic entertainment, and the attendance has been lacking as well. The question is … why? What is it that we are, or are not, doing causing the lack of interest in attend-ing these concerts? Location? Ticket prices? The talent?

We recently had to pass on the opportunity to bring in an excellent new Scottish band because we couldn’t afford to lose money on another event. This makes our area much poorer in terms of what we could be offering to you and others.

I don’t want the North Texas Irish Festival to to be a stand-alone event each year; I’d much prefer it be the event creating the ability for us to do other music events throughout the year. So I’m now in the process of creating a committee to help figure out what we need to do about this … and here’s where I need your help.

Please e-mail me with thoughts, suggestions and ideas you might have to address this problem. I’d appreciate it if you could present your thoughts as positively and politely as pos-sible; don’t just yell at me! I thank you ahead of time for your participation. I don’t promise an answer to everyone, but will try. You can reach me at [email protected].

This brings me to something I DO write about every year, and all the changes we’ve experienced over the last few years simply add another layer to the message. SCMA and NTIF have been around for more than 30 years now, and many of the people involved in the beginning are still involved today. This speaks volumes to the loyalty our organizations engender, but it also denotes to the aging undoubtedly taking effect in our group.

We need new faces, energy and ideas to step up and get ready to take the reins as this progression continues. Obviously, volunteering at the festival is fabulous and much needed; but we also need an active, involved membership in the SCMA. We need to identify leadership potential, and train replacements for different areas – both within the festival and the SCMA. If the past year has taught me nothing else, it is that change is the only certainty, and change will happen when you least expect it … or are ready for it. We’ve got to hedge our bets a bit, and be

From the president’sdeskBy Sheri BushSCMA President

See PRESIDENT'S LETTER, pg. 5

= Ceili July-August 2013 page 3 =

4 September-October 2011 Céilí

TossThe

FeathersBy Rilee McGee

Roving Reporter

Playing with the Stars!This should be listed under hob-nob-

bing with TV stars: Nelson Stewart, leader of The American Rogues, and major Friend of the Feathers (FOF) was a real proud Scotsman in posting the follow-ing on Facebook:

“The American Rogues are proud to announce they will be performing with Scottish actor Kevin McKidd this Satur-day (April 6) at National Tartan Day in New York. You may know Mr. McKidd from (films like) “Trainspotting,” (and TV shows) “Rome,” “Dog Soldiers” and “Grey’s Anatomy.” Mr. McKidd learned we would be performing in NYC and asked if he could join us. He will be performing some of our music with us, and we are learning songs from his album, “Speyside Sessions,” (thespeysidesessions.com). Wish you could all be there with us!”

The American Rogues took the stage at Stouts! and McKidd joined them for a rousing rendition of Pink Floyd’s “Wish You Were Here.”

By the way, the band (www.therogues.us) is set to make some news of its own in terms of performance schedules and

recording activity!In one of those six degrees of separation

moments, one of their recordings, “Bonny Portmore,” was part of the soundtrack for the movie, “Kill The Irishman,” starring Ray Stevenson and Christopher Walken. Ironically, Stevenson was McKidd’s co-star in the HBO series, “Rome.”

---Big Blaggards news

If you caught the March 24 episode of the CBS hit drama, “The Good Wife,” you got to hear not one, but two songs from the Houston-based Celtic rock group, Blaggards.

The tunes, “Drunken Sailor” and “Big Strong Man,” were played in the background of a bar scene.

According to its website, CBS contacted the group about the song usage just a week before, and the details were finalized only a couple hours prior to air.

“Needless to say, we are over the moon,” the group stated.

---

Very sad news from HoustonA late-night wrong-way crash in Hous-

ton, involving alcohol, claimed the life of a well-known drummer from a popular Celtic group, Tartanic.

Max McDougall and his girlfriend, Emily Preston, were killed at the scene when a driver, going the wrong way on the Sam Houston Parkway, crashed into their vehicle.

According to Houston police reports and the Houston Chronicle, Camile Ermine Stanley, 27, was charged with two counts of intoxication manslaughter in the incident. Police said she was driv-ing a gray Nissan Altima west in the eastbound lanes of the Sam Houston Parkway when she collided head-on with an eastbound Ford Focus, which flipped onto its side and burst into flames.

The Focus was sent flying from the impact across two lanes of traffic before colliding with a Ford Fusion. McDougall and Preston died at the scene. The driver of the Fusion was not hurt.

The wreck happened about 4:15 a.m. on Sunday, April 14.

McDougall had a natural passion for drums ever from his childhood, but took a serious approach at 14. Within the Hou-ston area, he played for such diverse bands as Violent Iris (alternative rock), Erase

= page 4 July-August 2013 Ceili =

See FEATHERS, pg. 5

It was a grand time at Stouts! in New York City when the Amer-ican Rogues, led by Neslon Stewart (center), was joined by Scottish native-actor Kevin McKidd (“Rome,” “Trainspotting”).

TV star Kevin McKidd (“Grey’s Anatomy”) joined the American Rogues and its lead-er, Nelson Stewart (right), for a special Tartan Day celebration in New York City.

McDougall

Céilí September-October 2011 5 = Ceili July-August 2013 page 5 =

Toss The Feathers Continued from page 4

the Virus (industrial), All the Above (punk), and Sever Syndrome (emo).

Tartanic was a constant presence at such events as the Texas Renaissance Festival, near Houston, and Scarborough Faire near Waxahachie, plus other like-minded festivals across the U.S.

TTF sends its condolences to the other Tartanic band members (Micah Babinski, Sophia Balentine, Andrew Beck, David Dun-can, Geordie Hall, Irene Jaan, John E. Jaan, Jill Anne Jack, Alex Korolov, Scott MacLeod, Will Thayer, Adrian Walker and Mark James Varelas) and their families for this sad loss.

---Hailey Sandoz, Paul Dryer and Mike Tidwell of newly-formed

band Hailey’s Comets, debuted at the First Baptist Church of Wylie Events Center on April 20, along with many other talented musicians and bands as part of the annual Wylie Spring Fling.

Sandoz and Reelin’ bandmate Joseph Carmichael have also performed as a duo in McKinney for its downtown Farmers Mar-ket, held on various Saturdays.

---Upcoming Birthdays:

Celebrating July birthdays will be: Jim Waters, 5th, David Sparks, 5th, Mark Miller, 5th, John Hebley, 6th, Ross Van Horn, 7th, Sarah Dinan, 10th, Jodie Zoeller, 12th, Sarah and Elizabeth Morris, 13th, Julie Collins, 20th, Juli Williams, 20th, Carole Perry, 23rd, Joseph Edward Morris, 26th, Barney Behan, 28th, Carole Morris, 30th, Rhea Miller, 31st, Dudley-Brian Smith, 31st.

August birthdays: Gordon McLeod, 6th, Chuck Bloom, 11th, Joe Morris, 11th, Denice Brown, 12th, Joy Fitch Brillante, 18th, Marney Cullen-Dixon, 20th, Ilea Cullen-Scott, 27th, Andy Van Horn, 28th, Christy McLeod, 31st, Rodger Harrison, 31st.

Anniversaries:The following couples will be celebrating their wedding an-

niversaries:Katie (Glass) and Chad Holmes – 9th – July 10Catherine Sherer and Chuck Bishop – 8th – August 14Jim and Sue Stinson – 48th – August 21

---To have events, achievements and milestones published in a

future edition of Toss the Feathers, please e-mail to my assis-tants ([email protected] or [email protected]).

a little more ready.Elections for the SCMA Board of

Trustees will occur on Saturday, Sept. 28. Nominations for the four (4) available seats open July 1 and will remain open un-til August 15. You can nominate yourself, or someone else may nominate you.

Details concerning nominations appear elsewhere in this Ceili issue.

Think about joining us; if not as trustee, then as a more-involved member. Lead-ership doesn’t reside only on the board, but we do need great trustees. I’ve been fortunate to have a terrific, involved group

during my tenure and I really want to see that continue. The future of SCMA and one of the best Irish festivals in the coun-try depends upon it.

On the horizon is the O’Flaherty’s Irish Music Retreat in October (the Youth Camp has just finished at the end of June). The Youth Camp is one of my favorite events – I love watching the faces of these kids as that tune finally plays out correctly for the first time! Both events are simply amazing in their scope and vision, and the SCMA has such respect for their organizers.

We are proud to be supporters and sponsors of both. Check them out if you’ve a mind to immerse yourself or your child in Irish music.

We’ve got a long, hot summer on the way. It wouldn’t be Texas if it was any other way! Stay cool and visit your local pubs once in a while – for the friends, the music and the camaraderie. Those things always make me feel a little cooler.

We’ll talk again in September, and by then it will be time to start thinking about NTIF again. See? It’s always just around the corner.

President’s Letter Continued from page 3

The Southwest Celtic Music Association will hold its annual election for four slots on its board of directions on Saturday, Sept. 28.

The meeting will take place at the SCMA corporate offices (2528 Elm Street, Suite B in Dallas) at 10 a.m.

Nominating period is from July 1-Au-gust 15, and is open to any SCMA member in current standing prior to the election.

Interested parties can nominate them-selves or be nominated by another SCMA member.

They must submit a brief bio, their intent to run for a trustee position and contact information.

Those wishing to submit nominations need to send all mate-rial to co-chairman Lybo Buchanan at lybolynn@sbcglobal.

net.The SCMA board meets monthly (on the

first Wednesday of each month). Meeting dates for the remainder of the 2012-13 busi-ness year are:

July 10 (postponed one week due to Inde-pendence Day holiday), August 7, Septem-ber 4 and September 28.

Any SCMA member is invited to attend, although times, dates and location are all subject to change.

Please contact the SCMA office if plan-ning to attend.

SCMA board of directors election Sept. 28


This month, we’re featuring the fiddler Linda Relph, well-known to Dallas-area lovers of Celtic music (she currently plays with the outstanding Celtic rock band, NeedFire).

My first encounter with her was at the Dubliner Pub on Green-ville Avenue in Dallas. Her band was playing some time around St. Patrick’s Day. I remember begrudging the $2 cover charge, thinking I’d be listening to some old guys crooning to mandolins.

I got it wrong; I entered with my wife, Ruth, and friends, Niall and Tonya. By the end of the night, we were soaked in sweat from head-to-foot. It’s not that we WANTED to keep dancing, we just couldn’t stop! Anyway, here’s Linda’s account of her connec-tion to Irish music and its impact on her life.

---I got interested in Irish traditional music after living in

Ireland for a year with my family; I was 15. I actually had my “sweet-16” birthday at our house in Howth, a very scenic area near Dublin (the address was 41 Thormanby Lawns, to be exact).

The first tune I remember obsessing over was from a Chieftains album (I believe it was “Mooncoin Jig”). I had only been playing the fiddle for about 4-1/2 years, knew nothing about Irish music, never really heard a jig … and here I found myself in Ireland!! It was destined to be!

After we went back home (to California) after almost a full year in Ireland, I just started learning tunes. I started with the Robin Williamson book, “English, Welsh, Scottish and Irish Tunes.” I was then playing Texas-style contest fiddling, making for an interesting combination of styles. I kept playing contest fiddling until about 1990, when I moved to Texas. Then I pretty much began concentrating exclusively on Irish only.

