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Come Over the Mountain Road
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Introduction:
On a visit to Castlebar in the Summer of 2023, I met Mike Lancaster in person for the first time, although we had communicated by phone several times. Mike is an artist and musician, originally from England, who now lives in Tubbercurry Co. Sligo. During a wonderful session in the Bridge Bar that evening, we spoke of the great Sligo and Mayo musicians no longer with us, including Jimmy Murphy, Kevin Henry, John Henry, Frank Burke and Peter Horan and Mike mentioned James Murray is about the last of that generation of musicians now left in Sligo, with a link back to the older generations of local musicians.
With Mike’s assistance, I reached out to James and asked if he would be open to a visit from me to interview him about his music and musical influences and I was very happy he agreed to meet me. I made three visits to Sligo in 2024, accompanied by Michael Kelly from Bearna, and on each occasion we spent a few wonderful days in the company of James and his good friend Mike Lancaster. We travelled the roads, by-ways, boreens, woodlands and graveyards throughout the region, visiting the remains of the homes and final resting places of past musicians. James also wanted me to record and preserve the many old tunes or older versions of tunes he played, and I thank Mike Lancaster for recording these prior to my first visit to save time for my interviews and touring. From the beginning, James made it very clear that the source of his music was from quite a small geographical region within Sligo, with its own style of playing Irish traditional music.
As he explains:
“When Michael Coleman’s records became available here in Sligo in the nineteen thirties, a change took place in the playing of the Sligo style of music. People ask, “Well what is the Sligo style of music?” My answer is a way of playing our traditional music with great feeling and a deep knowledge of the music itself and where it came from. Sligo music had great rhythm and little ornamentation, the tune was played as composed, nothing was added or taken away. It was true to its composer.
There were several regional styles within the county, and these regional styles were lost when the Sligo fiddle players started to copy Michael Coleman. It was a mistake on their part because Coleman was unique, head and shoulders over all his contemporaries.
However, one region in Co. Sligo that kept true to the old style was the area of about ten square miles in South Sligo that encompassed the districts of Achrony, Drimroe, Leitrim South, Crimlin, Castlecawley, Magheranore (Goldfield), Chaffpool, Powellsboro and Choill. Within this area there was a style of playing that went all the way back to the early eighteenth century and through the time of Tom Coleman, James Coleman, Robert Powell, Tom “Dall” Healy, Jamsie and Tom Gannon, Thomas Gilmartin and Pat “Fiddler” Mannion.
On a visit to Castlebar in the Summer of 2023, I met Mike Lancaster in person for the first time, although we had communicated by phone several times. Mike is an artist and musician, originally from England, who now lives in Tubbercurry Co. Sligo. During a wonderful session in the Bridge Bar that evening, we spoke of the great Sligo and Mayo musicians no longer with us, including Jimmy Murphy, Kevin Henry, John Henry, Frank Burke and Peter Horan and Mike mentioned James Murray is about the last of that generation of musicians now left in Sligo, with a link back to the older generations of local musicians.
With Mike’s assistance, I reached out to James and asked if he would be open to a visit from me to interview him about his music and musical influences and I was very happy he agreed to meet me. I made three visits to Sligo in 2024, accompanied by Michael Kelly from Bearna, and on each occasion we spent a few wonderful days in the company of James and his good friend Mike Lancaster. We travelled the roads, by-ways, boreens, woodlands and graveyards throughout the region, visiting the remains of the homes and final resting places of past musicians. James also wanted me to record and preserve the many old tunes or older versions of tunes he played, and I thank Mike Lancaster for recording these prior to my first visit to save time for my interviews and touring. From the beginning, James made it very clear that the source of his music was from quite a small geographical region within Sligo, with its own style of playing Irish traditional music.
As he explains:
“When Michael Coleman’s records became available here in Sligo in the nineteen thirties, a change took place in the playing of the Sligo style of music. People ask, “Well what is the Sligo style of music?” My answer is a way of playing our traditional music with great feeling and a deep knowledge of the music itself and where it came from. Sligo music had great rhythm and little ornamentation, the tune was played as composed, nothing was added or taken away. It was true to its composer.
There were several regional styles within the county, and these regional styles were lost when the Sligo fiddle players started to copy Michael Coleman. It was a mistake on their part because Coleman was unique, head and shoulders over all his contemporaries.
However, one region in Co. Sligo that kept true to the old style was the area of about ten square miles in South Sligo that encompassed the districts of Achrony, Drimroe, Leitrim South, Crimlin, Castlecawley, Magheranore (Goldfield), Chaffpool, Powellsboro and Choill. Within this area there was a style of playing that went all the way back to the early eighteenth century and through the time of Tom Coleman, James Coleman, Robert Powell, Tom “Dall” Healy, Jamsie and Tom Gannon, Thomas Gilmartin and Pat “Fiddler” Mannion.
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Most of the musicians in this area were fiddle players and they didn’t make the mistake of trying to copy Michael Coleman. They knew they had something more precious, their tradition, music that had been handed down through the generations. They had versions of tunes that were unique to that area, and they treasured their tradition. It was those people who preserved this style.
I was lucky enough to have been born when I was, and I became part of that tradition. When I started to play around nineteen fifty-five at eight years of age the people whom I learned from were keepers of that old regional style, my uncle Joe Murray and my aunt Kathleen, Jimmy-Joe and John Burke, Johnny Feely, Martin McDonagh, Annie Henry and Peter Walsh. |
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In the Burke’s home in Drimroe every Friday night in Wintertime, and monthly during the rest of the year, there was a gathering of local musicians. They were mostly fiddle players and two flute players, Pake Stenson from Magheranore and Peter Walsh from Castlecawley. The music wasn’t, as it is now, a big session. It usually started with the fiddle players playing on a low key, then they would change keys, and the flute players would join in. Occasionally two fiddle players, usually the Burke brothers, would play the reel “The First Month of Summer” in three different keys and the sound of these fiddles was heavenly, nothing like what I hear today which is usually music played far too fast and too technical, no respect for the tune or no understanding of how the tune should be played. The music that I heard played in Burkes of Drimroe will remain with me always. The fiddle players had a completely different way of playing compared to the fiddle players of today. A light bow, they never overtightened the bow, a two-fingered roll and a lot of bow trebles. Johnny Feely used to use the term “You must bring the sound of the fiddle up from the strings”, not compressing the notes down with a heavy bow. Another term he used was that, as Jamesie Gannon said, the fingers should “dance” on the strings. These are for me, an old man now, great memories.
