The Definitive Collection of The Music of Paddy O’Brien 1922 - 1991 by Michael McCabe

The Definitive Collection of The Music of Paddy Oâ&#x20AC;&#x2122;Brien 1922 - 1991

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, visual, recording or otherwise without the prior permission of the publishers.

This book has been written and compiled by Eileen O’Brien. All music transcriptions and music typesetting were also undertaken by Eileen O’Brien. Photographs and other imagery kindly donated for use in the book are acknowledged alongside each item, all other imagery rests with the O’Brien family. The book’s design and typesetting was undertaken by Michael McCabe of Mediatician.

This publication has been kindly funded by the Arts Council of Ireland.

Introduction Paddy composed over one hundred tunes during his lifetime. A selection of his compositions was published in a book entitled “The Compositions of Paddy O’Brien.” which I compiled and edited in 1992. I am delighted that the full collection is now completed in this publication. Paddy’s compositions cover all of the main dance music genre. He composed reels, double jigs, slip jigs, single jigs, hornpipes, polkas, and marches. There were three stages in Paddy’s life where he composed music. The first stage was in the late 1940’s and early 1950’s when he composed “Cooley’s Hornpipe” and “Dinny O’Brien’s Reel.” The next period of compositional output by Paddy was on his return to Ireland during the mid to late sixties. During this period he composed the jigs “The Boys of Lough Gowna” and ”The New House.” Paddy Ryan from Coolbawn in Co. Tipperary won the All-Ireland in 1965 playing these tunes. Paddy refers to a visit he paid to Paddy O’Brien prior to competing in the competition. During this visit Paddy gave these new compositions to Paddy Ryan and the end result was that Paddy Ryan was successful in achieving first place in the competition. Shortly after this in the early 1970’s he composed the tunes that were included in the recording “The Banks of the Shannon.” The most prolific period of composition in Paddy’s life occurred between the late 1970’ until his death in 1991. During this period, Paddy composed most of the significant collection that is contained in this book. These compositions are now played by musicians all over the world. There are many compositions in this publication that have never been published or even heard before. I am delighted that they are eventually reaching publication and will now enter into the music tradition like the rest of his compositions. I know that these new tunes will be embraced by musicians and accepted into the traditional repertoire as were his previous compositions that have already been published.

I wish to dedicate this publication to the memory of my late parents Paddy and Eileen O’Brien. They encouraged and nurtured my musical talent and passed on their deep respect and love of the Irish culture to me. I will forever be in their debt.

Contents Contents

Page:

The Legendary Paddy O’Brien, 1922-1991 Paddy O’Brien 1922 - 1991 The O’Brien Family Tradition Musical Heritage Introduction to the Accordion Development as a musician The recordings by Columbia Records The Effect of the Early Recordings The O’Brien B/C Accordion Style Use of Chromatic Notes A Highly Influential Figure The New York Ceili Band The Emigrant’s Return The Connolly O’Brien Musical Partnership The Banks of the Shannon The Ormond Ceili Band Paddy’s Compositional Style Paddy O’Brien’s influence

1 2 3 5 6 9 9 11 11 15 15 16 17 19 21 22 27

Portraits by Mike Lancaster Eileen O’Brien Paddy and Ellen O’Brien Paddy O’Brien c. 1935 Paddy O’Brien c. 1969 Paddy O’Brien c. 1981 Dinny O’Brien c. 1969 Mike Lancaster

I 1 29 117 197 205 207

Contents

The Compositions of Paddy O’Brien Double Jigs

Page:

Slip Jigs

Page:

Brook Lodge Curraghbawn House Digging For Gold The Grouse On The Hill Fogarty’s Fancy Fogarty’s Kate Gavin’s Piano Gerry Sullivan’s Fancy Larkin’s 25th Mick Cooney’s Fancy Newtown Bridge Out In The Cold Reading The Will Second Victory The August Bank Holiday The Trip To Bantry The Black Lough The Boys Of Lough Gowna Young Dan’s The Burning Brakes The Caddy’s Fancy The Callows The Centenary Jig The Matchmaker The Fox In The Meadow The Cherry Blossom The Coming Of Spring The One That Was Lost The Corner Stone The Duck In The Stubbles The First Year In Sligo Youghal Lodge The Fisherman’s Net The Fly In The Porter The Stormy Night The New House The Foggy Morning The Wednesday Visit The New Pony

