Éalú - pronounced “Ay-lu” - means escape, evasion, elopement (unheeded) passage (of time, of tide); all these meanings ring true to me and are deemed appropriate as a title to the album and my continued journey. Started in June, 2010, with co-Producer, Gavin Ralstan, it was a privilege to record with 17 x musicians and draws from their talents, together with 5 x singers from 4 x countries - Africa, America, Ireland and Japan. There are 10 x new instrumental compositions of mine featured throughout, most of which feature in the title track, Éalú, which runs to 9.5 mins. There are also 2 x songs.
It is also a privilege for me to be able to feature from others, 4 x new compositions – 2 x from the Alan Griffin in the Basque Country [who hails from Lisdoonverna, Co. Clare] , 1 x from Spain and 1 x from Roger Doyle.
I believe the material recorded, including 5 x from our own tradition, is all the better for it, and I like to believe that through each participant’s collaboration with me, like a painting, all the recorded contributions add varied shades of colour to this album of foreign links.
What is different about this recording in comparison to other recordings of mine is that I do not play any high whistles, only Susato low-whistles in the keys of C, D, Eb, F and G. Also, different to other recordings is that no reels are featured on this recording.

Here is a quick summary of the 7 tracks, each of which approximates 6 minutes.

'The Minded set' commences with a jig I composed for my step- daughters, Yvonne and Alyssa, when I drove them to a disco some years back, consequently, the title, 'the Minded' seemed appropriate. Followed by a well-known 'Old Favourite', this majestic jig is a favourite of mine which allows for some playful arrangement. I am a fan of the blues and jazz and what follows next serves as a jointure between two musical worlds, signified by the use of a synthesiser which heralds the entry into the “other” world as well as heralding its return, culminating in the wonderful well-known and spacious 'Butterfly' slip-jig.

'Universal Sun' is a children’s’ song I co-wrote with my partner and emphasises the power of the sun’s heat – a metaphor for love – without which all living things cannot survive and grow. The animals in the song from around the globe, represent the most vulnerable in our society, and the song serves as a reminder that like animals, the poorer sectors of our society are too often exploited for personal gain in a world dominated by adults. The song also serves as a reminder that in sharing a common need to be warm we each share the same basic need to be loved. In realising this basic need, we can learn mutual respect and live in world which avoids all the temptations to self-destruct.
Elsewhere, other singers feature mainly on the title track 'Éalú' (Escape), an instrumental track mainly with wordless vocals which seeks to portray a mixture of sadness and happiness: This 10-min musical journey, commences with a Caoineadh – an elegy - and continues before being transformed into a happier emotional state. The Elegy features twice – firstly, in the form of the male voice and later on in the female form. The absence of lyrics – and specific context – allows the listener to participate in his/her own journey and to interpret for himself/herself the shifting emotions which are portrayed by the varied melodies which make up this track.

Put another way, fasten your safety-belt and experience the journey! The participation of singer Kokia in Tokyo, with myself from Ireland, affords the track a wider international dimension.

'Land Of Open Welcome ?' consists of an arrangement of a well-known Irish song that celebrates our patron saint, Patrick. New Lyrics come from the poet Theo Dorgan, to honour saints Patrick and Brigid. The words seek to draw from the strengths of our patron saints in the Ireland of today in terms of providing guidance, help and assistance and by posing the question to St. Patrick whether he felt welcome when he arrived on our shores, for the first time ? Although the words were first written 12 years ago they continue to have a special meaning in the Ireland of today; we all need to, and can be grateful for what we have once we acknowledge the hardships of so many others who remain marginalised in our society and who continue to suffer injustice as a result. In the present climate of economic depression the words inspire courage and have a special meaning for Ireland today. I am delighted that the African-American actress/singer, Vanessa L. Williams, herself no stranger to prejudice, agreed to take time out from her busy filming schedule to sing on this track. To conclude, 'The Minstrel Boy' is an Irish patriotic song written by Thomas Moore (1779–1852) who set it to the melody of 'The Moreen', an old Irish air. Here it appears in instrumental form.

'Steal a Kiss' is a slow evocative piano composition by piano player Roger Doyle set to a theatrical trailer: he symbolises a piano player in a Dublin hotel overlooking the General Post Office on Easter Monday, 1916, which building subsequently became the symbol of Irish resistance in the 1916 Rebellion against British occupation. Whilst playing the piano in the hotel lobby he is taken by the beautiful looks of a female listener and contemplates amorous intentions towards her. Contrasting with what is about to take place outside “his” world through the window beside his piano he spots men in green uniforms in front of the GPO one of whom is addressing the public from a document in his hand (i.e., the proclamation). As the musician begins to concentrate more on this man in green, from his unconscious comes another melody which stirs up in him unfamiliar feelings: this melody sets the stage to a new dawn. Finally, the 17th., century war-like piping tunes represent the changed political landscape which was brought about by the Irish Rebellion symbolised by the gestures of those men and women in green, some of whom paid the ultimate sacrifice.

Next comes a Foxtrot from the Guadalajara region of Spain. I first heard this tune from Galician musician Carlos Beceiro who learned it from Toribio del Olmo, dulzainero player who appears to be “the guardian” of this melody.

Linked to this are two compositions from Irish/Basque musician, Alan Griffin, who has spent the last 35+ years at least living, playing and recording in the Basque Country. I was first introduced to Alan in May 2007 by film Director Paddy Hayes when filming 'Ceolchuairt' (musical visit) concerning my musical journey there. Alan’s CD 'Lau Anaiak' with his group Alboka inspired me, and stirred in me an awakening for my own Basque roots, as did the Spanish band La Musgaña, in my Spanish roots, much earlier when I first heard them in the Azores in 1995.

The final track features my own lament for my elderly parents who died within 2 days of each other in October, 2007 which inspired singer Aoife Doyle to compose lyrics to what was originally intended be sung without any lyrics. Thank you Aoife. The lament bears the title of my father’s own familial blessing as he parted company by exclaiming: Slán + Breatnach, (meaning: goodbye and Breatnac, a play on the Irish blessing, Slán + Beannacht, meaning goodbye + blessing). It is in 4 parts, and deals with their lives in reverse order: (i) a call from the grave; (ii) Their funerals; (iii) Their lives and (iv) Their first breaths as they began life.


ENDS.