In this ten-mile radius the tunes were preserved in their purity but sadly now they are almost entirely forgotten. In my humble opinion our traditional music has suffered from too much competition. “You must play a tune this way”, mostly technical jargon, all too mechanical and complicated. Play a simple tune well, a simple tune because there is no place to hide, as Johnn Feely used to say, “It takes a good musician to play a simple tune well”.
“Of these shall my songs be fashioned; my tale be told. Amen” (John Masefield)
And on Sligo flute playing, James relates:
“In this area, around a ten-mile radius, there were few flute players. Frank Walsh, Peter Walsh’s father, was by far the best flute player. He learned from a flute player called Philip Maye, a neighbour of Frank’s. I heard Frank Walsh play twice. I first heard him play around nineteen fifty-seven, when I was 10 years old. I think he was in his late sixties at the time, he played an old boxwood flute with just one key on the bottom joint and no slide. He had what I would call a beautiful “round” tone, very soft but very powerful. His son, Peter, who taught me all about that style of flute playing, had the same sound. I remember Frank telling me how to fill the flute and how to control your breath, he said that you must breathe from the diaphragm, a word I had never heard, and exhale slowly. All this I learned to do much later. Frank Walsh was a beautiful player and the sound that came from the flute I have never heard since, soft, full, it filled the room with an echo, strange, soulful music.
The other flute players in the area were Pake Stenson from Magheranore, Mike and Pake Flynn from Choill and a man known as “Davy from the Cross”. He was I think from around Drimroe Crossroads. As I said, the flute was played with great breath control and when playing with the fiddle both blended together, the flute didn’t “drown” the fiddle.
As far as I can remember, around the late sixties or early seventies, flute playing changed and, as I call it, the “hard D” was introduced. The first player I heard playing this way was the late Seamus Tansey from Gurteen. He was an outstanding player, although we crossed swords many times, he would say to me “This is the way Coleman played it”. In my opinion he was wrong because you couldn’t play on the flute what Michael Coleman played on the fiddle. Seamus would play a tune with a huge amount of rolling. He rolled with every finger and gave no chance for the tune to “breathe”. It was smothered with notes, but Seamus was Seamus, he knew best. Then Matt Molloy came on the scene, a completely different player to Seamus Tansey, a player in complete control of his instrument. A man who could play any type of tune and he is a master. What happened? As had happened when Michael Coleman records came to Ireland, we had to forget our regional styles and copy Matt Molloy, and again, a failure. If Matt played The Mason’s Apron, then every young and not so young flute player had to play The Mason’s Apron, and they were wasting their time. I’ve known Matt Molloy for a very long time, and he is one of nature’s gentlemen. To me he is a master in complete control, great breath control and unbelievable finger work. My advice to all young flute players is listen to Matt Molloy, learn from him and admire him for his mastery of the flute but don’t try to imitate him because you are wasting your time.
Something else I don’t agree with as well as the “hard D”, is cranning, copying the pipes. We are flute players, play the flute the old traditional way, soft tone, full tone, nice rolls and have respect for the tune, especially the old ones. Keep our tradition as it has been handed down to us in its purity.
An old Complainer, James Murray”
In this ten-mile radius the tunes were preserved in their purity but sadly now they are almost entirely forgotten. In my humble opinion our traditional music has suffered from too much competition. “You must play a tune this way”, mostly technical jargon, all too mechanical and complicated. Play a simple tune well, a simple tune because there is no place to hide, as Johnn Feely used to say, “It takes a good musician to play a simple tune well”.
“Of these shall my songs be fashioned; my tale be told. Amen” (John Masefield)
And on Sligo flute playing, James relates:
“In this area, around a ten-mile radius, there were few flute players. Frank Walsh, Peter Walsh’s father, was by far the best flute player. He learned from a flute player called Philip Maye, a neighbour of Frank’s. I heard Frank Walsh play twice. I first heard him play around nineteen fifty-seven, when I was 10 years old. I think he was in his late sixties at the time, he played an old boxwood flute with just one key on the bottom joint and no slide. He had what I would call a beautiful “round” tone, very soft but very powerful. His son, Peter, who taught me all about that style of flute playing, had the same sound. I remember Frank telling me how to fill the flute and how to control your breath, he said that you must breathe from the diaphragm, a word I had never heard, and exhale slowly. All this I learned to do much later. Frank Walsh was a beautiful player and the sound that came from the flute I have never heard since, soft, full, it filled the room with an echo, strange, soulful music.
The other flute players in the area were Pake Stenson from Magheranore, Mike and Pake Flynn from Choill and a man known as “Davy from the Cross”. He was I think from around Drimroe Crossroads. As I said, the flute was played with great breath control and when playing with the fiddle both blended together, the flute didn’t “drown” the fiddle.
As far as I can remember, around the late sixties or early seventies, flute playing changed and, as I call it, the “hard D” was introduced. The first player I heard playing this way was the late Seamus Tansey from Gurteen. He was an outstanding player, although we crossed swords many times, he would say to me “This is the way Coleman played it”. In my opinion he was wrong because you couldn’t play on the flute what Michael Coleman played on the fiddle. Seamus would play a tune with a huge amount of rolling. He rolled with every finger and gave no chance for the tune to “breathe”. It was smothered with notes, but Seamus was Seamus, he knew best. Then Matt Molloy came on the scene, a completely different player to Seamus Tansey, a player in complete control of his instrument. A man who could play any type of tune and he is a master. What happened? As had happened when Michael Coleman records came to Ireland, we had to forget our regional styles and copy Matt Molloy, and again, a failure. If Matt played The Mason’s Apron, then every young and not so young flute player had to play The Mason’s Apron, and they were wasting their time. I’ve known Matt Molloy for a very long time, and he is one of nature’s gentlemen. To me he is a master in complete control, great breath control and unbelievable finger work. My advice to all young flute players is listen to Matt Molloy, learn from him and admire him for his mastery of the flute but don’t try to imitate him because you are wasting your time.
