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Cherish the Ladies   •   Cherish the Ladies (Irish Women Musicians in America)

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  • Cherish the (Ladies Irish Women Musicians in America)
    • 1985 - Shanachie 79053 LP (USA)
  • Side One
    1. Miss McLeod's, Wissahickon Drive, Fermoy Lassies & Morse Avenue (reels) — Liz Carroll: Fiddle & Mick Moloney: Guitar
    2. The Tempest, Smash the Windows & Lad O'Beirne's (reels) — Joan Madden: Flute, Kathy McGinty: Fiddle, Mary McDonagh: Accordion & Lori Cole: Piano
    3. Johnny Doherty's, The Cock and The Hen & The Humours of Whiskey (jig & slip jigs) — Laura Mackenzie: Flute, Patty Bronson: Flute & Daithi Sproule: Guitar
    4. Tá ná Páipéir dhá Saighnéail (The Papers Are Being Signed) (song) — Bridget Fitzgerald
    5. Jig Away the Donkey & Josie McDermott's (reels) — Paulette Gershen: Tin Whistle & Gerry O'Beirne:Guitar
    6. Dear Lisa & The Maid of Ardagh (slide & polka) — Maureen Glynn School Of Irish Music: Sheila McGuire: Fiddle, Karen Foynes: Fiddle, Deirdre McDermott: Fiddle, Rosemary Clarke: Fiddle, Kathleen McQuillan: Fiddle, Patricia Sullivan: Whistle, Flute, Cara Early: Whistle, Flute, Bridget Harte: Whistle, Flute, Mary Foynes: Flute, Deirdre Connolly: Flute, Ann-Marie Doherty: Accordion, Ed McDonagh: Accordion, Eileen Callaghan: Accordion & Michael Fee: Bodhrán
    7. The Orphan & Paul Montague's (jig & reel) — Eileen Ivers: Fiddle & Mark Simos: Guitar
  • Side Two
    1. The Galtee Rangers & Gan Ainm (reels) — Eileen Clohessey: Tin Whistle & Maureen Doherty: Tin Whistle
    2. Cherish The Ladies (jig) — Patricia Conway: Accordion, Mary McDonagh: Accordion, Joan Madden: Flute, Pauline O'Neill: Flute, Maureen Doherty: Flute, Mary Rafferty: Flute, Rose Conway: Fiddle, Kathy McGinty: Fiddle, Eileen Clohessey: Tin Whistle & Lori Cole: Piano
    3. The Lads of Laois & The First Month of Summer (reels) — Rose Conway: Fiddle & Mick Moloney: Guitar
    4. Sagartna Cúile Báine (The Fair Haired Priest) (song) — Treasa Uí Cearúil
    5. The Burren & Kilty Town (reels) — Joan Madden: Tin Whistle & Mary Coogan: Guitar
    6. The Shaskeen & Gan Ainm (jigs) — Pauline O'Neill: Flute & Lori Cole: Piano
    7. Toss The Feathers & The Pride of Rockchapel (reels) — Maureen Glynn School Of Irish Music: Sheila McGuire: Fiddle, Karen Foynes: Fiddle, Deirdre McDermott: Fiddle, Rosemary Clarke: Fiddle, Kathleen McQuillan: Fiddle, Patricia Sullivan: Whistle, Flute, Cara Early: Whistle, Flute, Bridget Harte: Whistle, Flute, Mary Foynes: Flute, Deirdre Connolly: Flute, Ann-Marie Doherty: Accordion, Ed McDonagh: Accordion, Eileen Callaghan: Accordion & Michael Fee: Drums