Irish music has affected my life in many ways. I learned it with my family (since we’d all been in Ireland together) and we continued to learn more, listen more and absorb more.

I started trying to play jigs in Texas-style fiddle contests, but that didn’t go over too well. Still, I continued to play it, and as I did, it came out with some of the flavor of the contest tunes I had been playing.

We formed a band, one of the first “Irish” bands in my home-town of Chico, Calif., and helped start what became a thriving Irish music community in that town. Today, there is a regular Friday session and many great young musicians have come out of that scene. I’d like to think I had a hand in that.

I first moved to Texas after visiting back in the summer of 1990; one of my first regular hangouts was the old Tipperary Inn. I made many friends through that pub and its Irish sessions that used to happen there; many of those folks I’ve kept as friends to this day.

The thing that brought us together was Irish music; it has provided me the opportunity to meet people from all over the world, to maintain relationships through the music. I even met my

husband by way of an Irish festival!I’ve had the chance to be part of quite a few bands, all of

which have centered on Irish music, and each of which have been influential. With the addition of social media, Irish music has in-troduced me to literally hundreds of people, some of whom I have not even met in person!

Though I’ve never had the opportunity to be a “full-time” musician, Irish music has allowed me to have a full-time creative emotional outlet. Without that, I think I would be much less well-adjusted (and some may find that a scary thought!).

One could say playing music helps keep me sane. Going to sessions allows me to be social; with the large Irish music com-munity here, I know I have somewhere where I fit – no matter where I am in the world. It also lets me help keep the tradition

alive.I am 100 percent sure things

would be completely different had I not had the chance to go to Ireland in 1979, simply because my love of the Irish traditional music has been such a major influence in my life, including the decisions I’ve made since then. I’m very thankful to have had that chance. Maybe I’ll go write another jig …

THE DRAWING: For this edi-tion, I asked Trinity Muckian (who is 9-years old) to draw a girl play-ing the violin.

Dogs are Trinity’s favorite sub-ject. I think that’s reflected some-what in this work.


Ceol agus Craic (Music and Chat)Fiddler extraordinaire Linda Relph

NTIF photo by Russell McGuireNeedFire fiddler Linda Relph performs during last March’s North Texas Irish Festival at Dallas’ Fair Park.

Born in Dundalk, Ireland, Tom Muckian started list-ening to Irish music on the radio from a very early age. He plays tin whistle and was formerly part of the band, Paddy Gone Wild. He currently plays with Strings and Pipes, a Rockwall-based quintet.


The Irish collector, Edward Bunting, noted the melody for “Foggy Dew” probably came from J. McKnight, Esq. in Belfast in 1839, though some claim the melody came as early as 1825. Another Gaelic name for this tune is “Drucd an Ceo,” loosely translated as “misty in mist.”

The tune was originally a love song, but it was an Irish Revo-lution in the Easter week of 1916 that placed this tune as a sig-nature song for the spirit of freedom of all Irishmen.“You May Kill the Revolutionary, but NOT the Revolution”

During World War I, thousands upon thousands of Irishmen went off to the foreign wars for England, in which many died. The 16th century Irish term for those Irish who served in Eng-land’s wars was “Wild Geese.” But for these sacrifices, the pro-mises made by the English minority for these fallen Irish patriots were not fulfilled. Finally, in 1916, the Irish had enough, and there was a rebellion in Dublin.

The Easter Rising (Éirí Amach na Cásca) was staged in Ire-land within the Easter Week in 1916 – an attempt by the militant Irish republicans to win independence from Britain by force of arms. It was the most significant uprising in Ireland since the rebellion of 1798. The Rising, largely organized by the Irish Re-publican Brotherhood, lasted from Easter Monday, April 24 to Sunday, April 30, 1916.

Members of the Irish Volunteers, led by school teacher-barrister Patrick Pearse, joined up with the smaller Irish Citizen Army of James Connolly. They seized locations in Dublin where they proclaimed an Irish Republic independent of Britain.

The Rising was suppressed after six days of fighting and its leaders court-martialed and executed. Despite its military failure, the Easter Rising can be judged as a significant stepping-stone in the eventual creation of the Irish Republic (Poblacht na hÉireann or Saorstát Éireann), unilaterally declared in that final rebellion in 1916 as the independent state of Ireland and finally officially established in 1919.

The Poem of Rebellion and Lyrics´Twas down the glen one Eastern morn, to a city fair rode IWhen Ireland´s lines of marching men in squadrons passed me by.No pipes did hum, no battle drum did sound its loud tattoo.But the Angelus bell oér the Liffey´s swell, rang out in the foggy dew**Right proudly high over Dublin town, they hung out a flag of war.‘Twas better to die ńeath an Irish sky than at Suvla or Sud El Bar;And from the plains of Royal Meath, strong men came hurrying

through,While Brittanias´s huns, with their long range guns, sailed in from

the foggy dew.**O, the night fell black and the rifles crack made “Perfidious Abion”

reel´Mid the leaden rail, seven tongues of flame did shine oér the lines

of steelBy each shining blade a prayer was said that to Ireland her sons be

true,and when morning broke still the war flag shook out its fold in the

foggy dew

**´Twas England bade our Wild Geese go that small nations might be

free.But their lonely graves are by Suvla´s waves, on the fringe of the

Grey North seaBut had they died by Pearse´s side, or had fought with Cathal

Brugha,Their names we would keep where the fenians sleep, ńeath the

shroud of the foggy dew.**But the bravest fell, and the requiem bell, rang mournfully and clear,for those who died that Eastertide in the springtime of the year.And the world did gaze, in deep amaze, at those fearless men, but

truewho bore the fight that freedom´s light might shine through the

foggy dew**Ah, back through the glen I rode again and my heart with grief was

soreFor I parted then with valiant men whom I never shall se morebut to and fro in my dreams I go, and I´d kneel and pray for you,for slavery fled, O glorious dead, when you fell in the foggy dew.Author’s note: The term “Angelus bell” derives its name

from the opening Latin words, “Angelus Domini nuntiavit Mariæ.” Three texts describe the mystery, recited as a versicle* with a response alternately made with the salutation “Hail, Mary!” This devotion is frequently recited in the Roman Catholic, Anglo-Catholic and, in some, Lutheran churches three times daily, traditionally around 6 a.m., noon and 6 p.m.

The versicle is accompanied by the ringing of the Angelus bell. This tradition is still performed in some English country churches, and has often been mistaken for, and alleged to be, a survival of a curfew bell.

(* A versicle is the first half of one set of prayers, recited or sung by an officiant or cantor, and answered with a said or sung response by the congregation or choir).

KelticDead_Music Group Session ArrangementThis tune arrangement of “Foggy Dew” is in C Major. The

KelticDead arranges tunes to play easily with the diatonic harmonicas, and most folk instruments can play them as well. Using the C diatonic harmonica, the tune has an almost “flute-like” quality that fits well with the mood of this great Irish tune.

For more information about the KelticDead_Music Group and mission, visit http://kelticdead.webs.com.

Keltic Dead MusicFoggy Dew


By Patrick O. Young, KelticDead


By Chuck BloomCeili editor

Fresh on the heels of his newest CD release (“The South Wind”), folksinger Jed Marum of Dallas has a new and bolder project to be completed – providing the soundtrack for a major PBS documentary.

Marum is collaborating with Lone Chimney Films of Kansas on “Road to Valhalla,” the company’s third, and final, documentary, to complete the story of the Kansas-Missouri Border War and the Jayhawk State’s role in it.

Marum’s own story reads something like a movie, having been raised near Bos-ton, married at 18, raising three sons while working in construction and excavation during daytime and performing in bars and coffeehouses at night.

After 14 years, he decided to improve his lot in life, moving into the Information Technology field, working in the airline and telecom world. It also meant setting aside any musical ambitions … until he turned 48.

Marum relocated his family to Texas in 1986 for what would be “a life-changing experience in more ways than one.”

“I bought a nice guitar and banjo in 1996 and 1997; it rekindled my love of music,” he explained. “I quit the day job in January, 2000, and I’ve earned my living at performing music ever since.”

His specialty is writing and performing songs from the Civil War era, delivering traditional and contemporary songs in a musical style equally Celtic and American, with strong bluegrass roots.

Marum’s 2009 album, “Cross Over the River: A Confederate Collection,” earned him the Traditional-Folk Album of the Year Award in the JP Folk Awards pro-gram, from among 42,000 other entrants.

The album was a collection of true historical stories songs, retold from the points-of-view of those American and Irish-Americans who fought in that con-flict.

“It reflects a true and South positive-image throughout,” Marum added.

The following is an interview with Marum concerning his latest work, the soundtrack for “Road to Valhalla.”

Ceili: How did you and executive producer Ken Spurgeon connect for the music?

Marum: A number of years ago, I was playing a festival in Kansas City, Kan.,

and one of the other performances there was a scripted scene from a film focus-ing on the pre-Civil War friction between Kansas and Missouri, over the issue of slavery.

I had just written a song, inspired by an editorial by a well-known southern edi-tor, after John Brown had been tried and convicted of treason for leading the raid of Harper’s Ferry and attempting to start a slave rebellion.

Brown had been one of those who took active, and violent, action against the sup-porters of slavery in the Kansas-Missouri conflict. So after Harper’s Ferry, to most Southerners, Brown was looked upon as the Osama Bin Laden of his day.

This editor was incensed that some Northerners could see any good in the man. So, inspired by the editorial, I wrote a song poking fun at John Brown from that partisan, Confederate perspective. And in truth, I also jabbed at that partisan perspective, too (though it’s much more subtle).

I played the song at that festival, after I’d heard the historical players perform their Free State-Border Wars play – and they loved it. Brown, it seems, was the focus of a recently-completed film.

They asked if I would be interested in

working with them on a similar project in the future. They introduced me to Ken Spurgeon, the producer and director of the film, and the rest is history.

Ceili: When composing, what were your ground rules and guidelines?

Marum: I worked with Ken on his second film, “Bloody Dawn,” and for composition, he asked me if I would write a song about the Lawrence, Kan. raid, telling it from the perspective of William Quantrill, the leader of the raid.

Ken recommended a couple of good histories for perspective and I read a few more; then I felt comfortable writing “One Bloody Friday.”

For that film, he and I discussed moods for other music, and he reviewed my ear-lier albums to make his selections. My song was featured in a very dramatic scene and in the movie trailer.

For “Valhalla,” we’ve been discussing how the story should be told for the last few years. I actually began writing songs for it a couple of years ago, and kept pace with Ken’s direction as the time passed.

Once again, I read extensively on the primary histories the film was exploring. Ken told me some of the incidents, char-acters or themes that might appear in the script – and I wrote about the ones which inspired me.

Films don’t typically use much in the way of lyrics for a soundtrack, but we will. Without giving away too much, it’ll use my song, “Shines Like Gold,” as its theme – and the lyrics will be prominent.

I’ve written several songs and tunes for the film, and produced a library of music, mostly instrumental, for Ken to use. I cre-ated varying styles – polished full Celtic or bluegrass band styles of varying moods, solo guitar, solo banjo, solo whistle, solo highland pipes pieces.

Some new and original music sounds old, and I used some older, well-known pieces, too. There are some choral pieces of well-known period hymns.

My ground rules or guidelines consisted of ongoing conversations, suggestions and experiments. Several of the pieces have been recorded since I released “Sands of Aberdeen” (and were, in fact, made during that project for this film).