Something else I don’t agree with as well as the “hard D”, is cranning, copying the pipes. We are flute players, play the flute the old traditional way, soft tone, full tone, nice rolls and have respect for the tune, especially the old ones. Keep our tradition as it has been handed down to us in its purity.
An old Complainer, James Murray”
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James Murray:
Before we toured the broader region on my first visit to Tubbercury in February 2024, we met at the home of James and Ruth, situated down Lover’s Lane, off the Mountain Road, in the townland of Carrowreagh (Cooper). There, James gave us a detailed history of the older musicians who played a major role in influencing his style of fiddle and flute playing. James, the son of Jim Murray of Tullanaglug and Margaret Fallon of Rhue, was born on 18th February 1947. The family lived just outside Tubbercurry in the area known as The Rock (An Carraig) before moving further out the Ballymote Road to a cottage when James was 12 years old. Jim Murray was a wonderful singer, and he had a great ear for music; he could perfectly lilt every tune played by Michael Coleman. His sister Kathleen was a very nice fiddle player, she was taught by the great Michael Gorman, and Jim’s brother, Joe, a student of Pat Murtagh, played flute and fiddle.
Therefore, it was no surprise when young James developed an interest in playing Irish music. Learning his music through the oral tradition, James was never formally trained on any instrument, he started to play the tin whistle by picking up a few tunes at the age of ten from his Uncle Joe. He moved on to playing the flute, influenced by the many flute players in the region, and particularly by the playing of Peter Walsh (1918-2000).
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The Murray Home in James’ youth
Jim (seated), Joe & Kathleen Murray
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Uncle Joe
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Peter Walsh
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At the age of fourteen James was also playing the fiddle and was particularly influenced by the playing of Johnny Feely (1906-1969). Feely was taught by Thomas Gilmartin (c.1853-1930) of Magheranore, who was a neighbor and cousin of Jamesie Gannon (c. 1844-1934). Both Gilmartin and Gannon, along with two more master fiddlers, Pat Mannion (c.1844-1917)and Cipín Scanlon, were all taught by a blind fiddler named Thomas “Dall” Healy (known as “blind fiddler Healy”), who was said to be from Greyfort (now Lislea). Very little is known about Cipín Scanlon or blind fiddler Healy. However, the Civil Register of Deaths, Registrars District of Sligo No.1, has an entry for a Thomas Healy, widower aged 91 years, a “fiddler” by occupation, died in the Workhouse, Sligo on 22nd Sept. 1878; cause of death: “old age certified”. If the dates and age are correct, this fiddler Thomas Healy was born circa 1787 and, in the absence of better information, we believe this may well be Thomas “Dall” Healy.
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(l to r): James Connolly, Johnny Feely & James “Bartley” Brennan
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Johnny Feely, a bachelor farmer, lived with his two sisters Helen and Margaret, on their farm in Magheranore. He often sat on a chair outside his front door playing the fiddle as he loved playing, listening to the sound of the wind and the birds singing. On these occasions, his black cat sat on the windowsill beside him and if ever Johnny played Danny Boy (the Londonderry Air), the cat meowed in a strange way and that was the only tune he ever reacted to!
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James cycled to Feely’s house two or three times a week, building a repertoire of old tunes on the fiddle and, more importantly, playing them in the old way they were meant to be played.
I received all the following indented information directly from James: Feely said: “I will give you the old tunes and how to play them properly on the understanding you will never change them. These tunes were passed down through many generations and should remain as they are." James gives Johnny Feely full credit for everything he now knows of fiddle music and history. John Feely was a master fiddle player as far as I am concerned; he was one of the last of the great regional players with a great knowledge and interest in the beautiful style of fiddle playing which is part of our local tradition. James also picked up a lot of tunes from Martin McDonagh (1903-1970) of Doocastle, the only student of fiddle player Paddy Sweeney (1894-1975) from Powellsboro, who was taught by Thomas Gilmartin. As James developed his repertoire on fiddle and flute, he began to play at sessions with the local musicians at dances and house parties. Matt Devine’s shop in Tubbercurry town square (now named Bonanza) sold 78 recordings and Fergusons in the corner of the town square (now The Square Chinese Take Away) sold instruments. James believes the German fiddle he now plays, originally owned by Jamesie’s son, Willie Gannon, was bought in Fergusons. Over the years, James developed a very close musical relationship with Jimmy Murphy, Mick Loftus, Harry McGowan, Fred Finn, Peter Horan and Gregory Daly. One of their favourite sessions was held in Ted McGowan’s pub, Roisin Dubh, in Gurteen. He has played music all over Ireland and appeared on numerous radio and television shows. In 1972 and again in 1974, James travelled to Chicago with his good friends Jimmy Murphy, Harry McGowan and Joe Fallon where they spent weeks playing at house parties and particularly in Hoban’s Tavern with Jimmy & Eleanor Neary, Frank Burke, Albert Neary, Malachy Towey and many more of the Chicago musicians. He made several commercial recordings, including “The Mountain Road”, a compilation of popular tunes in South Sligo, CC004 CD, 1999; “As We Got Them”,with various Sligo artists, GDCD, 2005 and more recently “The Powellsborough Lassies”, with Ollie Ross, Comhaltas CL76. |
Back: Harry McGowan & Joe Fallon |
Front: Jimmy Murphy & James Murray
Playing in Hoban’s Tavern, Chicago 1972
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James continues to play his wonderful music today, although less so in public, and continues to hold fastidiously to the musical tradition passed down to him from the older generations.
