In this episode Cameron plays:
Fredd Finn's / Brady's (Brady's from the playing of John Williams)
Peach Blossoms (Barn Dance)
The First Pint / The Flying Wheelchair (two jigs, from the playing of Kevin Crawford)
Fergal O’Gara’s / The Bag of Spuds / The Boys of ‘45

To follow Cameron on Facebook go here: https://www.facebook.com/tenorbanjocam
To follow Cameron's Sydney Irish music group go here: https://www.facebook.com/groups/435901279930266/
And to follow the Gaelic Club go here: https://www.facebook.com/gaelicclubsydney/

As always, the episode is free to listen and download online or from all podcast apps:

Our Website: https://blarneypilgrims.fireside.fm/44
Apple Podcasts: https://apple.co/2VdCZMu
Google Podcasts: http://bit.ly/3cPTkis
Spotify: https://spoti.fi/3aTHAKH

Right that's it, enjoy!
Darren & Dom

...

Well, it's a tough time, so we hope you can hang in there with us, and we'll do the same for you. So if you liked this episode and think you got some worth from it, then please pledge at any level over at www.patreon.com/blarneypilgrims.

If you can't afford to pledge on Patreon, and we totally understand if you can't, all is not lost. You can still support the show by sharing it on your socials, posting about it in your favourite forums or simply by telling your mates about it down the pub.

www.patreon.com/blarneypilgrims
www.blarneypilgrims.com
www.facebook.com/BlarneyPilgrimsPodcast
@BlarneyPilgrimsPodcast

The tunes played in this episode are:

The Mountain Road (Trad)
The Rose in the Heather (Trad)
Paddy's Trip to Scotland (Trad)
Mullingar Races (Trad)

For more info on the Canberra Irish Club go here: https://www.irishclub.com.au/
For more info on Comhaltas Canberra go here: https://www.facebook.com/Comhaltas-Canberra-580450142467295/

...

Dom's notes:

I really love this conversation. We very easily found our way into the stuff that gets me going - the ephemeral nature of the experience of playing music, the naming and honoring of players we used to listen to, and - of all things - The Brass Fiddle.

I have no certain memory of how I came across that CD of Donegal fiddle music that we talk about. But on first listening to it, I remember I was blown away by its elemental nature. It's not just that the recordings are plain and true. It's that the playing itself is completely unfussy and unafraid. In fact, what it is, now that I think about it, is authentic. It IS what it is.

Doodley Doodley Dank is the Con Cassidy track David hums, I think. I thought I was cool having that rarity of a CD that I got from who knows where, but as if to prove our point about how you can get everything everywhere now, you can listen to The Brass Fiddle on Spotify. So I'm slightly less cool now. Anyway, check it out.

Since we started the Blarney Pilgrims, one of the revelations me and Darren have had is that the fiddle is an intensely physical instrument. The music is born of friction, which goes some way to explain the appeal of the instrument maybe, and the seemingly endless variety that's audibly apparent between different players. Even if they share the same background, draw on the same regional style of playing, no two people sound the same. And I wonder is it my imagination, or is the fiddle unique in how it allows players to express themselves with such individuality, because as Chris Fitzgerald says, playing it is a wrestling match. And then I wonder if other bowed instruments have the same quality. And I'm thinking about Jordi Savall, the amazing Catalan musician who plays the viola da gamba. If you've never heard that guy's music, you're missing out. His 1988 album Les Voix Humaines will blow your mind.

https://www.youtube.com/watch?v=ylpOO-7cyt0

I was introduced to this by two great friends, Jon and Mary Pritchard, when they lived in London, I lived in Scotland and we would spend every weekend we could manage hanging around drinking, eating and just having a completely beautiful time. As I did with Darren at the Banjo Jamboree in Guildford, Victoria.

David, thanks for taking time out from the festival to talk to us.

...

If you liked this episode and think you got some worth from it, then please pledge $2 over at www.patreon.com/blarneypilgrims.

Of course, you don't have to become a patron to listen, but we guarantee you'll enjoy each episode more because you'll be safe in the knowledge that you're a deadset legend.