You employed much of your prior material; was it a better fit?

Taking ‘Road to Valhalla’ for doc project

Folksinger Jed Marum during a recent performance at the Minden Tartan Festival in northern Louisiana.

See MARUM, pg. 33


By Lybo BuchananSpecial to the Ceili

DALLAS – Sandi Hebley, Lee Kelton and I attended the Solas concert at Dallas’ Kessler Theater on Thursday, April 24. It was a fairly small crowd, but a very enthusiastic one, holding nothing back in showing its warmth and appreciation for Solas and the

opening act, Flashpoint.The venue, the restored Kessler Theatre, originally opened as

a movie house in the early days of World War II, owned at one time by Gene Autry, the singing cowboy. It was destroyed in the 1957 tornado that devastated much of Dallas, rebuilt as a revival church, only to be destroyed again – by a fire five years later.

Now 50 years later, Edwin Cabaniss bought, gutted and re-opened the Kessler as one of the best performance venues around, with an intimate setting, good sound and lighting and a full bar.

The show began with Dallas’ Flashpoint (brothers Daniel and David Mehalko plus Joseph Carmichael). They were amazing and so proud to be a part of the Solas show.

Solas focused on its new album, “Shamrock City.” A series of old photographs was projected behind the group throughout the evening, telling the story set in Butte, Mont., where Seamus Egan’s great-great uncle, Michael Conway, went to work in the copper mines.

For an Irish immigrant, it was hard to find work in this country, but the man doing the hiring in Butte was Irish and encourage Irishmen to come and work. Six years after his arrival in Butte, young Conway was dead at the age of 25 from a blow on the head. This was the story that influenced Seamus into writing and recording “Shamrock City.”

Solas took the audience back in time on this evening to those long ago days taking you on an emotional journey by merging music and images. It was mesmerizing.

And the crowd responded with yells, shouts and applause and an encore. It was a wonderful evening.

Solas, Flashpoint delight Dallas audience

Ceili photo by Phil WirthThe legendary Celtic music group Solas performs for a receptive audience at Dallas’ Kessler Theater on April 24, and will be one of the headliners for the 2014 North Texas Irish Festival.


I have always tutored young journalists, and writers, to look beyond initial assign-ments during active research for additional topics of reader interest. One story usually sprouts several more, which, in turn, grows into a plethora of topics where a really good writer can sink their teeth into like sweet, gooey baklava (sorry, it is what came first to my mind!).

Last issue, in my studies about Irish influ-ence on America’s pastime (baseball, of course), I discovered this “feud” about one of the venerable symbols of being Irish – an innocent song.

The very establishment housing the Irish-American Baseball Hall of Fame – Foley’s Pub and Restaurant, located just opposite the Empire State Building off Fifth Avenue in New York City – banned the singing of the classic Irish song, “Danny Boy,” on St. Patrick’s Day in 2008.

I ask you, is this sacrilege? Has a sacred code been broken? Or has the Celtic world finally come into the 21st century?

I unearthed several articles explaining the position of bar owner Shaun Clancy (a native of County Cavan) when he insti-tuted the ban in 2008.

“It’s not the song; it’s hearing it sung badly that I don’t like,” Clancy told the Irish Voice in an interview in March, 2008. “I re-ally have nothing against the song. I’m not being disrespectful to ‘Danny Boy,’ I’ve just gotten sick of every time someone gets a few beers in them on Paddy’s Day they think it’s their inalienable right to belt out a very bad version of it.”

The “ban” garnered instant worldwide status, with coverage coming from the Associated Press, all the New York-based media (nation al and local), as well as outlets in Australia, England, Ca-nada and some 800 international newspapers. It was covered on such programs as “The Colbert Report” and made “home page” headlines on AOL, MSN, Comcast and Yahoo!

If the purpose was to gain massive publicity, Clancy and Fol-ey’s produced a number one hit with a bullet on the charts. But Clancy still denies the purpose.

“It was an off-the-cuff remark of mine which went around the world at this stage. I did 70 interviews from seven different coun-tries and there was 2,000 stories written about it,” he explained. “But publicity wasn’t why it was done; it was just a remark that sparked a reaction.”

Now, when performed properly and in the “hands” of the pro-per vocal pipes (someone like tenor Ronan Tynan, for example), the simple lyrics can be presented in a hauntingly beautiful fashion.

The history behind the lyrics is interesting; they were writ-ten by English lawyer Frederick Edward Weatherly, published in 1913. According to historian Malachy McCourt, in his book, “Danny Boy: The Legend of the Beloved Irish,” Weatherly never

actually set foot on any rock, stone or piece of terra firma belong-ing to Ireland. Yet the song became iconic to Irish identity.

“It’s a beautiful song when sung by Frank Patterson or Bing Crosby or the Irish Tenors,” McCourt once wrote.

The ban lasted through the end of March. But not every Irish-man felt the same. Ciaran Staunton, owner of O’Neill’s on Third Avenue, really got his Irish dander up.

“Real Irish people understand why ‘Danny Boy’ means so much to us,” he noted, organizing a “Danny Boy” special for St. Patrick’s Day of his own, offering a free Irish breakfast (between 8-9 a.m.) to any patrons who can sing a verse from “Danny Boy.”

The following year, Foley’s changed course and offered a contest ($500 in prize money) to the person who could properly substitute “less depressing” lyrics. The winner, Danny Regan, hailed from Kansas City, Mo., and actually sent two e-mails – one explaining the new set of lyrics (as done to the tune) and then his actual “entry.” The judges, being good Irishmen, chose the first e-mail as the winner!

---Here’s a little more history about Foley’s (named after famed

New York City sportswriter Red Foley). One hundred years ago, the building was leased to the Café Rhein Restaurant Compa-ny. In 1916, it was known as the Annex Cafe and Restaurant, and later became a “gentleman’s club,” (not the connection people hold today; it was a polite way to call it a pub at the time).

In the past century, the name has changed, the culinary focus has changed but not the interior; it STILL retains a “turn of the century” appearance from the mahogany walls and flooring (more than 120 years old). The original Waldorf-Astoria Hotel (located where the Empire State Building currently stands) supplied the Tiffany glass in the pub’s rear and the men’s room urinals.

According to legend, or blarney, the person who owned

The bar that banned Danny Boy!From the editor

Chuck Bloom



By Mike HudsonSpecial to The Ceili

When Celtic music is mentioned, it derives many meaning; most pronounce it (S)eltic and often limit it to “Danny Boy,” “Tu-la-ru,” “McNamara’s Band,” and pipers playing “Amazing Grace.” However, true lovers and devotees know there is a wide 360-degree world, touching every genre of music.

For the most part, commercial radio is a tightly-controlled industry. Commercial stations broadcasting music labeled as “niche” programming are few and far between.

Celtic music falls into this niche. Even though it is not on the Billboard 100 or Top 40 most of the time, there is a vast ocean of Celtic music readily accessible.

The following is a guide for the Celtic music lover- devotee to dive into. By no means should this be considered a complete listing of what is available; most of the programming is Internet-based. Therefore, data plans with limited GBs on mobile devices must be closely monitored.

Some programs are weekly, syndicated programs, while some are entire genre formats. Mobile apps, such as Tunein Radio and RadioTime, can help navigate the listener to those stations offer-ing such programs.

Thistle and Shamrock (www.thistleradio.org) – A long-run-ning, one-hour NPR program hosted by Scotland’s Fiona Ritchie, “Thistle and Shamrock) is broadcast over 200 NPR affiliates throughout the U.S. (but none in the North Texas region). Thistle and Shamrock provides a cutting edge in Celtic Music with art-ists’ interviews.

The ThistleRadio Music Channel also streams 24/7 at www.npr.org/music. Most NPR stations stream over the Internet, if no station is within terrestrial radio range.

The Celtic Show – Fridays, 7-9 p.m.(www.ckua.org). In 1996, (before Celtic music started trending) Andy Donnelly, a musician-producer-promoter from Gourock, Scotland, started his weekly program on CKUA in Edmonton, Alberta, Canada.

He provides a warm and inviting, family-friendly brand of programming. Anything from sublime to outrageous Celtic music is the fare Andy serves up every Friday evening. Several interest-ing interviews with Celtic artists are also inlcuded.

Across the Water – Sundays, 6-8 p.m. (www.kutx.org) – The program is hosted by Ed Miller on KUTX-FM in Austin (note the change in stations from KUT-FM). Miller is the venerable Scot-tish musician-entertainer-folklorist, who is a regular at the North Texas Irish Festival and Scottish Highland Games.

He often offers thematic-based programs, focusing on histori-

cal events, different parts of the Celtic world, featured musical instruments, or favored artists.

The Celtic Music Hour – normally on Sundays, 1-2 p.m. on KNON-FM, in Dallas. But the sudden departure of host Patrick Coffman has left this show in limbo.

Celtic Twilight – Saturdays, 3-7 p.m., and Down East Ceili – Sundays, 7-8 p.m. (www.wumb.org) – Gail Gilmore and Marsha Polmatere have hosted these programs for more than 15 years on WUMB in Boston. These two women air musicians mainly originating from the Boston area and maritime Canada.

Four full hours of Celtic music on a Saturday afternoon, while out-and-about in the fresh air, makes the coming work week seem a bit easier to endure.

Live365.com – Live 365 lists more than 50 different Celtic Music stations – ranging from ethereal-melodic to raging-head banger rock to traditional forms. Free iPhone and Android apps are available and Live 365 offers a paid VIP commercial free subscription service, as well.

CelticRadio.net – Celtic Radio is the home of the award-win-ning Highlander Radio and a host of sister stations streaming live Celtic music, interviews and contests. Sunday mornings on High-lander Radio features a Celtic Christian broadcast. Celtic Radio is also a social media format for those interested in anything Celtic.

LiveIreland.com – Live Ireland is broadcast from Dublin and radio and TV are provided. The program spotlights the best and latest in Irish music, as well as a huge social media format.

Accuradio.com – Accuradio hosts 17 different Celtic music channels, featuring anything from Celtic rock to traditional Celtic music. Free iPod and Android apps are available for download.

Shoutcast.com – Shoutcast is offered on several music apps, as well as a stand-alone app for iPhone and Android. Shoutcast has access to more than 150 different Celtic-themed programs and stations from around the world.

Music is often performed in German, French, Spanish, and Polish; it sounds great, even if the words aren’t understood.

Hopefully, this guide will be a good initiation for those who love Celtic music, or want to introduce others to the wide 360 degrees of this special genre.

Happy listening; remember to support the artists heard on these programs by purchasing their music, and support those sta-tions playing their work.

Greenville resident Mike Hudson is a great devotee of Celtic music; as well as a 30-year veteran paramedic and EMS educator. He also has volunteered as NTIF’s medical standby for several years.

George’s Fish House, the 18 W. 33rd Street occupant at the time, bought and brought the fixtures across the street from the Waldorf in 1929.

It remained George’s Fish House from the 1930s through the end of World War II; the bar changed owners several times in ensuing decades, operating under names such as Madigan’s and P.G. King’s (1993-2003).

Foley’s current owner re-opened the place in 2004 as a bar-restaurant with a sports theme, specifically baseball –“Irish

Bar with a Baseball Attitude.”“It’s a place where customers get old

fashioned Irish hospitality along with sat-ellite transmissions of Major League base-ball games and one of the best baseball memorabilia collections in the country,” the website explains.