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Tour of the Region:
I first toured the South Sligo/East Mayo region on Feb. 21st, 2024, along with James, Mike Lancaster and Michael Kelly. 1. Doocastle, Co. Mayo We drove along Mountain Road (L4502) from Tubbercurry until we came to Powellsboro Cross where we turned left onto L4505 and then right onto L8501 to Doocastle. Turning right at the T-junction onto L1305, we shortly passed Kennedy's Bar on the right, a great venue for music, now sadly closed. We shortly came to the Henry home, in Cloonlarhan townland, birthplace of Kevin, Johnny and Verona Henry on our left. We drove on, passing Rooskey Churchon the left until we came to Benson’s Bar, on the right, where many a good night of music can still be found. 2. Choill Re-tracing our journey back to Powellsboro Cross, we turned right down L4505 and after a short drive turned left down a small lane into an area locally known as Choill (the Irish word for “wood”). We were indeed driving into a small, wooded area in which we found several small unoccupied old houses. The first house (on the left) was the home of Paddy & John Flynn. Paddy & John were both fiddle players, who were taught music by their neighboring uncle Charlie Flynn. Paddy in particular, was a very nice player. |
The Henry Home
Benson's Bar
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A little further into the wood on the right was the home of Mike, Pakie and Ned Flynn.
Mike Flynn was a flute and fiddle player. He was taught by Frank Walsh on flute and moved to England where he was recorded with Michael Gorman. He later moved to America and was recorded with Paddy Killoran.
Mike Flynn was a flute and fiddle player. He was taught by Frank Walsh on flute and moved to England where he was recorded with Michael Gorman. He later moved to America and was recorded with Paddy Killoran.
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BBC House, 1951, courtesy of Reg Hall
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Joe Lamont Recordings, courtesy Burns Library, Boston College
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Behind this was the home of Willie & Johnny Goulding and to the left of this home are the remains of the home of Charlie Flynn (1872-1958).
Charlie Flynn played fiddle, harp and pipes. He was taught on fiddle by Tom Coleman. He had particularly long and pointed nails on his right hand, which he used to pluck the wire strings while playing the harp. His harp was made by Jamesie Gannon. His wife, Maria Healy, was also a very good fiddle player. When she died in 1947, Charlie hung her fiddle on the wall of the kitchen and no music was played in that house again.
Charlie was an uncle to his neighbors Paddy & John Flynn and related to Mike, Pakie and Ned Flynn.
Charlie Flynn played fiddle, harp and pipes. He was taught on fiddle by Tom Coleman. He had particularly long and pointed nails on his right hand, which he used to pluck the wire strings while playing the harp. His harp was made by Jamesie Gannon. His wife, Maria Healy, was also a very good fiddle player. When she died in 1947, Charlie hung her fiddle on the wall of the kitchen and no music was played in that house again.
Charlie was an uncle to his neighbors Paddy & John Flynn and related to Mike, Pakie and Ned Flynn.
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3. Drimroe Cross, Domnick’s Brae & Magheranore (Goldfield)
Driving back up to the main road we turned left and continued on L4505 towards Drimroe Cross. On the left we could see the remains of Powellsboro House Powellsboro House, formerly the home of the Powell landlord family, was built in 1756 and rebuilt in 1813. Following the departure of the Powell family in the early 20th century, the estate was divided by the Land Commission and the house was allocated to a local family who later emigrated. It is now derelict. |
Powellsboro House
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Home of Paddy Sweeney
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A little further, on the right and a short distance in from the road, we came to the remains of the home of Paddy Sweeney.
Paddy Sweeney was a wonderful fiddle player, taught by Thomas Gilmartin. Sweeney passed on his music to just one pupil, Martin McDonagh of Doocastle, before he moved to New York in 1928, where he played frequently with melodeon great P.J. Conlon and fiddle player Paddy Killoran. |
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A short distance west on R294 (Ballymote Road), on the right, is the location of Burke’s home (there is now a new home built on the site).
In his younger days, James regularly attended a session in Burke’s country house in Tubbercurry, where John (1904-1978) and Jimmy-Joe (1914-1999) Burke, both fiddle players who learned from Jamesie Gannon, lived with their unmarried sister Mary. Every Friday night during the summer months or every month during the winter, a session of music took place in the Burke’s home. The regular musicians in attendance were John & Jimmy-Joe Burke (fiddle); Mary Burke (lilting); Johnny Feely (fiddle); Jim Lanigan Maye (fiddle); John Joe Kilcoyne (fiddle), a neighbor of Burkes, who was more of a classical player (taught by Henry Franklin*) but lovely on airs and hornpipes; Martin McDonagh (fiddle), Peter Walsh (flute); Pakie Stenson (flute) and James himself (fiddle & flute). James also recalls Charlie Flynn playing in Burkes on a few occasions prior to his passing in 1958. Occasionally James’ father, Jim, would attend and sing from his large repertoire of old songs and Peter Walsh was also a very nice singer. Some of Mary Burke’s female friends also attended from time to time and on those occasions the evening also included a few sets and a waltz. Tom Kane, the local piper, also attended from time to time. On these occasions, James recalls “the sweet music of Tom Kane playing the small Scottish or Northumbrian pipes accompanied by the fiddle playing of John and Jimmy- Joe Burke was just amazing to hear.” |
John (left) & Jimmy-Joe Burke
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*Henry (Harry) Franklin (1876-1948) was a major figure in Sligo music circles for 50 years. A multi-instrumentalist and music teacher, Franklin was mainly involved in classical music but was also ‘a recognised authority on Irish traditional violin music’.[1] He was friendly with Count John McCormack, and he often performed with Percy French. He was born in Manchester in 1876 to Polish parents, who had immigrated to London in the 1850s.[2] The family later moved to Leeds. Harry was brought to Dublin in early boyhood and spent a few years there before moving as a teenager to Castlebar, Co. Mayo where he started to teach music, and finally settling in Sligo, where he was giving classes in Sligo Town Hall by February 1897.[3] He was mainly a classical music teacher and performer, but he also included Irish music in his public performances. At a concert in Tubbercurry on January 7th, 1898, he gave ‘a brilliantly executed selection of Irish airs and dances.’[4] Some traditional musicians also got tuition from him later, e.g. Kathleen Dwyer Morris from the Riverstown/Ballyrush district [5] and John Joe Kilcoyne.[6] Harry, along with his wife and her sister, and some of his pupils, performed at a concert in Ballymote in November 1899; he played violin, mandolin and banjo, and also sang on that occasion.[7]
[1] Obituary in the Sligo Champion, Jan. 31st, 1948, p. 5.