30 30 31 31 32 32 33 33 34 35 35 36 36 37 38 38 39 40 40 41 42 42 43 43 44 44 45 45 46 46 47 47 48 48 49 50 51 51 52

The Arra Mountains Fr. Burke’s Donnchadh’s Delight The Red Haired Girl Liam O’Connor’s Fancy Mike Harty’s Choice Mrs. O’Brien Steve Quinn’s Fancy Eileen’s Request The Hills Of Duharra The Grey Box The Kerryman’s Fancy The Longford Woman Seamus Connolly’s Favourite

54 54 55 55 55 56 56 57 57 57 58 58 58 89

Single Jigs Dandy Bash The Curragh III

Hornpipes A Fool’s Advice Cooley’s Hornpipe Dan’s Request Dan’s Trip To London First Attempt Garrykennedy Castle Shrove Tuesday St. Stephen’s Day The Banks Of The Shannon The Boys Of Youghalarra The Dapper’s Delight The Gerry A’Tricks The Hallowe’en Nut The Hangover The High Road The Idle Journey The Maid Of The Mist The Man In The Tower The Ploughman The Pub In The Square The Surprise Hornpipe The Swan On The Lake The Empty Bar The First Of May

62 62 63 63 64 64 65 65 66 66 68 68 69 69 70 70 71 71 73 73 74 74 75 75

Contents

Marches

Page:

The March of 1981 Richard Deasy The First Year In Buncrana Larkin’s Advance

76 76 77 78

Polkas The Amir’s Delight The Humours Of Bahrain The Sheik’s Fancy

80 80 81

Reels The Penny Candle The First Year In Buncrana Brendan McCann’s Visit Mary Casey’s Reel Bubbling Wine The Swallow’s Nest The Nervous Man The Smiling Lady The Hills Of Tipperary Larry’s Favourite The Four Leafed Shamrock Patrick’s Night The Barge Inn New Year’s Eve The Road to Youghal Conlan’s Well Larkin’s Beehives Hanly’s Tweed The Old Road To Garry Iniscealtra Tonn Teine Ormond Sound Charlie’s Hill The Fiddler’s Choice Cutting The Hay Dinny O’Brien’s Donnellan’s Delight Easter Sunday Good Friday Into The Woods Over The Hill Paddy’s Favourite Picking The Spuds IV

82 82 83 83 84 84 85 85 86 86 87 87 88 88 89 89 90 90 91 92 92 93 95 95 96 96 97 97 98 98 99 99 100

Page: The Awakening The Christmas Tree The Crow’s Nest The Duharra Reel The Good Harvest The Happy Man The Harvest Moon The Holly Bush The Humours of Moanfin The Jostler The Man From Newtown The Pigeon In The Cabbage The Postman Donnchadh’s Favourite The Mayfly The Premier Reel The Rambling Sailor The Road To Thurles The Start Of Winter The White Horses The Winemaker Youghal Quay

100 102 102 103 103 104 104 105 105 106 106 107 107 108 108 110 111 112 112 113 113 114

Contents

Arrangements and Settings Of Traditional Tunes Double Jigs

Page:

Single Jigs

Page:

Set One: Dinny O’Brien’s Jig Tumble The Tinker The Cow That Ate The Blanket

118

Set One: The bunch Of Roses Kiss Me Sweetheart

138

139

Set Two: The Hill On The Road Contentment Is Wealth Tell Her I Am

120

Set Two: The Runaway Jig Elliss’ Jig

Set Three: Hartigan’s Fancy Maloney’s Wife Have A Drink With Me

122

Set One: Moll Roe Hardiman The Fiddler Paddy O’Snap

140

Set Four: The Kilfinane Jig Paddy In London The Tongs By The Fire

124

Set Two: Follow Me Down To Limerick Hunting The Hare Come Upstairs With Me

141

Set Five: Paddy’s Resource The Pipe On The Hob the Blooming Meadows

126

Set Three: Dever The Dancer Give Us A Drink Of Water A Fig For A Kiss

142

Set Six: Mick Quinn’s The Humours Of Ballingarry

128

143

Set Seven: Jimmy O’Brien’s Jig Wellington’s Advance The Hag With The Money

130

Set Four: My Mind Will Never Be Easy the Rakes Of Westmeath The Swaggering Jig The Humours Of Derrykissane