Inside Foley’s is anything and every-thing imaginable concerning baseball – seats from Fenway Park, Tiger Stadium and Camden Yards, game-used jerseys, an orange Charley Finley ball (used in the 1970s by the Oakland A’s), in excess of

300 bobbleheads, and more than 1,800 au-tographed baseballs, including those from nearly 100 Hall of Famers.

Of course, there’s the Irish American Baseball Hall of Fame (which was my starting point of interest).

So if you get to Gotham City in the near future and want to visit something authen-tically different, with history literally dripping from its walls, Foley’s sounds like a winner!

But if you feel the need to do a rendi-tion of “Danny Boy,” hum it to yourself.

Celtic music – how to get ‘dialed in’


ReviewsHounds of Finn,Garry O’Meara,Rickey Pittman

Hounds of Finn: ‘Gravity Pulls’By Chuck BloomCeili editor

In another musical genre, “The Minne-apolis Sound” meant music (a mixture of funk, rock, pop, New Wave and synthe-sizer pop), led by Prince, Morris Day and the Time and producers Terry Lewis and Jimmy Jam. For much of the 1980s, that music ruled the industry, and with Prince making waves with new material, that tradition is alive and well.

However, the Twin Cities (Minne-apolis AND St. Paul) have also carved a corner in the Celtic music world with a non-traditional sound, led by the likes of The Sweet Colleens, Wild Colonial Bhoys, Erin Rogue and the Irish Brigade.

Add to that list the St. Paul-based Hounds of Finn, who have just released a new CD, “Gravity Pulls,” (on the local New Folk label). Although much of their music has threads of Celtic, Irish and traditional Scottish themes and sounds intertwined in their original and traditional material, the Hounds, essentially, are an American folk-bluegrass-roots group.

Group members are Belfast native (and primary songwriter) Leslie Rich (vo-cals, guitar, bouzouki), fiddler Michelle

MacGregor, guitarist Pete McCauley and percussionist David Draeger (former member of the Irish Brigade). Among the guest performers on the album is Sweet Colleens drummer (and former Housto-nian) Wolf Loescher.

Together as a quartet since 2007, this third CD release is a collection of ex-cellent work, much in the spirit of that Midwestern sound display by The Sweet Colleens. It isn’t traditional Celtic music (although “The Fairview Gypsy Reel,” the album only instrumental piece, drips thoroughly of Celtic trad); but you’d be mistaken to pigeon-hole it as only blue-grass or roots music. There is something

for everyone that is appealing.“As an ensemble, we are driven to

advance to the next professional level,” it states on the Hounds’ website. “For us, that means performing more concerts and festivals. Ideologically, we seek to bridge the gap between Celtic folk music and modern pop rock.

“Together we are a mix of musicians steeped in tradition but possessing highly-developed rock and pop sensibilities. We see ourselves reaching out to audiences across genres, expanding minds, and generating excitement about the roots of the music that inspires us.”

That bridge can be clearly heard on the Hounds’ rendition of the U2 classic, “In

God’s Country,” with MacGregor leading the vocals. Other standout tunes include “Ocean,” the title track, “Gravity Pulls,” and “The Wedding Band.”

And such music is always best when the listener knows it is original material. On “Gravity Pulls,” only the U2 cover and the traditional “Wild Mountain Thyme” are NOT compositions from the quartet.

As more of the Celtic music nation be-gins to appreciate that which is emanating from Minneapolis-St. Paul, the better the entire genre will be.

For more information, go to www.houndsoffinn.com.

Garry O’Meara: ‘Pickin’ Time’By Chuck BloomCeili editor

How do musical sidemen become stars and headline performers in their own right? It’s when their talent simply shines SO brightly as to demand singular recognition.

I’m wagering that tenor banjo-mandolin virtuoso Garry O’Meara, now part of the Brock McGuire Band, will fit that answer in the very near future for Celtic music lovers. He simply is one of the very player performers on that beloved instrument in the world and it is all on audio display with his new CD, “Pickin’ Time.”

And the title explains the man’s playing style to a “T!” He doesn’t strum; he picks … often at blazingly alarming speed, producing a most unique sound to be enjoyed on all 12 tracks.

His pedigree in Irish-Celtic music is admirable; started playing at the age of 9, earning Young Musician of the Year at 15, judged by renowned conductor Gearoid Grant. He has performed and toured with such bands as the crossover


CD reviews Continued from page 13

folk-pop band, “Reel,” “The Fureys” and “Stockton’s Wing.”

He has also been a member of the folk-trad group, “Monto,” (on the Universal Records label), the folk group, “Dargle,” plus the award-winning folk-bluegrass crossover ensemble, “The Perfect Mix.” He has played several successful dance shows, including “Ragus,” “Celtic Leg-ends” and “Irish Legends.”

In addition to his concert work with Brock McGuire, O’Meara has toured throughout the world with the likes of Christy Hennessy, Christy Moore, Luka Bloom, Paul Brady and Moya Brennan.

O’Meara, originally from Tipperary and now based in Dublin, touches all the bases of banjo playing on this album – from Irish traditional, old-timey and bluegrass. Almost all the selections are upbeat pieces

in order to spotlight O’Meara ability. The banjo offers the best bridge (even more than the fiddle) between Celtic music and the form of bluegrass heard in the Appala-chian and Ozark Mountain regions.

The energy can be felt from the first notes on “Box Room Fantasy” – one of five original compositions by O’Meara. The final track, “The Swedish Jig,” begins with a lovely guitar introduction by Early and then steps aside for O’Meara.

On “Pickin’ Time,” O’Meara is joined by a bevy of high caliber Irish music talent, including Conal Early on guitar-keyboards, Fergal Scahill on fiddle, James Blennerhassett on bass, Brian Garvin on bodhran and others, including singer Frankie Lane, who offers the CD’s only vocals on that classic American bluegrass tune, “Good Ol’ Mountain Dew.”

One of the most fascinating aspects of the album is the actual sound of the tenor banjo O’Meara plays. Rather than the often-muffled sound heard on other re-cordings, his banjo rings and allows notes to lingers on one’s ears. When you add the obvious dexterity and speed of O’Meara, the combination is more than satisfactory.

Judging by the interest many people held for the banjo, as shown by those visiting banjomaker Chuck Lee’s booth at NTIF, this album is perfect to satisfy that inner need to hear some clean pickin.’

And one day, those fans can crowd around one of the festival’s stage to see O’Meara hypnotize an audience with his lightening quick fingers and brilliant sound.

For more information, go to www.gar-ryomeara.com.

Rickey Pittman:‘A Lover’s Ghost’By Chuck BloomCeili editor

Dallas native Rickey Pittman is a man of many talents – educator, writer, folksinger; but above all else, he is a teacher. And when presenting his sto-ries, told at this year’s North Texas Irish Festival, or through his recorded music, everything seems to have a purpose – to tell tales of the human condition and how some people react to it.

Utilizing a unique vocal style, Pitt-man follows the path of former folk-singers, with characters seldom sung about these days (hobos, drunks, sad, depressed and forlorn lovers). While he is not a traditional Celtic singer, his top-ics often touch the same bases as many famous older Irish and Scottish tunes.

At NTIF, he released a new CD, “A Lover’s Ghost,” his third album, follow-ing “Bard of the South,” a set of songs from the U.S. Civil War, and The Minstrel Boy,” a collection of Scottish and Irish songs. The CD was produced by his good friend, Jed Marum, at Rockin’ T Audio Ranch (engineered by Travis Ener) and contains 15 very original songs with just Pittman on the guitar and Marum offering expert support on banjo.

Lest one doubts his educational cre-dentials, Pittman has a Bachelor of Arts degree in New Testament Greek and a Master’s in English Literature from Abilene Christian University; he teaches

college-level freshman composition and literature at Delta Community College, the University of Louisiana at Monroe and Virginia College Online.

In 1998, he was the Grand Prize winner of the Ernest Hemingway Short Story Competition, and has presented many programs at such diverse locales as schools, libraries, historical museums, Civil War re-enactments and Celtic festi-vals – mostly in the South.

On “A Lover’s Ghost,” almost all his lyrics could be considered teachable mo-ments. There is recent sad history, such as “Red Ribbon Day: A Song for Kiki,” about the public’s reaction to the brutal 1985 murder of DEA agent Kiki Camare-na in Guadalajara, Mexico. As most parents of today’s school-aged children know, an annual Red Ribbon Day (in

October) honors Camarena and asks all students to committ to a drug-free life.

The inspiration for “Ghost Train” came “as I reflected on some of the very creative, but manic depressive friends I’ve had in my life; insomnia seemed to be a common characteris-tic,” he said.

Several of Pittman’s songs are about different parts of his native Texas, from a special “Harrison County Bridge” (inspired by the book, “The Covered Bridges of Madison County”), “Sixth Street Blues” about the music scene in Austin through the lonely eyes of a bluesman, “Magic Moon of Laredo” about that Texas border city, and

“Don’t Drink the Water,” about a visit to Rio Grande City with words of advice from a school librarian where he had performed (“Well, don’t drink the water, or you’ll never leave”).

There is a lot of sadness in some of the choices he recorded; for the title track, Pittman said, “It’s easy to be haunted by the past, by regret, by loss, by our choic-es, by feeling unappreciated. I wanted to capture that feeling.”

A perfect example of Pittman’s teach-ing comes on “Don Bernado Guitérrez de Lara,” a little-known tale of a true Texas hero, encompassing some of the words from author José Antonio López, whom Pittman met in Laredo.

For more information, go to www.bardofthesouth.com.


O’Flaherty Retreat to celebrate 10th year in OctoberWhen 300-plus Irish music aficionados gather in Waxahachie

this October, they will celebrate traditional Irish music to be learned and played over three days, and commemorate the O’Flaherty Irish Music Retreat’s 10th year of providing such an opportunity.

In the case of the retreat (not just in Texas), anything lasting 10 years is considered a “going concern,” deserving of some special attention.

The 10th annual retreat, now considered one of the nation’s leading Irish music camps, will be Friday-Sunday, October 25-27, at beautiful Lakeview Camp and Conference Center in Waxa-hachie (south of Dallas) for anyone interested in learning tradi-tional Irish music, or being a better instrument player or vocalist.

According to Retreat organizer Kem Fleming, it’s hard to believe it was in October, 2004 when the seed was planted – a two-day event attracting 100 or so people, far more than expected and all very enthused about Irish music.

“The event outgrew Springhill in its first year; so it was then on to Hoblitzelle Camp and Conference Center in Midlothian,” he explained. “More recently, including this October, we’ve been at the Lakeview Camp and Conference Center in Waxahachie where participant numbers have exceeded 300.”

It has grown from a small local event into an internationally-recognized music camp with students registering from all over the country. As evidenced from surveys of students and teachers who attend, the O’Flaherty Retreat compares favorably with older American camps, such as the Catskills Irish Arts Week, Augusta Irish-Celtic Week, and Swannanoa Gathering-Celtic Week and camps in Ireland, such as the Willie Clancy School.

One major difference with other camps is the retreat’s three-day format. From the start, organizer Ken Fleming sought to dif-ferentiate this retreat from the other normally week-long outings.

