The Gloaming
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The Gloaming Performing a continuous, almost two-hour set, in a similar way to Arvo The Gloaming Intro Pärt’s Te Deum, the concert seemed to unfold as one long, sustained arc From “Live in Dublin” of breath. — theartsdesk.com Cois an Ghaorthaidh Katherine Kelly’s P Joe’ s Lullaby The Mill Stream Rolling In The Barrel The Tap Room Tom Doherty’s Reel LIVE IN DUBLIN EP : The Gloaming : Live in Dublin EP Tracklisting : Intro (21.33) Recorded live at The National Con- The Sailor’s Bonnet | From the film “Moment to Moment” (Release January 2014) cert Hall, 20th August, 2011. Directed by Philip King. Produced by South Wind Blows. All songs traditional and arranged by The Gloaming Recorded and mixed by Phil Hayes In The Gloaming, Irish traditional music meets the New York downtown scene meets something completely new. Óró, Sé do Bheatha ‘Bhaile Recorded at Grouse Lodge West- meath, Ireland. February, 2011 With fiddlers Martin Hayes and Caoimhin Ó Raghallaigh, Dennis Cahill on guitar, Iarla Ó Lionáird on vocals and Thomas Bartlett on piano, the band has burst on the music scene with a rare combination of Irish tunes, ancient sean-nos song, brave explorations and exhilarating and explosive medleys with a distinctive new sound. With the traditional backgrounds of Hayes, Ó Raghallaigh and Ó Lionáird anchoring the repertoire, Cahill’s minimalism and Photo credit: Feargal Ward Bartlett’s sparse, subtle piano clear the way for fascinating variations and pas- sionate forays into brave new interpretations of music both familiar and now, entirely fresh. Tour Schedule Read individual bios… vibrant…joyous…sublime… “provocative…astonishing. Read full reviews… ” Elizabeth Roth [email protected] www.rotharts.com The Gloaming Bios Iarla Ó Lionáird (vocals) | Iarla Ó Lionáird grew up and learned his craft in the musical heartland in the West Cork Gaeltacht where he established himself both as a masterful exponent of Sean Nós Song and as a pioneer in its renewal and development. Always an artist on his own journey Ó Lion- áird signed to the prestigious Real World Records label in the mid-1990’s with whom he would go on to make many groundbreaking recordings with the multimillion-selling Afro Celt Sound System. His solo career was inevitable and would begin with the acclaimed and powerful “Seven Steps To Mercy” (Real World Records). Produced by Michael Brook, the album saw Ó Lionáird create a new and unique work in which his voice soars with power and tenderness. He went on to release the soundtrack for “I Could Read The Sky” and the “Invis- ible Fields” (both on Real World Records) which melds electronic soundscapes with sean nós to stunning effect. He released his latest solo album, “Foxlight” on Real World in 2011. Martin Hayes (fiddle) | Martin Hayes’ unique sound, his mastery of the fiddle, his acknowledgement of the past and his ability to place the tradition within a wider contemporary context, combine to create a unique and insightful interpretation of Irish Music. He has drawn inspiration from many musical genres, but remains grounded in the music he grew up with in East County Clare where the tradition he inherited from his late father, P. Joe Hayes, was the formative influence on his musical accent and ideas. He has recorded two acclaimed solo albums, “Martin Hayes” and “Under the Moon” on the Green Linnet label and three duet albums with Dennis Cahill: “The Lonesome Touch”, “Live in Seattle”, and “Welcome Here Again”. Martin is the Artistic Director of the Masters of Tradition Festival in Bantry, West Cork and the touring show of the same name. He also tours and records with Peadar Ó Riada and Caoimhin Ó Raghallaigh in Triúr. Dennis Cahill (guitar) | Dennis Cahill is a master guitarist, a native of Chicago born to parents from the Dingle Peninsula in County Kerry, Ireland. He studied at the city’s prestigious Music College before becoming an active member of the local music scene. Cahill’s spare, essential accompaniment to Martin Hayes’ fiddle is acknowledged as a major breakthrough for guitar in the Irish tradition. In addition to his work with Martin, Dennis has performed with such renowned fiddlers as Liz Carroll, Eileen Ivers and Kevin Burke, as well as many Irish musicians on both sides of the Atlantic. He is a sought after producer for musical artists whom he records in his own Chicago studio and is also an accomplished photographer. Caoimhín Ó Raghallaigh (hardanger fiddle) | Dublin-born Caoimhín Ó Raghal- laigh plays traditional and contemporary folk music on fiddle, 5-string viola Elizabeth Roth and hardanger fiddle in small intimate listening venues. In 2007, he released [email protected] “Where the One-Eyed Man is King,” an adventurous, self-produced little EP: www.rotharts.com The Gloaming Bios (cont’d) Caoimhín has recently