144

Set Eight: Apples In Winter The Rakes Of Clonmel The First Night In America

132

Set Nine: The Bow Legged Tailor Kit O’Mahony’s Father Fielding’s Favourite

134

Cherish The Ladies John Conroy’s

136 137

Slip Jigs

Hornpipes Set One: The New Century The Plains Of Boyle

146

Set Two: Pound Hill The Good Natured Man

147

Set Three: The Blackbird Hornpipe Cronin’s Hornpipe

148

Contents

Hornpipes

Page:

Set Four: The Wily Old Bachelor An Comhra Donn

149

Set Five: The Friendly Visit The Twins Rick’s Rambles

150

The Stage Hornpipe The Fiddler’s Contest The Bantry Hornpipe

152 152 153

Reels

Page: Set Seven: The Magpie’s Nest The Chattering Magpie The Kerry Reel

166

Set Eight: The Crooked Road To Dublin The College Groves Killaghbeg House

168

Set Nine: Paddy Reynold’s Jer Quigley’s

171

172

Set One: Sheahan’s Down The Broom Kiss Me Kate

154

Set Ten: The Limerick Lassies The Copper Plate Buckley’s Fancy

174

Set Two: The King Of The Clans My Love Is In America The Flogging Reel

156

Set Eleven: The Musical Priest Tom Ward’s Downfall The Bag Of Spuds

176

Set Three: The Bush In Bloom The Congress Reel The Ewe Reel

158

Set Twelve: The Girl Who Broke My Heart The Rainy Day Captain Kelly’s

179

Set Four: Follow Me Down The Milliner’s Daughter The Sailor’s Jacket

160

Set Thirteen: The Providence The Peeler’s Jacket

180

Set Five: Christmas Eve Bunker Hill The Hunter’s Purse

162

Set Fourteen: The Corner House The Glen Allen

181

Set Six: The Boys Of Ballysodare Patsy Toohey’s The Birmingham

164

Set Fifteen: The Traveller Dinny O’Brien’s (see page 96) Miss Thornton’s Set Sixteen: Swinging On The Gate The Rock Of Cashel

182

Contents Page: Set Seventeen: The Yellow Tinker The Sally Gardens

184

Andy McGann’s Mary Hogan’s The Pigeon On The Gate

185 185 186

Set Dances Madame Bonaparte The Garden Of Daisies Bonaparte’s Retreat The Rambling Rake The Orange Rogue Planxty Browne Planxty Drury The Jockey At The Fair The Job Of Journeywork The Ace And Deuce Of Pipering The Humours Of Bandon

187 187 188 189 189 190 190 191 191 192 192

Waltzes Aughrim Slopes Waltz No. 1 Aughrim Slopes Waltz No. 2 Mrs Kenny’s Waltz

Transcriptions Bonnie Kate O’Kelly’s Fancy Peter Street The Lark On The Strand

VII

194 195 196

Page: 198 200 202 204

Contents

Tributes

Page:

Alan Costello Ann Conroy Burke Anne McHugh Annette Owens Ann-Marie Harty Ben Lennon Billy Greenall Bobby Gardiner Brid Harper Charlie Lennon Dan Larkin Danny O’Mahony Darren Breslin Deirdre McSherry Deirdre Scanlan Donal O’Connor Donnchadh O’Brien Earle Hitchner Eddie Kelly Eilín Ni Bheaglaoich Loughnane Felix Dolan Fr. Charlie Coen Geraldine Cotter Gerry Banjo O’Connor Jack Coen Jennifer Minogue Jim Egan Jim Kinsella Jimmy Mc Greevy

114 175 159 119 186 144 135 67 111 116 78 151 124 161 41 174 109 137 177 115 183 93 170 110 194 52 157 77 132

Page: Jimmy O’Brien Jimmy O’Sullivan Joe Burke John & Kathleen Nesbitt. John Connolly John Joe Forde John Regan Kieran Hanrahan Larry Gavin Liam O’Connor Martin Connolly Martin Donohoe Martin Mulhaire Michael Harty Michael Scanlan Murty Ryan Niall Keegan Nicholas and Anne McAuliffe Noel Burke Nora Butler Swan P.J.Hernon Paddy Ryan Peadar O’ Loughlin Seamus Bugler Seámus Connolly T.P. Smith Tom Gleeson Tom Lawlor