“What I heard from people who attended these camps was how exhausting a week becomes for students and instructors,” Flem-ing said. “Our three-day format is packed with classes, concerts, sessions, workshops, ceilis and more, but our students manage it well because it’s essentially a three-day weekend.”

Another change Fleming made was to add “enrichment class-es” – focusing on the history of Irish music or other topics related

to the music (exploring the fiddle styles of particular regions of Ireland, or discovering the contributions of key musicians who significantly influenced the Irish tradition). These classes are taught each year by guest instructors themselves who, often through personal experiences, provide great insight and under-standing on the topics covered.

While the class work is intense, there is plenty of time for fun. Since the initial retreat, a contest of student-formed ensembles – the “Texas Tune and Song Tussle” – occurs throughout the weekend. Vying for “O’Diddley” awards, these bands perform six-minute shows for students and staff.

There are also Ceilis on Friday and Saturday nights allowing students the chance to enjoy group dancing and appreciate the strong connection between dance and the music those students are learning in classes.

Of course, there are sessions when students are not in classes, or following the concerts each evening. Some sessions are in-structor-led while others are formed on their own; there are even

SCMA photos by Phil WirthFiddler Oisin McAuley presents an enrichment class called “Maintaining a Link with the Tradition: The Fiddle Music of Southwest Donegal” at the 2012 O’Flaherty Music Retreat.

An all-star ceili band played for retreat dancers in 2012, includ-ing (from left) Brink Trammell, Don Penzien, Daniel Mehalko, John Whelan, Brian Conway, Ken Fleming, James Kelly, Linda Relph, Conal O’Grada, Gordon McLeod, Oisin McAuley and Kevin Alewine.

See O'FLAHERTY RETREAT, pg. 33


NTIF seen from other eyes: 1LinfenHwang

Dennis Fritsche

Jamie Hilbig


NTIF seen from other eyes: 2

Priscilla Killion

Gregory Jones Valerie Johnson

Céilí September-October 2011 17 = Ceili July-August 2013 page 17=

NTIF seen from other eyes: 3Jim Walsh Parvin Stiles

Sam WIlson

Lou Warren


For what it’s ‘Wirth’the AREA Celtic music scene through the eyes and lenses of photographer Phil Wirth

TIMES TradCamp, April 15-19Brian McNeill at Trinity Hall, May 1

Texas Scottish festival, May 3-5 NTIF volunteer picnic, May 5

Dallas’ Trinity Hall hosted one of the premier Scottish music performers, Brian McNeill, on May 1, where he was joined on stage by local fiddlemaster Linda Relph, of NeedFire. McNeill was in the Metroplex in advance of his headlining stint at the Texas Scottish Festival.

Among the many performers at the Texas Scottish Festival and Highland Games in Arlington-were (from left) Scooter Muse, Albert Alfonso, Jil Chambless, John Taylor and Brian McNeill.

A large number of NTIF volunteers, managers and coordinators gathered on Sunday, May 5 for the annual recognition picnic at Winfrey Point, as a way to say “thanks” for their efforts.

Master fiddle Oisin MacDIarmada (left photo) led the first TradCamp on April 15-19. Gui-tarist Joseph Carmichael provided accompaniment for the camp’s finale performance.


For what it’s ‘Wirth’the AREA Celtic music scene through the eyes and lenses of photographer Phil Wirth

TIMES TradCamp, April 15-19

NTIF volunteer picnic, May 5

NTSIM youth recital, April 22

A large number of NTIF volunteers, managers and coordinators gathered on Sunday, May 5 for the annual recognition picnic at Winfrey Point, as a way to say “thanks” for their efforts.

The four young gentlemen playing a set of jigs at the recent spring recital were (from left) Nathan Kennedy, Aiden Nychka, Eliot Nychka and Aidan Flanagan, in a concert sponsored by the North Texas School of Irish Music.

The TIMES spring youth recital was held April 21 at Trinity Fellowship Church in Richardson. One performance found harpist Rebekah Passmoreproviding the musical background for vocalist Karen Ballei.

Master fiddle Oisin MacDIarmada (left photo) led the first TradCamp on April 15-19. Gui-tarist Joseph Carmichael provided accompaniment for the camp’s finale performance.


NTIF seen from other eyes: 4Russell McGuire

Céilí September-October 2011 21 = Ceili July-August 2013 page 21=

NTIF seen from other eyes: 5ErnieTacsik

Jennifer Carrick

Don Champlin

Louis Aguirre


NTIF seen from other eyes: 6

Ping Shang

Larry Petterborg

Lloyd Jones


Celticcalendar

JuneTuesday, June 257 p.m.KilldaresSounds of Lewisville Series100 N. Charles Street – Lewisvillewww.killdares.comwww.soundsoflewisville.com

Thursday, June 277-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, June 288:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

7:30 p.m.ClandestineMcGonigel’s Mucky Duck – Houston2425 Norfolk – (713) 528-5999Tickets $20 (advance); $22 (door)www.clandestineceltic.comwww.mcgonigels.com

Friday-Sunday, June 28-30KilldaresOhio Celtic and International FestivalLake County Fairgrounds – Painesville, Ohiowww.killdares.comwww.ohiocelticinfest.com

JulyWednesday, July 38:30 p.m.Irish Session with Patrice PikeMcGonigel’s Mucky Duck – Houston2425 Norfolk – (713) 528-5999www.mcgonigels.com

Thursday, July 47-10 p.m.Flashpoint

Trinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, July 58:30 p.m.-12:30 a.m.Jed MarumTrinity Hall, Dallas – (214) 887-3600www.jedmarum.comwww.trinityhall.tv/Music.htm

Saturday, July 69 p.m.-1 a.m.Irish RoguesTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Thursday, July 117-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, July 128:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Saturday, July 139 p.m.-1 a.m.Trinity River WhalersTrinity Hall, Dallas – (214) 887-3600www.trinityriverwhalers.com

Thursday, July 187-10 p.m.FlashpointTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, July 198:30 p.m.-12:30 a.m.Seamus StoutTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Saturday, July 20

8 p.m.The KilldaresDallas Zoo Concert Series650 S. R.L. Thornton Fwy. (I-35)Tickets – $15www.Killdares.com

Thursday, July 257-10 p.m.Jigsaw and FlashpointTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, July 268:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Saturday, July 2710 a.m.Don GabbertTimberon (N.M.) Blues and Barbecue Festivalwww.timberonbluesfestival.com

9 p.m.-1 a.m.BEHANTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Sunday, July 287:30 p.m.BrizeusMcGonigel’s Mucky Duck – Houston2425 Norfolk – (713) 528-5999Tickets $15 (advance); $17 (door)www.mcgonigels.com

AugustFriday-Saturday, August 2-3Killdares, plus Gaelic Storm, Scythian, Derek Warfield and the Young Wolfe Tones, Dublin City Ramblers, Switchback, Mulligan Stew, Exorna, Wylde Nept, Lan-ger’s Ball, Red Hot Chili Pipers, Pogey


Celtic calendar 7th annual Iowa Irish FestivalLincoln Park Area – Waterloo, Iowawww.killdares.comwww.iowairishfest.com

Saturday, August 39 p.m.-1 a.m.Irish RoguesTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Thursday, August 87-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, August 98:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Saturday, August 109 p.m.-1 a.m.Trinity River WhalersTrinity Hall, Dallas – (214) 887-3600www.trinityriverwhalers.comwww.trinityhall.tv/Music.htm

Thursday, August 157-10 p.m.FlashpointTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, August 169-11 p.m.Jed MarumNoble Savage TavernShreveport, La. – (214) 887-3600www.jedmarum.com

Saturday, August 17CleghornCultureFest – McAlester, Okla.Historic downtown Choctaw Avenuewww.cleghornmusic.com

9 p.m.-1 a.m.BEHANTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htmwww.behanmusic.com

Thursday, August 227-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, August 238:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Thursday, August 297-10 p.m.FlashpointTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday-Sunday, Aug. 30-Sept. 1The Elders, We Banjo 3, David Munnelly and Mick Conneely, Seamus Kennedy, Clumsy Lovers, Damien Dempsey, Sker-ryvore, the olllan, Whiskey of the Damned, Ian Gould, Open the Door for Three, Eddie Delahunt, Bob Reeder, Ashley Davis, Flan-nigan’s Right Hook11th annual Kansas City Irish FestivalCrown Centerwww.kcirishfest.com

SeptemberThursday, Sept. 57-10 p.m.FlashpointTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

7 p.m.KilldaresDallas Arboretum Fall Concert Series8525 Garland Road – DallasTickets – (214) 515-6500www.killdares.comwww.dallasarboretum.org

Saturday-Sunday, Sept. 7-8Jed MarumDick Dowling Days – Port Arthur, Tex.www.jedmarum.com

Saturday, September 7

9 p.m.-1 a.m.Irish RoguesTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Thursday, September 127 p.m.-10 a.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday-Sunday, Sept. 13-15Ed Miller, Seven Nations, Celti-ca, Cleghorn, Murder the Stout, Tullamore, Jed Marum, Hugh Morrison, Wicked Tinkers, As the Crow Flies, Flowers of EdinburghOklahoma ScotFestRiver West Festival Park – Tulsawww.okscotfest.com

Friday, September 138:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Wednesday, September 187:30 p.m.ClandestineMcGonigel’s Mucky Duck – Houston2425 Norfolk – (713) 528-5999Tickets $20 (advance); $22 (door)www.clandestineceltic.comwww.mcgonigels.com

Wednesday-Sunday, Sept. 18-22TBA41st annual Walnut Valley Festival and National Flat Picking ChampionshipsCowley County FairgroundsWinfield, Kan.www.wvfest.com

Thursday, September 197-10 p.m.FlashpointTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Saturday, September 218 p.m.