[2] The surname is recorded as Frankell in the 1861 Census of England and Wales.
[3] Sligo Champion, Feb. 20th, 1897.
[4] Sligo Champion, Jan. 15th, 1898.
[5] Gregory Daly, In nearly every house: Irish traditional musicians of north Connacht (Bogfire, 2020), p. 64.
[6] James Murray, Pers. Commun.
[7] Sligo Champion, Nov. 25th, 1899.
[1] Obituary in the Sligo Champion, Jan. 31st, 1948, p. 5.
[2] The surname is recorded as Frankell in the 1861 Census of England and Wales.
[3] Sligo Champion, Feb. 20th, 1897.
[4] Sligo Champion, Jan. 15th, 1898.
[5] Gregory Daly, In nearly every house: Irish traditional musicians of north Connacht (Bogfire, 2020), p. 64.
[6] James Murray, Pers. Commun.
[7] Sligo Champion, Nov. 25th, 1899.
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At Drimroe Cross we turned right, climbing up the short incline on Ballymote Road, known locally as Domnick’s Brae.
This region was named after the local farmer Domnick Owens and Paddy Sweeney composed a tune which he named Domnick’s Brae. We turned right towards Magheranore and shortly afterwards passed the home of Thomas Gilmartin (now a new house), on the left. Gilmartin was one of the four fiddle masters taught by Thomas “Dall” Healy. During his lifetime he passed on Healy’s music to many students including Paddy Sweeney, Larry Marren, Sarah Hunt and Johnny Feely. Further on, as we turned left and down a short incline into Magheranore, we came to the home of Johnny Feely on the right. |
James outside the home of Johnny Feely
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A little further on and across the road from Johnny Feely’s house are the remains of the home of Larry Marren (1898-1985), although not very visible from the road due to its heavily wooded location.
Larry Marren was a nice fiddle player taught by Thomas Gilmartin. He also had a lot of history of the older musicians in the locality.
4. Achonry/Chaffpool
Re-tracing our path back to the Ballymote Road, we travelled back down Domnick’s Brae and turned right at Drimroe Cross on L4403, towards the N17. The home of the piper Tom Kane (1883-1958) is on the right as we leave Drimroe Cross.
Larry Marren was a nice fiddle player taught by Thomas Gilmartin. He also had a lot of history of the older musicians in the locality.
4. Achonry/Chaffpool
Re-tracing our path back to the Ballymote Road, we travelled back down Domnick’s Brae and turned right at Drimroe Cross on L4403, towards the N17. The home of the piper Tom Kane (1883-1958) is on the right as we leave Drimroe Cross.
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Piper Tom Kane lived in Leitrim South, Achonry and played war pipes, uilleann pipes and a set of small Scottish or Northumbrian pipes. James recalls that he was known as “the wandering minstrel” as he often went missing for months, usually travelling around Ireland, England or the Scottish Highlands.
According to Johnny Feely, on a visit to Cork Tom Kane met and stayed a day or two with Robert Thompson, playing pipe tunes. Also, Thompson was known to both Jamesie Gannon and Thomas Gilmartin as he (Thompson) travelled throughout Co. Sligo collecting music, some of which he shared with Francis O’Neill. Larren Marren said that the only pipers he remembers were the Doran family who camped at Drimroe Cross when they visited the area. The Burkes and Frank Walsh would often visit their campfire on summer evenings and enjoyed wonderful fiddle and pipe music sessions through the night. |
The home of piper Tom Kane
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The home of Jamesie Gannon
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Further along L4403, a narrow laneway on the right leads across a field to the home of Jamesie Gannon (c.1844-1934) which is partly screened by trees.
Jamesie Gannon was regarded as one of the best students of blind fiddler Healy. According to Jimmy-Joe Burke (a student of Jamesie Gannon) Jamesie also made and played the Irish harp and that his father, Owen Gannon, was an apprentice to John Egan, the well-known harp maker in Dublin during the first half of the 19th century. Egan’s workshop was situated at 30 Dawson Street between 1815-1839. |
Jamesie Gannon playing his home-made Harp
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Two of Jamesie’s sons, Willie (1877-1947) and Tom (1884-1962), known as Toley, and Jamesie’s brother Tom, were also excellent fiddle players. Both Willie and Toley went to America where Toley made several 78 recordings, both solo and playing a duet with Michael Coleman. In an interview with Reg Hall*, Michael Gorman said Willie was joint winner of the World Champion Fiddle Competition held in Chicago in the early 1900s.
*Interview with Michael Gorman & Margaret Barry, London 1968, courtesy of Reg Hall
*Interview with Michael Gorman & Margaret Barry, London 1968, courtesy of Reg Hall
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Jamesie Gannon was a farmer, a skilled carpenter and cabinet maker, whose work was in high demand throughout the South Sligo region. His large two-story house is still structurally intact with a granary across the yard, with steps on the side leading to an entrance door about 10ft from the ground.