  • Cherish the Ladies
    • Patty Bronson: Flute
    • Liz Carroll: Fiddle
    • Eileen Clohessey: Tin Whistle
    • Lori Cole: Piano
    • Patricia Conway: Accordion
    • Rose Conway: Fiddle
    • Mary Coogan: Guitar
    • Maureen Doherty: Flute
    • Bridget Fitzgerald: Vocals
    • Paulette Gershen: Tin Whistle
    • Eileen Ivers: Tin Whistle
    • Laura MacKenzie: Flute
    • Joan Madden: Flute, Tin Whistle
    • Mary McDonagh: Accordion
    • Kathy McGinty: Fiddle
    • Pauline O'Neill: Flute
    • Mary Rafferty: Flute
    • Treasa Uí Cearuil: Vocals
  • Musicians
    • Mick Moloney: Guitar
    • Gerry O'Beirne: Guitar
    • Mark Simos: Guitar
    • Dáithí Sproule: Guitar
    • Maureen Glynn School of Irish Music:
      • Eileen Callaghan: Accordion
      • Rosemary Clarke: Fiddle
      • Deidre Connolly: Flute
      • Ann-Marie Doherty: Accordion
      • Cara Early: Flute, Whistle
      • Michael Fee: Bodhrán, Drums
      • Karen Foynes: Fiddle
      • Mary Foynes: Flute
      • Bridget Harte: Flute, Whistle
      • Deidre McDermott: Fiddle
      • Ed McDonagh: Accordion
      • Sheila McGuire: Fiddle
      • Kathleen McQuillan: Fiddle
      • Patricia Sullivan: Flute, Whistle
  • Credits
    • Produced by Mick Moloney
    • Project Directors: Ethel Raim, Martin Koenig & Mick Moloney
    • Cover Photo: Ricardo Salas
    • All titles mixed at Morning Star Studios, Ambler, Pennsylvania.
    • Sound Engineer: Glenn Barratt
    • All titles recorded at Morning Star Studios, Recording
    • Sound Engineer; Paul Krueger, except for the following:
      • Track: 1 — Recorded at Studio Media, Evanston, Illinois
        • Sound Engineer: Dave Appelt
      • Track: 3 — Recorded at Recorded by Chuck Heyman, Minneapolis
      • Track: 4 — Recorded at Audio Matrix, Cambridge Massachusetts
        • Sound Engineer: R.V. Stevenson
      • Track: 5 — Recorded at Backlot Records, Los Angeles
        • Sound Engineer: Scott Fraser
      • Tracks: 6 & 16 — Recorded at Eastside Co. Inc., New York City
        • Sound Engineer: Nick Pratt
      • Track: 13 — Recorded at Field Recording, Mick Moloney
    • A Project of the Ethnic Folk Arts Center
    • This project is made possible by grants from the Folk Arts Programs of the National Endowment for the Arts and the New York State Council on the Arts.
    • Special thanks to Bernard McElhone, a member of the Board of Directors of the Ethnic Folk Arts Center, for his generous support without which this project could not have been realized.

Sleeve Notes

One of the most fascinating developments in the varied history of Irish traditional music in America has been the extraordinary rise in the number of girls and young women performing this music in the 1970's and '80's, particularly in the Eastern United States. Before 1970, Irish traditional music was almost exclusively a male domain. There were, of course, some notable exceptions. In Ireland, when the louder and more durable melodeon became favored as a dance music instrument over the more delicate concertina, the latter became a "woman's instrument" in many parts of the country. Until fairly recently, in fact, the concertina tradition was kept alive by outstanding women musicians like Mrs. Crotty from Kilrush in West Clare, who provided inspiration to the current generation of young concertina players. There were other great women musicians as well, such as fiddlers Aggie White, Kathleen Harrington, Julia Clifford, and Josephine Keegan. But they were very much in the minority.

In America one can go through Irish Minstrels and Musicians, the massive compilation of biographies of Irish musicians published by Captain Francis O'Neill in Chicago in 1917, and find only a handful of references to female Irish musicians. From O'Neill's time until 1970, only a few women were involved in a major way in the Irish music scene, notably Eleanor Neary (piano) from Chicago and Kathleen Brennan Grant (fiddle) from New York. New York-born fiddler Kathleen Collins was one of the first of the new breed of women musicians to emerge. She won the All Ireland Senior Fiddle title in 1967, the first American-born musician to accomplish this feat. Chicago-born Liz Carroll won the Junior All Ireland Fiddle title in 1974 and the Senior title the following year. Since then, scores of American-born women musicians have competed and won in Ireland, to the point where their success has become almost commonplace.