See CALENDAR, pg. 25



Celtic CalendaR Continued from page 24

KilldaresLevitt Pavilion for the Performing ArtsArlington – 100 W. Abram – Freewww.killdares.com

9 p.m.-1 a.m.BEHANTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Needfire, Black Brothers, O’Con-nell’s Bridge, Miles from DublinGreeley (Neb.) Irish Festivalwww.greeleyirishfestival.com

Saturday-Sunday, Sept. 21-22Cleghorn among othersThird annual Sherwood Celtic Music Festival – McDade, Tex.www.cleghornmusic.comwww.sherwoodforestfaire.com

Thursday-Sunday, Sept. 26-29Maire NiChathasaigh, Chris Newman, Tannahill Weavers, John Doyle and Duncan Wickel, Mairtin DeCogain, Robbie O’Connell, Paddy O’Brien, Tanya Perkins, Park Stickney, Folk Ragout, Adam Agee, Jon Sousa, Cassie and Maggie McDonald9th annual Spanish Peaks International Cletic Music FestivalHuerfano County, Colo.www.celticmusicfest.com

Thursday, September 267 p.m.-10 a.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Vintage WildflowersHouse Concerts UnlimitedOpening for Sarah McQuadeTulsa, Okla. www.vintagewildflowers.com

Friday-Saturday, Sept. 27-28Ed Miller, Jil Chambless, Scoot-er Muse, Peat Fire Flame, Mitzi MacDonald and Keltic Reign, Duddy BanksSt. Louis Scottish GamesForest Park – St. Louis, Mo.www.stlouis-scottishgames.com

Friday-Monday, Sept. 27-302 p.m. (daily)The KilldaresState Fair of TexasGate G Cotton BowlDallas, Tex. – (214) 565-9931www.Killdares.comwww.bigtex.com

Friday, September 278:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Saturday, September 289 p.m.-1 a.m.O’Flaherty Music Retreat NightTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

OctoberOctober 1-202 p.m. (daily)The KilldaresState Fair of TexasGate G Cotton BowlDallas, Tex. – (214) 565-9931www.Killdares.comwww.bigtex.com

Saturday, October 59 p.m.-1 a.m.The Irish RoguesTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Thursday, October 107-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, October 118:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

9-11 p.m.Jed MarumNoble Savage TavernShreveport, La. – (214) 887-3600www.jedmarum.com

Saturday, October 129 p.m.-1 a.m.Trinity River WhalersTrinity Hall, Dallas – (214) 887-3600www.trinityriverwhalers.comwww.trinityhall.tv/Music.htm

Wednesday, October 16NoonVintage WildflowersBrown Bag It (with) the Edison High School Chamber OrchestraTulsa (Okla.) Performing Arts Centerwww.vintagewildflowers.com

Thursday, October 247-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

8-10 p.m.Jed MarumAnderson Fair Songwriters Showcase2007 Grant – Houston; Tickets – $10www.jedmarum.comwww.andersonfair.com

Friday, October 258:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday-Saturday, Oct. 25-26Jed MarumTexian Market Days – RichmondGeorge Ranch Historical Parkwww.jedmarum.com

Friday-Sunday, Oct. 25-27Cathie Ryan, Patty Furlong, Fergal Scahill, Enda Scahill, Jimmy Keane, Myron Bretholz, Pat Boarders, Josh Dukes, Flor-ence Fahy, Marla Fibish, Eileen Gannon, John Skelton, Patrick Ourceau, Kiernan O’Hare, Bren-dan Mulvihill, Liz KnowlesO’Flaherty Irish Music RetreatLakeview Camp & Conference Center – Waxahachie, Tex.www.scma.orgwww.oflahertyretreat.org


NovemberSaturday-Sunday, Nov. 2-3TBA17th annual Austin Celtic FestFiesta Gardenswww.austincelticfestival.com

Saturday, November 29 p.m.-1 a.m.The Irish RoguesTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, November 88:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Saturday, November 97:30 p.m.KilldaresArts Council Northeast Masterworks Concert SeriesSouthlake (Tex.) Town Squarewww.killdares.com

9 p.m.-1 a.m.Trinity River WhalersTrinity Hall, Dallas – (214) 887-3600www.trinityriverwhalers.com

Saturday-Sunday, Nov. 9-10Cleghorn among othersSalado (Tex.) Scottish Festivalwww.cleghornmusic.com

Thursday, November 147-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600

Friday, November 228:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Saturday, November 237:30 p.m.Celtic ThunderVerizon Theatre - Grand PrairieTickets $45-75www.verizontheatre.com

Thursday, November 287-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

DecemberSaturday, December 79 p.m.-1 a.m.The Irish RoguesTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Thursday, December 127-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, December 138:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600

Friday, December 209-11 p.m.Jed MarumNoble Savage TavernShreveport, La. – (214) 887-3600www.jedmarum.com

Thursday, December 267-10 p.m.JigsawTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

Friday, December 278:30 p.m.-12:30 a.m.Jeff PhillipsTrinity Hall, Dallas – (214) 887-3600www.trinityhall.tv/Music.htm

February 2014Saturday, February 17-9 p.m.Beyond The PaleCommunity Unitarian Universalist Church Coffeehouse Concert2875 E. Parker Road, Plano, Tex.www.communityuuchurch.org

Friday, February 288 p.m.Celtic Nights - “Journey of Hope”Charles Eisemann Center – Richardsonwww.esiemanncenter.com

Celtic CalendaR Continued from page 25

Dear Editor:Your article about the Irish in baseball (in the May-June edition of the Ceili) was

interesting. You included not just players, but owners, general managers, managers, umpires, announcers, a commissioner ... and even a trainer.

However, you did not include any groundskeepers. None would have represented that group better than Pete Flynn (no relation), who spent 50 years with the New York Mets – going from the Polo Grounds to Shea Stadium to Citi Field (www.irishcen-tral.com/story/roots/the_american_in_ireland/mets-irish-groundskeeper-calls-it-a-day-after-50th-season-130770223.html).

Slán go foill Eugene J. Flynn

Editor’s Note: The book (and author) referenced in the article sadly omitted the men who presented America’s baseball fields in the most pristine condition and made visitors literally gasp in awe of their prowess. Nothing is as beautiful as a perfectly-manicured baseball diamond. Pete Flynn retired as Mets’ groundskeeper in 2011.

Letter to the editor

Honor thy baseball groundskeeper!


Onthe

DanceFloor


Please help keep this section up-to-date by contacting Susan Harrison, TMRF at [email protected].

* = new or changed (some listings not included this month)

Last updated May 24, 2013

Upcoming EventsIrish CompetitionsThe Irish Dance Teachers Associa-tion of North America and the North American Feis Commission (www.northamericanfeiscommission.org) coordinate, and are responsible for, the following Irish dance competitions:None listed

Highland CompetitionsNone listed

Céilís, Special EventsIrish* Céilís at Trinity HallJuly 14, Aug. 11 from 3-6 p.m. Music by Trinity Hall Session Players, dances called by Michael and Susan Harrison. Held at Trinity Hall Irish Pub, Mock-ingbird Station, Dallas. Admission free; Facebook: DFW Irish Ceili Dancers; [email protected]

* Mostly Monthly Céilís at Fenian’s Irish PubAugust 18 from 2-5 p.m., Fenian’s Pub, Jackson, Miss. All are welcome. Free admission, (601) 948-0055. See www.fenianspub.com or www.jacksonirish-dancers.org for more info.

Third Friday Celtic Night8-10 p.m., Third Friday of month. All welcome to join in traditional Celtic tunes; dancers invited to perform with live music (all Celtic styles). Listeners also welcome! Sonder Music, Dance and Art, Norman, Okla. (405) 474-9734 http://sondermusic.com.

Regular classesIrishThe following teaching certifications are

awarded by the Examination Authority of An Coimisiún Le Rincí Gaelacha in Dublin, Ireland:TMRF: Céilí teacherTCRG: Step dance and céilí teacherADCRG: Adjudicator

---These teaching certifications are awarded by the Examination Panel of Cumann Rince Náisiúnta in Dublin, Ireland:Assoc. Member: Teacher in trainingODCRN: Step dance and céilí teacherADCRN: Adjudicator

---Belisama Irish DanceUnder direction of Adrienne Bellis, As-sociate Member of CRN. Performance and competition opportunities. Classes in Santa Fe and Los Alamos, N.M. Call (505) 670-2152, or e-mail [email protected]

* Bluebonnet Céilí DancersPaul and Chelsi Conklin will be forming a new céilí and set dancing group in the Austin area soon. For info, call (512) [email protected]

Cass-Barrington Academy of Irish DanceErin Cass, TCRG, and Owen Bar-rington, TCRG. Classes in Katy and Spring, Tex. Beginner through Champi-onship level instruction; all ages wel-come. Call (281) 814-9224.www.cass-barrington.com

Crú Capaill Academy of Irish DanceKatie Crowley, TCRG, Director. Classes for children Wednesday evenings at Highland Park Dance Company Stu-dio, Dallas. Call (847) 208-5593.www.CruCapaillAcademy.com

Celtic Praise TroupeIrish step dance company, Oklahoma City, Okla. Contact Sarah [email protected]

* Comhaltas Irish Set Dance classesEvery Tuesday, 6:15-8 p.m. at 717 Ad-ams Street, New Orleans, LA 70118First night free, then $5 per night, or $30 for six weeks. Newcomers welcome.Call (504) 866-8613 for information.Emerald School of Irish DanceDirectors Emily Touzin, Leslie Middle-ton, TCRG. Teaching all forms of Irish dance at all locations. Kids ages 5-up and adults. Held at Arlington, Lewis-ville, Dallas. Call (972) 874-0360 or (972) 385-1222. www.emeraldschool.com; [email protected]

Glor na Daire Academy of Irish DanceAbbey Pride Wood, TCRG and Brent Wood, TCRG. Classes held at First Christian Church, 3401 Santa Fe Street, Corpus Christi.www.ccirishdance.webs.com

The Goode Academy of Irish DanceInstructor K.T. Goode, TCRG. 5515 S. Mingo Ave., Suite A, Tulsa, OK 74146. (918) 845-3563; [email protected].; www.thegoodeacademy.com

Hill Irish Dance SchoolJean Hill, TCRG, Director. Irish step and céilí dancing for ages 5-up in Oklahoma City and Stillwater. (405) 524-7322www.hillirishdance.com.

Houston Old Time and Irish Set Dance SocietyNew group of musicians and dancers forming in Houston.E-mail [email protected] or [email protected].

Inishfree School of Irish DanceClasses on Monday and Thursday in San Antonio. Contact Neill Reagan ADCRG, (210) 416-1627.www.inishfreetx.com

Irish Dance CenterEimir Ní Mhaoiléidigh TCRG, Instruc-tor: Irish step dance – weekly classes in


Austin. Call (512) 354-5112 or e-mail [email protected].

Jackson Irish DancersTraditional Irish solo dancing and céilí, figure and set dancing; instruction, céilí calling and performance. Solo and céilí dancing classes for ages 6-adult on Sun-day afternoons with Catherine Bishop MFA, TCRG in Jackson, Miss. For info, call Maggie Cupples at (601) 592-9914, or visit www.jacksonirishdancers.org.

*Maguire Academy of Irish DanceDarren Maguire, ADCRG and Maeve Croke, TCRG, instructors. Classes range from beginners (age 4) to adults. Visit the new Kathleen O’Shea Dance Studio, 2325 Lakeland Drive, near White Rock Lake in Dallas. Dance lessons available throughout the week. Houston location offers classes on Sundays at 11752 Grant Road, Cypress, Tex. First two classes are FREE to new students. Visit www.maguireacademy.com, or Facebook group for more info.

McCafferty School of Irish DanceJudy McCafferty ADCRG, Director. Classes available in all forms of Irish dance for children ages 4-up, as well as adults. Fayetteville, Fort Smith and Little Rock, Ark. For more information, call (501) 851-3979; www.mccafferty-irishdancers.com

McTeggart Irish DancersMaureen McTeggart-Hall, ADCRG.New Orleans: Saturday mornings. For details and location, call Megan Morphy at (504) 394-2340.Houston area: Sundays at North Har-ris Performing Arts in Spring, Tex.; Contact Jennifer Hale TCRG at (936) 321-6583.North Texas: Fort Worth, Bedford, Southlake. Contact Christie New, TCRG, at (817) 312-0703 or (817) 274-8547 for location and class schedule.San Antonio: Contact Mary Dirnberger at [email protected] City: Contact Rebekah Rob-erts at (405) 969-3941, or seewww.mcteggartokc.org.