been studying the work of contemporary folk fiddlers from other countries, including Nils Okland, Dan Trueman and Johan Hedin, and has been writing new material that explores the edges of Irish tradi- tional music. He has recently been involved in two acclaimed recordings, “Le Gealaigh/A Moment of Madness” with Brendan Begley and “Triúr sa Draighean” with Peadar Ó Riada and Martin Hayes. Thomas Bartlett (piano) | Thomas Bartlett, aka Doveman, grew up in Vermont, and began playing ukelele at age three, after the wardens at his daycare found him strumming a block and decided he could probably put resonant strings to good use. He began playing piano at age five, and never stopped—dropping out of high school to study in London with Maria Curcio, one of the 20th century’s greatest classical music teachers. Thomas went on to Columbia University for a year but dropped out, again—this time to concentrate on his classical music studies, until he dropped out again!— this time to play with bands. He quickly become one of the most in-demand sidemen in New York City. Thomas has played or recorded with Antony & the Johnsons, Nico Muhly, Laurie Anderson, David Byrne, The Frames, Bebel Gilberto, Arto Lindsay, The National, and Yoko Ono. He makes music as Doveman. When listening to this music you should keep in mind artists such as Frederic Chopin, Cat Power, Keith Jarrett, Talk Talk. His latest release is the eponymous Doveman on Brassland. Elizabeth Roth [email protected] www.rotharts.com The Gloaming Reviews The Irish Times | This was music of an entirely different hue: neither slav- ishly traditional nor willfully contemporary, it sought out uncharted terrain (some of which was undoubtedly familiar)—and, most impressively, welcomed their audience as essential passengers on that journey. — The Irish Times The Irish Examiner | Via their mastery of traditional playing, they sensitively reinterpreted the wealth of songs at their disposal as well as newly com- posed melodies. The result was traditional music that was often arrestingly new. — The Irish Examiner Thumped | Laughter and joy were something that throughout the night became synonymous with the experience, with the audience and artists in complete communion, and it was a pleasure to see five amazing, diverse musi- cians in such abandoned union. — Siobhán Kane, Thumped The Irish Times | Taking a brace of traditional tunes as their starting point, Martin Hayes and his newly convened compadres took an audacious leap of faith into the unknown—and in that leap, drew their audience into a magnetic underworld where light and dark, old and new coalesced to compelling effect. — Siobhán Long, The Irish Times Elizabeth Roth [email protected] www.rotharts.com ### Thursday, August 18, 2011 The dawn of the Gloaming The Gloaming features some of the great names of Irish music – and an American who cut his teeth as a 12-year- old music promoter. The result is an intriguing supergroup, writes SIOBHÁN LONG ‘THE ONLY style of music I’d like to be identified with is good music,” Thomas Bartlett insists. This Vermont keyboards player and producer is a man of many musical identities. Founder of Doveman (whose members include The National’s Bryce and Aaron Dessner), he has worked with, among others, Antony and The Johnsons, Martha Wainwright, David Byrne and Glen Hansard. He’s one of the five members of a newly-minted outfit who call themselves The Gloaming, and this weekend he’s joining Martin Hayes on fiddle, Dennis Cahill on guitar, singer Iarla Ó Lionáird and Caoimhín Ó Raghallaigh on traditional and Hardanger fiddle for a seven-date tour. They plan to play lots of what Bartlett calls “good” music, which may, in all likelihood, fail to conform to any simple definitions of either traditional or contemporary music – but might just nestle somewhere on that spectrum where creativity trumps predictability – with chutzpah. Bartlett is a musician who revels in the sparks that fly during collaboration. “I have an identity as a player,” he offers, “but since I work with many different musicians who are coming from such different places musically, I wouldn’t want to be too strong a flavour. My job should be to help make stronger what other people are doing, not necessarily to bring too many of my own ideas to it.” The Gloaming is a reference to twilight, that nebulous part of the day just after sunset and before dark, and there’s a touch of the netherworld to the music the band has begun to create too. Born of a suggestion from singer Iarla Ó Lionáird to Martin that they “should do something together”, The Gloaming evolved gradually, as the pair developed some ideas about what kind of sound they might create. Thomas Bartlett sprang to Martin’s mind, as he had met him as an enterprising 12-year-old boy, when Bartlett booked and promoted a concert for Hayes and Cahill in Vermont.