How did so many young women suddenly become involved in Irish music in America? One could cite as a background social reason the success of the women's movement in the society as a whole in opening male-dominated areas of life to women. Another reason, no doubt, was the fact that the massive revival of Irish traditional music in the 1960's in Ireland, and later in America, made traditional music a socially acceptable vehicle for the expression of ethnic identity for a significant population of Irish immigrants. Irish step dancing had been a popular vehicle for this kind of identity expression for many years, and now parents, particularly first-generation immigrants, felt that Irish music as well as dancing could help preserve their childrens link with Irish culture. Young girls have always constituted about 80% to 90% of the pupils studying Irish dance. The same pattern quickly asserted itself in the music. Many of the boys would drop out at adolescence, often due to negative peer pressure and ridicule. The girls, on the other hand, would usually find positive peer reaction and continue learning and playing.

On this record, we can admire and enjoy the full flowering of the exceptional talents of some of the most gifted young Irish women musicians in America. They come from all parts of the country. Most have a direct living ancestral link with Ireland. A few (only three, in fact) do not; yet the music and the culture out of which it emerges form a central part of their lives and provide the bond that links them to their Irish-American friends and fellow-musicians. There are many different styles and approaches to the music represented here as well. The three solo fiddle tracks, for example, could hardly be more different, ranging from the highly distinctive individualized styles of Liz Carroll and Eileen Ivers, to the quintessentially regional Sligo style of Rose Conway. The wind instrument solos and the duet trio and group performances all show a similar blend of innovation and tradition.

There are old tunes and new tunes, some popularized, adapted or composed in America and others more recently "imported" from Ireland. This represents pretty well the Irish-American musical repertoire these days — tunes learned from all sources: from other musicians, from books and other tune publications, records and, of course, the ubiquitous cassette recorder, which in the last two decades has revolutionized the way in which the music is passed on. Nowhere is the living link between the tradition in Ireland and the tradition in America better illustrated than in the brisk trading and copying of cassette tapes recorded at sessions anywhere between Dublin and Los Angeles.

As individuals, and in groups, many of the women on this record have had spectacular success competitively in America and in Ireland. This has been of great value for all of them in the sense that it has helped legitimize the expatriate tradition which they represent. However, the importance of music for these young women goes way beyond the realm of competitive playing. They are all currently at the very heart of the informal social "scene" which has been the mainstay of Irish music in America for centuries — a "scene" which simply involves musicians getting together to enjoy friendship, music, conversation, and good times.

Apart from the instrumental tradition, another aspect of Irish culture is represented by two fine performers of the sean n6s (old style) song tradition in the Gaelic language, a neglected aspect of our heritage which represents an important cultural link with the Celtic past. Both come from Connemara in County Galway, a region long famous for its wonderful highly stylized singing. The sean nós tradition has fared nearly as well as the instrumental tradition in the United States. This is partly because the Gaelic language makes the tradition less accessible, but also because the old world context — the intimate rural house party — hardly exists among Irish immigrants any longer. But, nevertheless, the old singing tradition survives tenaciously.

So here they are: from New York, Philadelphia, Boston, Chicago, Minneapolis and Los Angeles, all truly outstanding musicians and singers, whose ability and enthusiasm bodes well for the survival and growth of Irish traditional culture in America for many years to come.

Mick Moloney


About The Project

During a conversation in the spring of 1984, Mick Moloney drew our attention to the remarkable number of Irish-American women now performing traditional Irish music in the United States. We were immediately struck by the unique significance of this phenomenon, for it contrasts sharply with most of the other ethnic communities with whom we have worked where, almost without exception, all the instrumentalists are men.

In order to recognize and celebrate this development in Irish music, we asked Mick to organize a concert series featuring some of these women. The quality of the music at the three sold-out concerts and the enthusiastic audience response convinced us to document the music and share some of it with a wider public.

The Ethnic Folk Arts Center is proud to offer this recording which presents some of the finest Irish women musicians in the nation performing together on record for the first time. As one of the women suggested, what better name for the project than one of the fine old Irish tunes, "Cherish the Ladies."

Ethel Raim & Martin Koenig
Directors, Ethnic Folk Arts Center