Muggivan School of Irish DanceDirector: Joni Muggivan, TCRG. Classes for ages 3-adult in Metairie, La. (504) 259-7315 or [email protected]; www.irishdancela.com

O’Donovan School of Irish Dance

Mary Rose O’Donovan Fansler TCRG. Classes are held in North Little Rock and Little Rock, Ark. (501) 834-1479; www.odonovandance.com

Ó Maoiléidigh School of Irish DanceColm Ó Maoiléidigh TCRG. Weekly step-dancing and céilí classes Sunday from 10 a.m.-6 p.m., [email protected];www.omaoileidigh.com

Shandon-O’Regan Irish Dance AcademyKay LaGreca, TCRG, teacher; Maura Anderson, asst. teacher. Classes at 800 E. Arapaho Road, #109A, Richardson. For more info, call (972) [email protected]

* Tew Academy of Irish DanceRichard Tew, instructor. Classes in Clear Lake and downtown Houston. [email protected] or www.tewacad-emy.org

TTU Irish Set DancersIrish set dancing classes Tuesday evenings, 7-8 p.m., in the Texas Tech University School of Music Bldg., Room M259, Lubbock. Open to the public. Free class, but parking permit is required if parking on [email protected]

Scottish classesHighland dance teaching certifications are awarded by these organizations:British Association of Teachers of Dance (BATD)Scottish Dance Teachers Association (SDTA)United Kingdom Association (UKA)Country dance teacher certificates are awarded by the Royal Scottish Country Dance Society (RSCDS), Edinburgh.

Dallas Highland DancersFiona Robertson Alpaugh, member BATD, Director; Emily Murer, member BATD, Instructor. Scottish Highland dance lessons offered for ages 3-to-adult, for recreation or competition.Classes at Stage Door Dance in Mes-quite, at the Farmers Branch Com-munity Recreation Center. Visit www.dancingkilts.com, or e-mail [email protected].

* Klein School of DanceMary Beth Klein, Highland Dance instructor, two-time World Champion,

member BATD, SDTA. Currently teach-ing only private lessons, but open classes to start this fall. For info, e-mail [email protected], or call (210) 396-7966.

Murphy Highland Dancing AcademyKaren Murphy, BATD. Classes for ages 4-to-adult in Plano, Lake Highlands and Dallas. (214) [email protected].

Scottish Country Dancing and MoreWednesdays from 7-10 p.m. New danc-ers and families welcome; (Children must be interested in dancing and ac-companied by parent or guardian).Cost: $7 for 14-over; $2.50 for 8-13; $1 under 8 ($15 max per family). Oddfel-lows Hall, 115 E. 14th St. (Heights), Houston. Contact Dianna L. Shipman (713) 522-1212; [email protected]; http://home.comcast.net/~celtic.houston/SCDM.htm

* Scottish Country Dancing in MetroplexSundays, 4-7 p.m., Labor Day through Memorial Day at St. Andrew’s Church, 727 Hill Street, Grand Prairie. Call or e-mail for summer schedule. Jack Raines at [email protected];http://mathed.uta.edu/SCD.htm.

Contra classes* North Texas Traditional Dance SocietyEvery Saturday, live music, 8-11 p.m. $8 admission, $6 for members.First Saturdays: Contra Dancing at the Plaza Theatre, 1115 4th Ave., Carrollton.Third and Fifth Saturdays: at First United Lutheran Church, 6202 Mock-ingbird Lane, Dallas.Fourth Saturdays: English Country dancing at FULC in Dallas, 7-10 p.m.Contra at Dance Connection Studio, 5519 S. Hulen, Fort Worth.Second Saturdays: Contra in Irving, 7-10 p.m.Second Fridays: Contra at Dance Con-nection Studio, 5519 S. Hulen, Fort Worth.For schedules, maps, directions, expla-nation of contra dance and more, go to www.NTTDS.org; Contact [email protected], or call (972) 546-8858.

Houston Area Traditional Dance SocietySecond and Fourth Saturdays from 7:30-11 p.m. at various locations in Houston. Live music. No partner, expe-rience needed, http://www.hatds.org.

On the Dance Floor


Headliners set for 2014 NTIFFor her musical contributions, MacMaster has received the

Order Of Canada, that nation’s highest civilian honor.For the past 24 years, Dervish, one of the most respected and

sought-after acts in World/Roots music worldwide, has been a leading force in traditional Irish music.

Dervish has performed in such unique venues as the Great Wall of China and was the first Irish band to play at the greatest music festival in the world, “Rock in Rio,” before an estimate audience of 240,000 people.

Formed in 1989 by five musicians (Liam Kelly, Shane Mitch-ell, Martin McGinley, Brian McDonagh and Michael Holmes), the name “Dervish” was chosen because it related to any group of spiritual people who become enraptured by music.

The band released “The Thrush in the Storm” earlier this year, a studio album completed in an amazing five days.

The current lineup consists of Cathy Jordan (vocals, bodhrán, bones), Tom Morrow (fiddle, viola), Shane Mitchell (accordion), Liam Kelly (flute, low whistle), Michael Holmes (bouzouki) and Brian McDonagh (mandola, mandolin).

Solas (Gaelic for “light”) is considered to be the quintessential Irish-American band currently recording and touring in the U.S. Formed 15 years ago by founding members Seamus Egan (flute, tenor banjo, mandolin, whistles, guitars, bodhran) and Winifred Horan (violins, vocals), the group is rounded out by Mick McAu-ley (accordians, low whistle, concertina, vocals), Eamon McEl-holm (guitars, keyboards, vocals), and newest member and lead singer Niamh Varian-Barry.

After 10 albums under his belt, Egan was inspired by his fam-ily’s history to create a special CD/DVD, “Shamrock City” – tell-ing the story of Butte, Mont., at the turn of the 20th century, seen through the eyes of one Irish immigrant (and Seamus’ great-great uncle), Michael Conway. In 1910, Conway sailed from County Cork in Ireland to Philadelphia, gravitating to Butte to work in the copper mines.

Six years later, at the all-too-young age of 25, he died from a blow to the head.

Solas, by its own admission and songs, is often drawn to musical social commentary and the themes surrounding “Sham-rock City,” particularly the stories and lives of immigrants, are reflected prominently in current headlines.

Recorded in Philadelphia and filmed in Butte, “Shamrock City” seeks to illuminate life as an immigrant during America’s Industrial Revolution; NTIF audiences should enjoy much of this special offering come March.

The Makem and Spain Brothers is a combination of the off-spring from two of the most famous names in Celtic music. For nearly two decades, this “band of brothers” has developed into a top international act, based on their own material and talent.

Conor and Rory Makem were born in Drogheda, County Louth, north of Dublin, and continue the lineage of one of Irish music’s dynasties. Their grandmother, Sarah Makem, was a tremendous source for song collectors for her store of traditional Irish songs. Their father was the late, legendary Tommy Makem, considered to be the modern-day Bard of Armagh.

The Spain Brothers (Mickey and Liam), also learned Irish songs at their father’s knee.

Their original songwriting retains the timeless qualities of folk classics, songs of the common worker, songs of the sea and Irish culture; they tell tales of Ireland and its people. Their previous NTIF appearance was been met with unbridled strong response from audiences and should repeat itself in 2014.

A Canadian group of highly-talented musicians with a funny name, The Town Pants, last appeared at NTIF in the memorable year of 2010, when their hometown, Vancouver, British Colum-bia, welcomed the Winter Olympics, for which The Town Pants performed day and night at various venues.

For more than a decade, The Town Pants has brought a popular North-of-the-Border vibe to Celtic roots rock music. The group always draws strong and large crowds to the Shannon stage at NTIF with its passion, energy, animation and spirit. The Town Pants’ last studio CD was “Shore Leave,” hailed by critics as its best album to date

The band will come to Dallas with its effort, “15,” a 15-song CD, marking the 15th anniversary of the band. The album con-tains seven new recordings, as well as eight songs from its long out-of-print 2001 album, “Piston Baroque,” remixed, re-mastered and re-imagined.

Band members are Duane Keogh (guitar, vocals), Dave Ke-ogh (banjo, guitar, mandolin), Darla Daniels (fiddle), Brendan Mooney (bass), Mike Mastin (drums, percussion) and Aaron

The Makem and Spain Brothers, shown from the 2008 NITF.

New to the 2014 festival will be the unique Celtic group, We Banjo Three+One, consisting of two sets of brothers. See NTIF, pg. 30

Continued from page 2


Chapman (tin whistle).Those unfamiliar with

the song stylings and writings of Scottish bal-ladeer Ed Miller, through his past presence at NTIFs, have been living under rocks for too long. The Austin-based Miller is one of Scotland’s fin-est exports and one of his adopted state’s most sought-after performers.

Miller is equally adept at singing as well as the long-practiced tradition of story-telling, entertain-ing crowds across the U.S., Canada and Europe.

The award-winning quartet, “We Banjo 3+1,” hails from Galway, Ire-land, blending Irish music with “old-time” American and bluegrass influences to spotlight the banjo’s rich legacy and roots.

Two sets of brothers – Enda and Fergal Scahill and Martin and David Howley – are considered to be among the best musicians in Ireland today. As the title implies, We Banjo 3 has been highlighting the banjo plus mandolin, guitar and vocals for two decades.

Each member has earned multiple All-Ireland titles on their respective instru-ments with Martin Howley accumulating seven of them.

Enda Scahill has recorded and per-formed with the very best of Irish-Celtic-bluegrass musicians, including The Chief-tains, Frankie Gavin, Stockton’s Wing, Ricky Skaggs and The Brock McGuire Band. Fergal has performed with David Munnelly, Martin O’Connor and Kevin Crawford and has toured the world with Ragus and Celtic Legends.

Martin was the very first Irish banjo player to perform at the Grand Old Opry in Nashville.

We Banjo 3 released its debut album, “Roots of the Banjo Tree,” this past year.

Nuala Kennedy is an Irish singer and flute player with hauntingly beautiful vocals, adventurous instrumentation, and an imaginative mix of influences.

She has been touring in support of her third solo album, “Noble Stranger,” on Nashville’s Compass Records, which was recorded live in the Scottish borders with her touring band.

Kennedy grew

up in Dundalk, County Louth, which has historical links with Scotland, and where she was a member of a local ceilidh band, “Ceoltoiri Oga Oghrialla.”

She studied classical piano under Professor John O’Connor at the Royal Academy of Music in Dublin, and earned a Masters Degree in Music Performance and Composition from Newcastle Univer-sity in 2011.

Kennedy was a member of the trio, “Fine Friday,” with guitarist Kris Drever and fiddler Anna-Wendy Stevenson. The group toured in Europe, Canada and Aus-tralia before disbanding in 2006, but not before releasing two critically-acclaimed albums; “Gone Dancing” and “Mowing the Machair.”

In 2007, Kennedy released her first solo CD, “The New Shoes,” to critical praise by The Irish Times, as well as having BBC Scotland naming it as one of its top albums of 2008 and traditional highlight of the year by Hotpress Music Magazine.

Her second solo album, “Tune In,” in-spired by a vintage radio dial, was released in 2010.

Her collaboration with cutting-edge Ca-nadian composer Oliver Schroer, resulted in “Enthralled,” a duo album of original compositions, nominated for a Canadian Folk Award in 2012.

NTIF 2014 headliners

Dervish’s fiddler Tom Morrow will help headline the 2014 NTIF.


SCMA photos by Perry SmithMaking their fourth appearance at the North Texas Irish Festival this coming March will be one of Western Canada’s best bands - The Town Pants. Among the group’s members are Dave Keogh (left) on the banjo and his brother, Duane Keogh (right) on guitar and lead vocals.