It was in this building that Jamesie taught music and housed any travelling musicians, who would typically stay in the locality for 2 or 3 days before moving on. According to Gorman (interview with Lomax, 1952*), the granary held many beds for travelling musicians and Gannon not alone offered accommodation but also fed the musicians, all free of charge. Jamesie Gannon taught many students including Michael Coleman (1891-1945), Michael Gorman (1895-1970) and Sarah Ann O’Connor (1890-1970). |
The Gannon granary
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In the recording of John Vesey in conversation with Martin Wynne**, he (Wynne) talks of the influence Tom (Toley) Gannon had on Michael Coleman’s playing. Wynne heard Gannon playing Bonnie Kate note for note as Coleman recorded, years before Coleman’s famous 78 recording of the same tune. James Murray also recalls the first and only time he ever heard Sarah Ann O’Connor playing. On a visit to London, Jimmy-Joe Burke purchased a fiddle in a pawn shop. The fiddle had a label which read “Row E, London Philharmonic Orchestra.”
Jimmy-Joe handed the fiddle to Sarah Ann O’Connor one evening as she was passing his house, to hear what she thought of the fiddle and James happened to be in Burke’s house that evening.
“She played with the full length of the bow and the full length of her arm. I think she was about 74 or 75 at the time. I remember she played The Snowy-Breasted Pearl, and she moved all over the finger board, almost like a classical player. She also played The Blackberry Blossom reel she was taught by Thomas Gilmartin. According to Frank Walsh (Peter’s father), Sarah Ann O’Connor was one of Sligo’s greatest fiddle players; she was almost in the same league as Michael Coleman.”
*https://archive.culturalequity.org/field-work/ireland-1951-and-1953/michael-gorman-1952
**richiepiggott.com/archive/recordings/related recordings
In an interview by Alan Lomax in 1952*, Michael Gorman said someone should go and record Sarah Ann O’Connor as, in his opinion,
“Sarah Ann is Sligo’s greatest fiddle player; she is even better than Michael Coleman.”
*https://archive.culturalequity.org/field-work/ireland-1951-and-1953/michael-gorman-1952
“She played with the full length of the bow and the full length of her arm. I think she was about 74 or 75 at the time. I remember she played The Snowy-Breasted Pearl, and she moved all over the finger board, almost like a classical player. She also played The Blackberry Blossom reel she was taught by Thomas Gilmartin. According to Frank Walsh (Peter’s father), Sarah Ann O’Connor was one of Sligo’s greatest fiddle players; she was almost in the same league as Michael Coleman.”
*https://archive.culturalequity.org/field-work/ireland-1951-and-1953/michael-gorman-1952
**richiepiggott.com/archive/recordings/related recordings
In an interview by Alan Lomax in 1952*, Michael Gorman said someone should go and record Sarah Ann O’Connor as, in his opinion,
“Sarah Ann is Sligo’s greatest fiddle player; she is even better than Michael Coleman.”
*https://archive.culturalequity.org/field-work/ireland-1951-and-1953/michael-gorman-1952
Michael Gorman
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Michael Gorman was one of Jamesie Gannon’s best students and he passed on the music of Gannon to many local students before he left Co. Sligo for London.
He travelled the locality on bicycle and taught music in several locations. James relates “Gorman taught 5 or 6 students in his own home at Carrentubber; he taught John Frank Vesey and a number of others in the home of Vesey in Ballincurry; he had up to 12 students in the home of Annie Jane McDonagh in Tullycusheen and he also taught students in the old Cloonacool Hall which no longer stands.” |
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Further along L4403, on the right-hand side past the laneway to Jamesie Gannon’s home, are the remains of the home of Tom Gannon, brother of Jamesie.
Jamesie’s brother Tom was also a good fiddle player. He was a shy, retiring man who lived alone and rarely played in public. As we continued along L4403, with Muckelty Hill high up on our left, the home of Frank (c.1882-1960) and Peter Walsh (1918-2000) -now a newer house, is on the left-hand side, just before we reached the N17. |
The home of Tom Gannon
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Frank Walsh’s Travelling Shop
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According to James Murray and Larry Marren, Frank Walsh was the best flute player they ever heard.
Frank Walsh was taught flute by Philip Maye, and he passed on this flute playing to his son Peter and to Mike Flynn of Choill. In the 1920s, Frank had a horse-drawn travelling shop which was manufactured by John James Hunt and his brother Owen and he travelled around Sligo with this shop, selling groceries and sweets. After the harvest time, Frank and Paddy Sweeny often travelled by pony & cart through Galway and Clare and sometimes as far as Kerry for a few weeks, where they picked up new tunes from the local musicians. |
5. St. Crumnathy’s Cathedral & Achonry Burial Ground
At the N17, we turned right in the direction of Sligo Town and after a short time, we turned right again onto L4402, towards St. Crumnathy’s Cathedral, the old Abbey and Achonry Burial Ground. The older part of the burial ground, which is closest to the remaining tall ivy-clad wall of the old Abbey, contains the graves of John Coleman (c.1802-1891), Robert Powell (c.1810-1860) and Thomas Coleman of Chaffpool (c1840-1905).
At the N17, we turned right in the direction of Sligo Town and after a short time, we turned right again onto L4402, towards St. Crumnathy’s Cathedral, the old Abbey and Achonry Burial Ground. The older part of the burial ground, which is closest to the remaining tall ivy-clad wall of the old Abbey, contains the graves of John Coleman (c.1802-1891), Robert Powell (c.1810-1860) and Thomas Coleman of Chaffpool (c1840-1905).
The other (more recent) side of the graveyard contains the graves of the following:
Jamesie Gannon – died 10th April 1934;
Willie Gannon – died 16th Feb. 1947;
Tom (Toley) Gannon – died 5th October 1962
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Peter Walsh – died 13th May 2000
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Thomas Gilmartin – died 1930
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6. Rhue Cemetery
On our return journey to Tubbercurry we travelled to Rhue Cemetery to view the graves of the following:
Johnny Feely – died 2nd August 1969
Mary Burke – died 16th January 1972; John Burke – died 4th January 1978;
Jimmy-Joe Burke – died 18th October 1999
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Frank Walsh – died 6th April 1960
Joe Murray – died 13th July 2004
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Martin McDonagh – died 19th December 1970
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Tour Map
Passing On The Music
I tried to simplify the relationship between the numerous musicians down through the years in the following chart:
James Murray’s Music Videos
During my first visit, James spent time describing details such as the fiddle ornamentation of today and in older times and discussed compositions of Paddy Sweeney prior to his emigration from Ireland, which I have captured in the following videos...