If you can't afford to pledge on Patreon, and we totally understand if you can't, all is not lost. You can still support the show by sharing it on your socials, posting about it in your favourite forums or simply by telling your mates about it down the pub.

Till next time.
Darren & Dom

www.patreon.com/blarneypilgrims
www.blarneypilgrims.com
facebook.com/BlarneyPilgrimsPodcast
@blarneyPilgrimsPodcast

Angus plays fiddle with Caity Brennan, Connor Hoy and Rhys Crimmin in the band Austral which we caught up with in a previous episode. It's a banger, and definitely worth checking out. You'll find it here when you're ready: https://blarneypilgrims.fireside.fm/7

To Follow Angus on social go here:
https://www.facebook.com/australmusic/
https://www.facebook.com/gus.barnaby

To buy Austral's music, including "Hoedown Throwdown" go here: https://australtradmusic.bandcamp.com/

Again, thanks so much for your time Angus.

...

Now, here's Dom's notes.

Angus’ first tune, The Musical Priest, is one of the first tunes I ever learned. Me and Tony Murray used to play it as a whistle two-fer, with little fragments of harmony wound in and around the main strands of the melody. It’s a session staple, anchored around the B natural that gives it a sort of wintry quality, I always think. But as Angus plays it, it has a warmth to it and, as he says himself, a swing.

Anyway, when I was 16 or 17 that was a tune we’d play in The House Of McDonnell, more usually known as ‘Tom’s’ after the owner, Tom O’Neill. Our first regular gig as a band, in the tiny back room that’d regularly be crammed – and I mean crammed – with people down from Belfast for the holidays, or from Corrymeela (a sort of retreat center outside town where Catholic young people from troubled parts of the north could get together with Protestant young people from troubled parts of the north for cross-community groping sessions. Heavy petting for peace. ‘See? We ARE actually all the same after all!’) One of the youth workers accompanying them one night wore a mini skirt made from a black bin liner, and black leggings. I was entranced and frightened in equal measure. ‘So THAT’S why mum and dad are always talking about how dangerous it is in Belfast...’

Then for some reason I can’t remember, that gig ended. I was distraught, in a teenage kind of a way. And as was my habit in those days, I’d dive headfirst into my grief by lying on the dining room floor of our house with my head between the speakers of the ITT stereo system we’d inherited from Mrs Buntane, a friend of my dad’s. On the first Friday night after we no longer had a gig, in the throes of my despair, I was listening to Barclay James Harvest Live in Berlin (probably the most embarrassing thing I have yet admitted to in these notes to date) when I got a phone call to say we’d been asked to play in the Boyd Arms instead. Seriously? I was ecstatic.

In the Boyd Arms’ front room with its curved wall behind us, beside the fireplace, we played quiet Friday nights when a few punters would stick their heads around the door then head into the main bar, and other nights where you could hardly move for the people. It was great. Without that chance to play every Friday night, and the other gigs that came from it, I have no idea how I’d have spent my teenage Friday nights. Oh, wait, yes I do. Listening to Barclay James Harvest Live in Berlin.

Anyway, me and Darren often talk about having the chance to listen to players at close quarters and how cool that is. And that’s true – there’s something very unique about having the opportunity to really listen to a player working through a tune on their own. It’s dramatically different from the habitat of a session – it’s exposed and honest, a human being articulating what a tune is about for them, in that moment.

Thanks again, Angus Barbary.

...

If you liked this episode and think you got some worth from it, then please pledge $2 over at www.patreon.com/blarneypilgrims.

Of course, you don't have to become a patron to listen, but we guarantee you'll enjoy each episode more because you'll be safe in the knowledge that you're a deadset legend.

If you can't afford to pledge on Patreon, and we totally understand if you can't, all is not lost. You can still support the show by sharing it on your socials, posting about it in your favourite forums or simply by telling your mates about it down the pub.

Till next time.
Darren & Dom

www.patreon.com/blarneypilgrims
www.blarneypilgrims.com
facebook.com/BlarneyPilgrimsPodcast
@blarneyPilgrimsPodcast