183 81 188 79 170 162 169 203 122 101 201 167 39 72 145 126 49 195 178 121 155 72 94 169 59 193 129 50

Appendix

Page:

Playing Indications in the Notation Mike Lancaster Paolo Soprani accordions used by Paddy O’Brien Bibliography Acknowledgements

206 207 208 210 211

VIII

The Legendary Paddy O’Brien 1922-1991

Paddy and Ellen O’Brien. Portrait by M. Lancaster

The Legendary Paddy O’Brien, 1922-1991

Paddy O’Brien 1922 - 1991 Paddy O’Brien is without doubt one of the most inspirational and influential figures of Irish traditional music in the last century. His influence continues on in the new millennium. The legend of O’Brien stretches back in time to his ancestors, who themselves were hugely influential musicians within their own area of North Tipperary. Paddy O’Brien was the link between an ancient tradition and the modern day. He preserved the tradition that was passed on to him and he in turn passed on this tradition to future generations of musicians. He is responsible for the development and mastery of the accordion playing system known as the B/C system. Fintan Vallely editor of “The Companion to Irish Traditional Music” refers to Paddy in these terms, “The name most associated with the B/C style however is Paddy O’Brien from Newtown near Nenagh, Co. Tipperary who developed a method which became standard in the 1960’s…… The three records he made before going to America in 1954 made him a role model for two generations of accordion players.” These recordings were to alter the course of accordion playing forever and left an imprint and impact on Irish traditional music which can without any doubt be compared to the wonderful recordings made by the legendary fiddle player, Michael Coleman. Through his style of accordion playing Paddy established the accordion as an acceptable and important instrument in the playing of traditional music. “The tune sets and playing style recorded by Paddy on these 78 recordings made in 1954 were copied and emulated by accordion players”. Paddy’s talent as a composer was a formidable one. Through his compositions Paddy has left a priceless legacy to the traditional music repertoire and ensured that he will never be forgotten wherever Irish traditional music is played. His compositions have interwoven and merged with the existing repertoire and they have been embraced by musicians and are accepted and established as an integral element in Irish traditional music repertoire.

The O’Brien Family Tradition The O’Brien family musical tradition can be traced back to Paddy’s grandfather Pat O’Brien of “The Bridge” in Newtown, Nenagh. Pat played both fiddle and concertina. He was a highly respected musician in the area. It is possible and highly likely that the musical tradition was passed on to Pat O’Brien by his own father. But, as there is no documentation of this fact, we can only assume that the tradition stretched back to another generation. Pat O’Brien came into contact with two pipers from the neighbouring parish of Portroe. These pipers were Matt Seymour and Darby O’ Kennedy. Matt Seymour was from Kilparteen, Corbally in Portroe and Darby O’Kennedy came from Coronode in Garrykennedy. These pipers passed music on to Pat O’Brien. Pat married Mary Hogan of Barnakey, Carrigatoher, a townsland in the Newtown area. Mary O’Brien (nee Hogan) did not play music but was able to lilt music. Pat and Mary had nine children, five boys and four girls. Their names

Vallely Fintan ‘The Companion to Irish Traditional Music’ Cork Univarsity Press 1999

IVID

were James, William, Patrick, Denis, (Dinny) and Michael, and their sisters were Maria, Anne, Bridget and Margaret. James, William and Maria emigrated to America while Michael, Patrick, Denis (Dinny), Margaret, Ann and Bridget remained at home in Ireland. Pat O’Brien passed on the tradition to his sons Dinny, Pat, Mick and daughter Margaret. The three boys played concertina and fiddle and Margaret also played the fiddle. During Pat and Mary O’Brien’s lifetime the O’Brien home was an open house for music and social gatherings. This way of life continued on when Dinny O’Brien came to adulthood and settled down to married life in the family home known as “The Bridge” as it was built on the banks of the “Newtown River” and beside “Newtown Bridge”.

Dinny O’Brien. Photograph courtesy of M. Casey

Dinny O’Brien was Paddy’s father and he married Ellen Ryan of Gurteenakilla, Newtown. Paddy was born on Febuary 10th 1922. He was one of six children. Four of the children died in infancy and only Paddy and his sister Mary survived. This high mortality rate of the children in the O’Brien household was a typical example of the hard life of the ordinary people of Ireland at that period in Irish history.

