Jack O’Rourke is a singer/songwriter from Cork. His debut album, “Dreamcatcher”, was released in 2016, with its edgy baroque pop, plaintive ballads, noir blues and startlingly honest reflections on the world around him. The album was play listed on national and regional stations. Jack won the prestigious International Song writing Competition for lyrics for the album’s centerpiece ballad, “Silence” (performed live on the Late Late Show), as well as having sell-out shows around the country.
Here is a short performance by Jack as he chats to Sheena Crowley about his plans for the future and plays a selection of his songs.
To view the full interview visit our YouTube channel here.
This recording is part of a special programme of events to mark 40 years of the Rory Gallagher Music Library, 40 years of service to the music loving people of Cork, 40 years of pleasure and enjoyment to library users
The series is about contemporary Cork musicians, old and young of diverse styles and backgrounds. They are invited to do a half hour interview in the music library, followed by a couple of songs. Each episode is professionally recorded, and kept as part of the Cork City Library Music Archive to reflect the musical culture of Cork.
The prog rock group Yes used to be famous (infamous?) for frequently having long tracks that would fill an entire side of an LP. The vinyl version of The Gloaming Live at the NCH is a double album; sides B and D each contain just one track; does this mean they are about to change their name to ‘Is Ea’? A risky thing to do, having such long pieces, but saved by the fact that the music is so fantastic.
The Gloaming have played 24 shows at the National Concert Hall (NCH) in Dublin since 2013, most usually as part of series of concerts in the spring of 2015, 2016, 2017, and 2018 – they’ve just finished a series of seven shows there in March of this year.
The Gloaming Live at the NCH is not, however, a recording of one concert, rather a selection made by Thomas Bartlett, the piano player and producer, of tunes and songs from the 2015 to 2017 concerts.
When Planxty revolutionised traditional music in the 1970s it was partly through their choice of instruments, putting uilleann pipes alongside guitar, bouzouki, and mandolin for the first time. The line-up of The Gloaming is also a step change: Martin Hayes, the renowned East Clare fiddle player, is joined by Caoimhín Ó Raghallaigh on a fiddle he adapted himself called a ‘Hardanger d’Amore, as well as by the singer Iarla Ó Lionáird from Cúl Aodha, and Americans Denis Cahill on guitar and Thomas Bartlett on piano.
There are so many gems on this record, it is hard to know where to begin:
The album gets off to a lively and lilting start with ‘The Booley House’, a selection of a hop jig, plus reels and slides.
‘The Sailor’s Bonnet’ opens with the title tune played as a slow air, and then picks up showcasing each of the musicians – not least Bartlett on an extended piano piece – as they build to the flying finish. They come close to taking the roof off the NCH!
On ‘The Pilgrim’s Song’ it is Bartlett’s piano behind Ó Lionáird’s singing and Hayes’ fiddle-playing that gives them the space to create so beautifully.
Their version of the famous jig ‘The Rolling Wave’ – and even more so ‘Music in the Glen’ which follows on – features two fiddles doing their very different things, with Thomas Bartlett doing the seemingly impossible and accompanying both while also providing a percussive thump – the Kilfenora Ceili Band featuring Thelonius Monk!
Mid-way through the final track ‘Fainleoig’ the great jig ‘The Holly Bush’ emerges out of the maelstrom created by Bartlett’s huge piano sound. When the jig really gets going it is irresistible. The tempo and sound then soften for Ó Lionáird to sing the beautiful ‘Samhraidh, Samhraidh’.
So perhaps surprisingly, given the fame of Hayes and Ó Lionáird, it is Bartlett who is the star of this show, more so than on the two studio records The Gloaming have produced so far. Bartlett – who also performs under the name ‘Doveman’ – has worked with a wide variety of artists, from Martha Wainwright to Ed Sheeran. He plays on David Byrne’s American Utopia which also appeared this year. His jazz-flavoured percussive piano playing is a crucial and defining element in The Gloaming’s sound.
24 gigs at the NCH and surely more to come. That building on Earlsfort Terrace should sport a big banner out front: ‘The National Concert Hall – home to The Gloaming’.
The Vestas: Live at the Library: a series of recorded interviews with contemporary Cork musicians, as part of the Rory Gallagher Music Library 40th celebration.
Jake Kalilec, Leo Mullane and Fintan Mulvihill are three fine singer-songwriters from Cork, who came together whilst studying music in college. They write and perform some of the finest new music on the Irish scene – heavily influenced by soul, blues, pop and jazz styles, reflecting the different influences each of them brings to the group. This gives their music a refreshing and uplifting feel, with appeal to a wide audience. Their catchy melodies and vocal harmonies range in theme from the heartache of lost love to life on the dole. They have supported Damien Dempsey, Declan O’Rourke, Hermitage Green and many more.