During my first visit, James spent time describing details such as the fiddle ornamentation of today and in older times and discussed compositions of Paddy Sweeney prior to his emigration from Ireland, which I have captured in the following videos...
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As previously mentioned, James wanted me to record for posterity some old tunes or old versions of familiar tunes he has in his repertoire, which Mike Lancaster kindly video-recorded prior to my visit. The tunes are divided into Jigs, Reels & Other Tunes. I include the Jigs & Other Tunes here and will include Reels in Part 2 of this project.
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Jigs:
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Other Tunes:
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The Early Music Masters of South Sligo
Thomas “Dall” Healy
Very little is known about this man, but local knowledge puts him as one of the earliest sources, the “fountainhead”, of traditional music in the South Sligo. He was a fiddle player, said to be originally from Greyfort (now Lislea), and he travelled throughout the South Sligo region teaching music. The Civil Register of Deaths, Registrars District of Sligo No.1, has an entry for a Thomas Healy, widower aged 91 years, a “fiddler” by occupation, died in the Workhouse, Sligo on 22nd Sept. 1878; cause of death: “old age certified”[1]. If the dates and age are correct, this fiddler Thomas Healy was born circa 1787 and, in the absence of better information, we believe this may well be Thomas “Dall” Healy. His best-known students who continued his legacy in teaching music were Jamesie Gannon, Patrick “Fiddler” Mannion, Thomas Gilmartin and Cipin Scanlon.
[1] Michael Kelly, pers. comm. 2024
Jamesie Gannon
With his interest in the history of traditional music and his close acquaintance with Jamesie Gannon’s daughter and granddaughter (both named Mary) and his friendship with some of Gannon’s pupils, it is not surprising that James Murray has compiled a lot of information about Jamesie’s life and music over the years. He has kindly shared this with me. It transpires that Gannon, like many of his generation, was a firm believer in the existence of a supernatural ‘Otherworld’.
The Otherworld
A belief in the Otherworld is a prominent feature in the lore of Ireland. Tales, legends and lore associated with the world of the sí, the púca, ghosts, revenants and mermaids are central to the fabric of that lore (Ríonach uí Ógáin & Tom Sherlock, The Otherworld: Music & Song from Irish Tradition (Dublin, 2012), p. 7.
In one handwritten note, Jamesie Gannon vividly describes his own first encounter with the “good people”:
Thomas “Dall” Healy
Very little is known about this man, but local knowledge puts him as one of the earliest sources, the “fountainhead”, of traditional music in the South Sligo. He was a fiddle player, said to be originally from Greyfort (now Lislea), and he travelled throughout the South Sligo region teaching music. The Civil Register of Deaths, Registrars District of Sligo No.1, has an entry for a Thomas Healy, widower aged 91 years, a “fiddler” by occupation, died in the Workhouse, Sligo on 22nd Sept. 1878; cause of death: “old age certified”[1]. If the dates and age are correct, this fiddler Thomas Healy was born circa 1787 and, in the absence of better information, we believe this may well be Thomas “Dall” Healy. His best-known students who continued his legacy in teaching music were Jamesie Gannon, Patrick “Fiddler” Mannion, Thomas Gilmartin and Cipin Scanlon.
[1] Michael Kelly, pers. comm. 2024
Jamesie Gannon
With his interest in the history of traditional music and his close acquaintance with Jamesie Gannon’s daughter and granddaughter (both named Mary) and his friendship with some of Gannon’s pupils, it is not surprising that James Murray has compiled a lot of information about Jamesie’s life and music over the years. He has kindly shared this with me. It transpires that Gannon, like many of his generation, was a firm believer in the existence of a supernatural ‘Otherworld’.
The Otherworld
A belief in the Otherworld is a prominent feature in the lore of Ireland. Tales, legends and lore associated with the world of the sí, the púca, ghosts, revenants and mermaids are central to the fabric of that lore (Ríonach uí Ógáin & Tom Sherlock, The Otherworld: Music & Song from Irish Tradition (Dublin, 2012), p. 7.
In one handwritten note, Jamesie Gannon vividly describes his own first encounter with the “good people”:
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“We were coming from Father Cullen’s, Thomas Gilmartin (Jamesie’s relative and fellow musician) and myself. I remember the night well. A lovely moonlight night. We were on the pony and trap just coming around The Hill (Muckelty Hill just north of Tubbercurry) when we saw the little boy on the road coming towards us. I pulled up the pony and he said, “They want you to play up at the Big House, there is a party on.” I said that we had no fiddles with us, he said that they had fiddles at the house.
We made place for him in the trap and headed for Chaffpool House as we were sure that was where the party was. Just as we were coming to the house the little boy said “No, turn left here.” Now we knew that there was no house up that road but after about a mile there it was, a Beautiful House and a party going on. They had a great welcome for us but they were all dressed in old fashioned clothes. They were what the old people called the good people. That was the night we learned how to play the Real music. The people weren’t from our time. They were from the Past and on that night everything changed and that was the first time. I’ll never forget this.” |
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Reports of encounters between musicians and the “Otherworld” were not uncommon. Michael Gorman (interviewed by Alan Lomax in 1952*), relates a story of how Jamesie Gannon’s father met with the good people on his way to Sligo market late one evening and they carried him away to build a coffin for one of their people who had passed away.