Paddy O’Brien showed exceptional musical promise as a child. Music seems to have been an integral part of family life in the O’Brien household. The home was a meeting point for musicians during Paddy’s grandfather Pat’s time and this tradition continued on during Dinny’s lifetime. The “Bridge” was an open house for musicians, neighbours and friends. It was just the natural order of things that Paddy and his sister Mary should play music and carry on the family tradition. Paddy played the fiddle and Mary played fiddle and concertina under the guidance of their father Dinny. Paddy and Mary also learnt step-dancing. Mary went on to become a dancing teacher in adulthood.

Musical Heritage The combination of two main factors had an immense bearing on the future musical accomplishments O’Brien was to achieve. The first of these was the musical talent that Paddy inherited from his parents. This aptitude for musicianship was a huge contributing element to his extraordinary achievements as a musician in later life. He inherited musical talent from both his father and his mother’s family. His mother Ellen Ryan did not play music, but her brother Tommy Ryan played both the fiddle and the melodeon. Some of Tommy Ryan’s children carried on the family musical tradition. The best known of these was the late Seán Ryan, fiddle 3

Tommy Ryan (Seán Ryan’s father) playing melodeon for dancers at Barry’s of Esker. Photograph courtesy of J. Ryan

The Compositions of Paddy O’Brien

Paddy O’Brien c.1935 Portrait by M. Lancaster

Double Jigs Compositions / Double Jigs

Brook Lodge

Paddy O’Brien

                            

       

               



               



                                  

“Brook Lodge” is Lar Gavin’s home in Tulla in Co. Clare. Paddy and Lar were great friends. Lar lived in Limerick for many years and subsequently moved to live Co.Clare. Paddy paid many visits to “Brook Lodge” in later years.

Curraghbawn House

Paddy O’Brien

                              

 

    

      

            30

    

 

     

      

           

 

     





      





Arrangements and Settings Of Traditional Tunes By Paddy O’Brien

Paddy O’Brien c.1969 Portrait by M. Lancaster

117

Double Jigs Traditional Tunes / Double Jig Sets / Set One

Playing Order:

1. Dinny O’Brien’s Jig 2. Tumble The Tinker 3. The Cow That Ate The Blanket

Dinny O’Brien’s Jig

Arr. by Paddy O’Brien

                          3                         

                                 



2nd Time         1st Time                  

Tumble The Tinker

Arr. by Paddy O’Brien

                               

 

    

      

   



           



       

                                    

118

     

The Cow That Ate The Blanket

Arr. by Paddy O’Brien

3                             

       

     

 3     

   



                           

 

    

     

3       

   



Paddy O’Brien – Legend ! One of the most influential composers of our time? Absolutely! In the early 1980s I started to learn the button accordion. More importantly, however, the ‘Battle of the Bands’ was in full swing! I refer to the race between the Ormond Céilí Band from Co Tipperary and the Pride of Erin Céilí Band from County Fermanagh for the coveted All Ireland Céilí Band title. While the Tipperary group, led by Paddy O’Brien, won the competition in 1979, 1980, 1981 & 1984. The Fermanagh ensemble were winners in 1983 and 1985. The ‘rivalry’ was never anything more than lighthearted banter, but the music of Paddy O Brien certainly struck a chord with my music teacher, and leader of The Pride of Erin, Sean Nugent from Lack in Co Fermanagh. I believe that my admiration and enthusiasm for the tunes and playing of Paddy O’Brien came from Sean. While I was never fortunate enough to have met Paddy O’Brien, his name, for me, has always been synonymous with button accordion playing as we know it. Perhaps, though, it is the compositions of Paddy O’Brien that have made the biggest impression on me. No session is complete without the ‘Patrick’s Night’ and ‘Ormond Sound’ sets being played. For this reason, the music of Paddy O’Brien has become a common language for all musicians - irrespective of age, ability … or even county!

Annette Owens 119

Dinny O’Brien’s

Paddy O’Brien

                          3 3

                                 3 3

                    3             

1st Time                      3 3

                3 2nd Time

Dinny O’Brien c.1969

The Definitive Collection of The Music of Paddy O’Brien 1922 - 1991 Written, compiled and edited by Eileen O’Brien