Their new EP “In my Head” features soulful original songs that combine moving lyrics with equally moving melodies.
Here, Sheena Crowley talks to The Vestas about their new EP ‘In My Head’
Joe O’Callaghan is well known on the Cork music scene as a master harmonica player and for his high energy performance as one of the best frontmen in Cork. He has gigged regularly for the past five decades and is still going strong.
Joe started out with a band called ‘Boothouse’ in 1970 with band members, Joe O’Callaghan, Declan Pender, Pete Brennan, Ciarán MacCarthy and Dan Sheehan.
In 1977 Bill O’Brien and Joe formed Hot Guitars along with Jeremy Nagle, Pat Lynch, and John Finn. Although the line up has changed many times, the very popular Cork blues/rock band has been gigging for 40+ years. Joe plays harmonica, guitar, sax, and keyboard throughout the set and with his usual gusto on the mic, he entertains the crowd, often strutting along the bar or swinging from the rafters. The audience is glued to such a dynamic personality, following him as he moves through the crowd. They would never imagine that such a vibrant character is known amongst his friends and family as a quiet, reserved man.
Dan Shout is a respected jazz musician based in Cape Town. His professional career spans almost 20 years, with a multitude of local and international performances. In addition to his work as a session musician, Dan lectures part time at the University of Cape Town. He also presents workshops at Jazz conferences, and recently performed in the Cork Guinness Jazz Festival.
He can be seen here playing in The Rory Gallagher Music Library, accompanied by Mo O’Connor, where he gave a wonderful and informative illustrated talk on South African jazz. His latest CD, “In with a Shout” is available for loan from the library.
Mo O’Connor is a former member of Loudest Whisper and the Noel Redding band and is well known in the traditional Irish and jazz world.
Last Thursday on RTE 1 there was a documentary by Cork filmmaker, Tony McCarthy called U2 agus an Arc. It focused on the halcyon days of Cork’s Arcadia Ballroom in the late 70s and early 80s as a venue for visiting English bands like XTC, UB40 and The Specials as well local bands like MicroDisney and Nun Attax. However, it was an up and coming band from Dublin, formerly known as The Hype and now calling themselves U2 that was the centre of attention here.
U2 played the Arcadia 10 times from 1978 to 1980 building up a strong fan base and developing their style and craft onstage to become within a few short years one of the biggest bands on the planet.
The documentary was a fond look back at the how the gigs were organised by Elvera Butler, as part of the Downtown Kampus, which moved from the Science building in UCC to the Arcadia. Although there was no footage of the U2 gigs, there were many striking black and white photos of the band in action on stage in the venue. With insightful contributions from people like John Spillane, Niall Stokes from Hot Press, and Paul Morley from the NME, this is a must see film for those interested in the music scene of Cork in recent years.
It is still available to watch on the RTE player until tomorrow. Go watch it!!!
The news that at the end of 2016 sales of vinyl records had reached a 25-year high is, on the face of it, surprising. It is not too long since we were told that all physical formats, including CDs, were dinosaurs and that in the era of downloads and streaming, they would disappear. It hardly needed to be mentioned that vinyl’s day was done.
So what are we to make of the end of year figures from the UK?:
In fact vinyl sales have been increasing for eight consecutive years.
All this talk about downloads and the disappearance of physical formats has obvious implications for a public music lending library, such as the Rory Gallagher Music Library [RGML] on the Grand Parade, Cork. How could the RGML continue to collect and make available music for its patrons, if the major companies just stopped producing? If there was no economic basis for the popular music business, could there be a future for a music lending library?
Stephen Witt’s 2015 book How music got free: the Inventor, the Mogul, and the Thief is a compelling account of how the technology to enable virtual or digital music developed, and of how it became increasingly difficult to charge for it. Jonathan Taplin’s newly published Move fast and break things is equally compelling but from a very different angle.
The story begins with a German inventor called Karlheinz Brandenburg. An engineer by profession, he never expected or intended that illegal downloading would evolve from the creation of the mp3 which he had developed in the early 1990s – the ‘mp’ stands for Moving Pictures Experts Group. Mp3 technology is reliant on our less than perfect hearing for its success – it compresses sound to about 70 – 75% of the quality of a CD, but our ears seem happy to accept it. The first ever mention of mp3 software, and what it was about to unleash, was in May 1997, in a report on file sharing among students in Stanford University. A student put 110 music files on his personal web server, and in no time more than 2,000 people each day were visiting, representing more than 80% of the University’s outgoing traffic.