*https://archive.culturalequity.org/field-work/ireland-1951-and-1953/michael-gorman-1952
Another example is the tune Port na bPúcaí, which is an interpretation of what was believed to be the cry of a spirit mourning the death of another as it is carried for burial on the island of Inishvickilaune, one of the Blasket Islands off the coast of Co. Kerry. Such encounters are not confined to Ireland. In his book The Peat Fire Flame, Folk-Tales & Traditions of the Highlands & Islands (Moray Press, 1937), Alasdair Alpin MacGregor describes meeting musicians who experienced many encounters with Faeries and Faery Music in Scotland (Chapt. 2 Faery Music pp 29-36).
*https://archive.culturalequity.org/field-work/ireland-1951-and-1953/michael-gorman-1952
Another example is the tune Port na bPúcaí, which is an interpretation of what was believed to be the cry of a spirit mourning the death of another as it is carried for burial on the island of Inishvickilaune, one of the Blasket Islands off the coast of Co. Kerry. Such encounters are not confined to Ireland. In his book The Peat Fire Flame, Folk-Tales & Traditions of the Highlands & Islands (Moray Press, 1937), Alasdair Alpin MacGregor describes meeting musicians who experienced many encounters with Faeries and Faery Music in Scotland (Chapt. 2 Faery Music pp 29-36).
Meeting Kreisler
Another intriguing handwritten note by Jamesie Gannon in James Murray’s collection recalls a meeting and subsequent correspondence between Gannon and Fritz Kreisler, regarded as one of the world’s greatest violinists. The note reads as follows:
Another intriguing handwritten note by Jamesie Gannon in James Murray’s collection recalls a meeting and subsequent correspondence between Gannon and Fritz Kreisler, regarded as one of the world’s greatest violinists. The note reads as follows:
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“More Memories We met the great violin player Fritz Kreisler in London in May 1902, Thomas Gilmartin and myself. We were asked over by Hands Richer (Hans Richter*) who I knew. Kreisler is the greatest fiddle player in the world and a lovely man. We had two days with him. He plays an old fiddle made by a man called Daniel Parker**. Thomas and myself played a few tunes on it and I’d rather my own old fiddle, the strings are too near each other but that suits the classical players. I have never heard such tone taken out of a fiddle. He joined Thomas and myself on piano. He loves the Irish music, especially hornpipes. He gave me some of his own tunes although he doesn’t pretend that they’re his. We write to each other fairly often and he has my tunes which I’d sent to him. There was a new King*** in England when we were there.” |
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*Hans Richter (1843-1916), a Hungarian conductor, was a close associate of Wagner and the Hungarian violinist Tivadar Nachez. He worked extensively in England and was the conductor of the Hallé Orchestra for many years. He was the conductor at Kreisler’s London debut at St. James’ Hall, 12th May 1902, in a performance of a Beethoven Concerto.
**Daniel Parker, an English violin maker, was born circa. 1680 and was active in the St. Paul’s district of London during the second decade of the 1700s. The Parker fiddle was Kreisler’s treasured possession and became known as the Parker 'Stradivari’.
***King Edward VII reigned from Jan. 1901 – May 1910.
The fact that Gannon and Gilmartin spent two days playing music with the maestro is an incredible endorsement of the quality of their music and musicianship. Decades later, Michael Coleman, briefly a pupil of Gannon, was reputed to have encountered Kreisler in New York.
To be continued in Part 2...
**Daniel Parker, an English violin maker, was born circa. 1680 and was active in the St. Paul’s district of London during the second decade of the 1700s. The Parker fiddle was Kreisler’s treasured possession and became known as the Parker 'Stradivari’.
***King Edward VII reigned from Jan. 1901 – May 1910.
The fact that Gannon and Gilmartin spent two days playing music with the maestro is an incredible endorsement of the quality of their music and musicianship. Decades later, Michael Coleman, briefly a pupil of Gannon, was reputed to have encountered Kreisler in New York.
To be continued in Part 2...
Acknowledgements
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Mike Lancaster:
Thank you, Mike, for facilitating my initial introduction to James; for your help in digitizing and transcribing material from James’ archive; for your artistic transformation of my scribbled maps and for your help with video recording. You are a wonderful artist, and your knowledge of Irish tune names is astounding! |
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Michael Kelly:
My ever-present comrade in arms, thank you for your continued support; for my ever-present bedroom in your home; for your expert knowledge of genealogy and local placenames and for driving me throughout the length and breadth of Mayo, Galway and Sligo |
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Harry McGowan:
Thank you, Harry, for that wonderful afternoon I spent with you and Sheila and listening to your recollections and sharing the photos of your trips to Chicago in the early seventies with James, Joe Fallon and Jimmy Murphy. |
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Seamus Mcguire:
Seamus, my sincere thanks for sharing your memories of meeting with and playing tunes for Tom (Toley) Gannon when you were a young lad and for the photos of Tom’s fiddle now in your possession |
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Lamond Gillespie:
Thank you, Lamond, for the wonderful tour of Glasgow Irish music locations, current and of olden times, and continuing to share with me your amazing knowledge of traditional and classical musicians and their music. |
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Harry Bradshaw:
Harry, thank you for your expert work in digitizing the recording of James, Harry, Jimmy Murphy and Joe Fallon in Hoban’s Bar, Chicago in 1972... James and Harry will be delighted to hear it after all this time! |
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Reg Hall:
Reg, the welcome I received from you in your home last Summer was a dream come true for me. Your pioneering work on collecting, preserving and documenting Irish music continues to inspire me. Thank you for sharing some of your personal recordings and your memories of time spent in Sligo in the 1970s and 1980s, especially of your meetings with Jamesie Gannon’s granddaughter, Mary. |
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James Murray:
James, thank you for giving me this opportunity to document for posterity your life, your knowledge of local musicians and their music and, indeed, your own music. You are a very rare window into the past of Sligo music, and I feel truly privileged that you are so openly sharing your knowledge and archival material with me. Thank you also for the warm welcome I receive every time I visit you and Ruth down the aptly named Lovers Lane, it is a home full of warmth and love and you both have always made me feel like one of the family. |