SCMA photosby Phil Wirth

The annual Texas Scottish Festival and Highland Games was held at Maverick Stadium, on the campus of UT-Arlington, on May 2-4 - earlier (and much cooler) than in previous years. Musical headliners included Brian McNeill, Ed Miller, Tullamore, John Taylor, Jil Chambless and Scot-ter Muse and Hugh Morrison and Murder the Stout. While the music was a major draw, Scottish athletes competed for various titles (most involving tossing and throwing large objects to loud grunts). One of the highlights was a Sunday finale with all performers gathering onstage for one final song (left photo).

Texas Scottish Festivaland Highland Games


Boston and Chicago brethren who had ready access to great Irish teachers like Martin Mulvihill or Martin Wynne.

All that changed April 15-19 when Oisin MacDiarmada con-ducted the first TIMES Trad Camp – a week of master classes in Irish fiddle. It was high time. In the peaceful, rustic setting of Spring Hill Retreat Center in Richardson, 12 of us had the privilege of becoming disciples in the history, style and craft of Irish fiddling by a member of the famed group, Teada.

MacDiarmada has taught extensively and distinguished him-self by being a goodwill ambassador for Irish traditional music all over the world. The classes were divided into three-hour morning and afternoon sessions with evening informances and opportunities to session.

After years of looking through a glass darkly (as it were), picking up scraps of style as one of a legion of fiddle players (80 in one Catskills class, as I recall), what impressed me most about the Trad Camp was the intimacy of the setting, the small group, the individual attention and the pure luxury of spending time ob-serving and emulating great playing.

MacDiarmada made sure everyone was steeped in perspective. He played dozens of rare recordings by foundational players from Michael Coleman to Charlie Lennon, giving us all a sense of continuity and respect for the roots of a musical genre we’ve come to enjoy naturally; knowing the roots of the tradition added a great deal of depth of understanding.

One aspect of the camp that was universally appreciated was the “practicum” component – each student was invited to play a piece that was troublesome or challenging. MacDiarmada would run a diagnostic, helping us to identify and resolve trouble spots.

Time and time again, I was impressed with how he encouraged us to regard at a slower pace, letting it speak to us, and helping us to understand this was really about understanding our place in the living tradition. I think it made us all more thoughtful about the stories behind this music.

At the end of the week, MacDiarmada wowed us all with a beautiful evening concert, accompanied by Joseph Carmichael, in the intimate rustic lodge of the retreat center. It was a fitting end to a productive, challenging, yet relaxing week.


The Spring Hill Retreat Center was an idyllic setting for a dozen participants at the initial Fiddle Trad Camp, sponsored by TIMES.

Trad CampSCAM photos by Phil Wirth

Famed Irish fiddler Oisin MacDiarmada, of the group, Teada, was the guest instructor, and held several classes in Irish trad music.


Marum: I wrote some of the music a couple of years ago – and I saved instru-mental versions of songs from other al-bums expressly for this film. Movies like this take a long time to finish; there’s a lot of talk and work before ever getting off the ground!

Did the project call for vocals more than background music?

Marum: Most of the music will be background, so I thought in terms of tex-ture (instrumentation) and mood. Then I either wrote stuff (that pleased me) to fit the moods – or ones I loved and wanted to record.

Two melodies were for their moods; then becoming songs for “The South Wind.” “Even As I Ramble” was a banjo

piece for the film and played for two years before I added lyrics.

“Take Me Back to Saratoga” was also meant to be an instrumental, but it just had such a B part, I had to write the song.

Other songs on the new album are also direct, or indirect, results of working on the film. I always knew “Bloody Bill’s Raid” may never be a topic this film cov-ered, but it was a true story.

From the moment I read it, I couldn’t get it out of my mind; I wrote the song purposely with a very broad brush – as if the film had told you all the facts.

I want the listener to wonder, to think about it, to research … or simply under-stand it (at face value). People should know something so terrible happened that

the old woman, explaining the dread she experienced so many years ago, still heard the voices of the bad guys and the tears of her children as if it took place today.

“Elkhorn Tavern” was inspired by a let-ter written by a Confederate soldier, telling his parents back home that his younger brother had been killed at the Battle of Pea Ridge … and that the South had lost the battle.

The new film will focus on the Civil War in the West; and even though I knew it was a long shot for the song to fit in the film, it was a story I really felt compelled to retell.

Editor’s Note: The second half of this story, about the film itself, will appear in the September-October issue of the Ceili.

Marum soundtrack to frame Civil War film

song sessions for the singers.Of the many extra activities offered, the concerts are probably

the most popular side events at the retreat. “Mini-concerts” are held at every meal, featuring instructors or invited musicians, and every evening, inside the performance hall, there are instructor concerts. Attendees claim they have not ever heard better music anywhere. Coupled with great performances and grateful listen-ing audiences, the concerts are said to be “magical.”

This year’s retreat, according to Fleming, will be special be-cause it IS the 10th year and many students plan to return to help celebrate.

“There have been many wonderful moments since we began, and we plan to recall many of them with our students at the retreat; it’s quite a milestone we’ve reached, and there are lots of people to thank,” Fleming added. “We certainly wouldn’t be where we are today without the support of the Southwest Celtic Music Association, the Trinity Hall Pub and many others.”

So … those interested in learning traditional Irish music, or becoming more proficient on a particular Irish instrument, join many others with similar musical tastes and desires on October 25-27 at Lakeview Camp and Conference Center in Waxahachie and see why so many students return each year for this annual event. Because many classes close quickly, early enrollment is suggested.

For 2013, there will be an all-star lineup of guest instructors, comparable to any classic Irish music festival in any part of the country (including several past and current headliners for the North Texas Irish Festival).

The exceptional lineup scheduled to teach this year will in-clude the incomparable Cathie Ryan (vocals), fiddlers Fergal Scahill, Liz Knowles, Patrick Ourceau, Brendan Mulvihill, Laura Flanagan and Chris Buckley, Jimmy Keane on piano accordion, Patty Furlong on button accordion (B/C and C#/D), tenor banjo expert Enda Scahill, uilleann piper Kierann O’Hare, flutists John Skelton, Myron Bretholz on bodhran, Pat Broaders on bouzouki, Florence Fahy on anglo concertina, DADGAD guitarist Josh Dukes; Jeff Moore on guitar fundamentals, harpists Rebekah Passmore and Eileen Gannon, mandolin player Marla Fibish and Jonathan Milton on tinwhistle and flute fundamentals.

For all details, go to www.oflahertyretreat.org. Over the retreat’s first 10 years, many of the world’s top play-

ers in the tradition have taught – “guest instructors” – including:Fiddle: Seamus Connelly (2004), Liz Carroll (2005, 2011),

John Carty (2006), Randall Bays (2006, 2011), Matt Cranitch (2007, 2008, 2012), Patrick Ourceau (2007), Brian Conway (2009), James Kelly (2008, 2012), Manus McGuire (2009), Oisin MacDiarmada (2010), Oisin McCauley (2012), Kevin Burke (2010) Rose Conway Flanagan (2011), John McEvoy (2010), Martin Hayes (2011);

Flute: Shannon Heaton (2006), Catherine McEvoy (2007), June McCormack (2008, 2009), John Wynne (2010), Conal O’Grada, Kevin Crawford (2011);

Harp: Michael Rooney (2009), Grainne Hambly (2010, 2012), Michelle Mulcahy (2011);

Uilleann Pipes: Jerry O’Sullivan (2006), Mickey Dunne (2007, 2008, 2009), Tom Creegan (2010), Louise Mulcahy (2011);

Bodhran: Anna Colliton (2010), Máirtín de Cógáin (2012);Piano: Brendan Dolan (2009);Button Accordion: Patty Furlong (2009), John Nolan (2010),

Damien Connolly (2011), Jackie Daly (2012), John Whelan (2012);

Guitar: John Doyle (2005, 2011), Matt Heaton (2006), Daithi Sproule (2006), Tommy O’Sullivan (2007), Pat Egan (2008, 2009), Seán McElwain (2010), Fionán de Barra (2012);

Concertina: Colm Delaney (2012);Tenor Banjo: Mick Maloney (2008), Enda Scahill (2009), Dar-

ren Maloney (2010), Dave Cory (2011), Angelina Carberry (2012);Bouzouki: Roger Landes (2006), Pat Broaders (2007), Jimmy

Crowley (2011);Vocals: Danny O’Flaherty (2008), Michael Black (2010), Rob-

bie O’Connell (2011), Dave Curley (2012). The O’Flaherty Irish Music Retreat is organized by the Tradi-

tional Irish Music Education Society (TIMES), a Texas non-profit organization. TIMES also organizes the O’Flaherty Irish Music Youth Camp, the North Texas School of Irish Music, Irish Trad-Camps, house concerts, TIMES sessions and various printed and recorded resources for learning Irish music.

For more about the O’Flaherty Retreat, or TIMES, contact Ken Fleming at [email protected], or call (972) 798-7890.

O’Flaherty Retreat celebrating 10th year Continued from page 14



Minden Tartan Fest holds successful eventThe 2013 Scottish Tartan Festival was

held on Saturday, April 6 at Scotland Farms in Minden, La.

Festival highlights included music by Jed Marum, Kendall Rogers, Smithfield Fair, Cleghorn and the Traveling Murphys.

An appearance by the Jackson Irish Dancers and the Shreveport-based Port Belly Project was a welcome addition to the day’s festivities.

Patrons enjoyed demonstrations of

medieval combat by the Shire of Ardan-roe members of the local SCA, as well as a Highland Broadsword demonstrations by the Northwest Louisiana Broadsword Academy.

A dog show, the herding of Highland cattle, all-day hayrides and the inclusion of “Coo Burgers” (hamburgers made from Highland beef) were all popular additions during the day.

The Honored Clan for this year’s festi-

val was House of Gordon, represented by Marcia Gordon McLaurin, convener for Mississippi, Louisiana and Texas.

Other clans represented include Cum-mings, Lamont, Cochrane and Cameron.

This one-day only event culminated in a heart-warming, upbeat presentation by the Traveling Murphys, followed by a high-energy Celtic rock session by the Dallas-based group, Cleghorn.

Photos submitted by Sheila Hoh

Among the per-formers at the Scottish Tartan Festival on April 6 in Minden, La. were (top left, clockwise), Kendall Rogers, Smithfield Faire, the Traveling Murphys and Cleghorn.


NTIF 2013:Well,

I’ll bedoggone

photography by plano photography club members


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NTIF, SCMA honors 2013 festival volunteers

SCMA photos by Phil WirthScores of volunteers from the annual North Texas Irish Festi-val (NTIF) met for the annual picnic on May 5, at the Winfrey Point pavilion on White Rock Lake. Top volunteers from each segment of NTIF were honored with certificates (top photo, left) as distributed by events director Marsha Singer and volunteer coordinators Peggy and Maurie DeFoer. SCMA vice-president John Hebley (middle photo, above) discusses the success of the 2013 festival with gathered volunteers, as well as some plans for 2014. Jim Chiles (top photo, right), ATM coordinator, was honored by the Performer Products folks with an autographed poster for his unsung work at the festival. And among the many door prize winners was Dallas Officer Monty Moncibais (left photo), who provide security every year for the picnic!

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