When legislators and moral guardians – usually self-appointed – sought to protect teenagers from what record companies wanted to sell them, the mighty dollar almost always had the muscle to win out. Ironically, but unsurprisingly, when a later generation of teenagers started to share files, the legislators were slow to listen to the complaints of these record companies.
The story of how music got free pits huge companies against small fry. There are now only three major record companies – the so-called ‘Big Three’ of Warner, Universal and Sony – who between them control a shocking 80% of the record industry. Huge companies also control technology development. As the music business struggled with what illegal downloading was doing to their profits, the ingenuity of US big business seemed to offer a way out: Steve Jobs of Apple, who strongly disapproved of file-sharing, developed iTunes “whose calm white interface and slick expensive iconography promised to cleanse the world of sin” to quote Witt.
As for the small fry, those who tried to make music free have included a very disparate bunch: Brandenburg who did not foresee where his invention would lead; employees of CD-production plants and distributors who were happy to make a few bucks through bootlegging; idealist file-sharers; hackers doing it because they could; those who saw an opportunity to make a few bucks; and even the Pirate Party who got elected to some Northern European parliaments and even the European Parliament on an anti-copyright platform.
For music libraries, and music librarians, the experience of community-oriented file sharing is interesting, for example the so-called Oink Pink Palace. Created by a self-effacing Englishman named Alan Ellis, the file-sharing service grew incredibly quickly, reaching 100,000 ‘members’ by 2006. According to Witt, Ellis “mandated civility of discourse . . . He seemed at times to promote an almost utopian vision, except his utopia actually worked. The result was illegal, of course but it was also something of great value”.
He did not charge; it was done apparently for the love of the music and the principle of sharing. Not only did the record companies not get their share, neither did the artists. The record industry could hardly let this continue, so he was tracked down, arrested and prosecuted. Whatever one might think about the huge recorded music industry going after a small fry like Ellis, one could legitimately ask Ellis and his co-sharers “how is a musician supposed to earn a living, if everyone is downloading for free?”
Jonathan Taplin looks at this issue – how to ensure fair payment for digital music – from a very different angle, that of the musician and artist. Taplin, still active at 70, started out as a young man working as Bob Dylan and The Band’s tour manager, and then became a movie director.
Levon Helm was the drummer in The Band. For years after the group stopped touring and recording he would make about US $100,000 a year on royalties from their records. “He made a living,” says Taplin. “Then Napster hit in 2000 and he got throat cancer the same year and it made his life a living hell.”
Taplin’s first aim in the book was to understand how Helm and people like him, creators of the music which attracts fans in the first place, lost out so much, while the big companies that were exploiting that music made billions. Taplin “thought of it as a culture war”; “but once I came to look into it I realised that it was really an economic war.” Taplin’s book makes a passionate case for the rights of the creators, and deserves the widest readership.
So, if we are facing an increasingly digital world, yet seeing increased sales of vinyl, what does this seemingly contradictory picture mean for the Rory Gallagher Music Library and public facilities like it? What is the future, for music creation, record production, music libraries, and the consumption of music product? Is it best summed up in that phrase from the Hollywood mogul William Goldman “no one knows anything”?
One thing for sure, not for a moment can the RGML sit on its laurels. Its future, like the future of public libraries generally, depends on trying to figure out what is around the corner, and being clear on what has to be done so that we can stick to our principles.
It is impossible to be absolutely certain what form the Rory Gallagher Music Library will take in 10 or 20 years time, because of the changing nature of recorded music and how the public access it. Flexibility will thus be key for this section of the Library. What can be said is that space will always be required for:
continually growing music collections in all genres and in all relevant formats: CDs. Vinyl, DVDs, scores, books;
the informational and reference role of the Rory Gallagher Music Library for all aspects of musical culture in the city, and its support for the music curriculum.
Space will be required for classes in music appreciation and instrument tuition, and rehearsal, and a regular calendar of live music performances and gramophone recitals.
Space will also be required for enhanced permanent display of music heritage items, e.g. Rory Gallagher, Aloys Fleischmann, Cork Choral Festival, and material relating to Cork musicians, composers, bands, etc.
Witt fesses up that a few years back he sold his collection of more than 100,000 mp3 files and bought a subscription to Spotify. “What I’d thought of as my personal archive was just an agglomeration of slowly demagnetizing junk”. The book ends with his description of how he took the collection to be destroyed. Music librarians cannot help but wonder if that is what is in store for all physical collections of recorded music, if everything will be virtual, held on a cloud, in the future?