Martin Hayes & Brooklyn Rider – The Butterfly
251 Records – Out Now
From the opening of Maghera Mountain we are immediately introduced to the unique sound of The Butterfly, the new album from Martin Hayes & Brooklyn Rider, a project that first began in 2009 and one which Hayes described as “an act of faith and a journey into the unknown, because we had no idea what might emerge”. In my eyes, Hayes can do little wrong, while Brooklyn Rider have in the past been the first choice string quartet of Phillip Glass, Béla Fleck and Rufus Wainwright to name a few. Here they exceed all expectations.
Maghera Mountain is a tune penned by Hayes when he was only 16 years of age. There are quite a few Maghera’s near me, but I’m guessing that this one belongs to Co. Clare, where a young Martin Hayes was born and reared. The tune has touches of so many other well-known tunes, and it’s a lovely snapshot into the adolescent melting pot of a young, gifted and soon to be virtuosic fiddle player, centred in one of the most historic and musically rich counties in Ireland. It may be over forty years old, but this is the Maghera Mountain’s first outing. Could it be that it was waiting for such special treatment?
O’Neill’s March is a tune known by almost every living soul on the island of Ireland, whether they know it or not, thanks to the Horseslips, and later the popular Italia ’90 Irish World Cup team. Here it gets a very refreshing arrangement that sees the march in a new light. The gentle tugging of accents and rhythms between Hayes and the Brooklyn Rider are a ballet of bows. They are uniform in following his lead. It’s truly magical.
Another standard to follow, Jenny’s Welcome home to Charlie is a standard but epic fiddle reel. Hayes, of course, plays it impeccably. The rhythm in Martin’s bow is unique, one of the reasons why he and the understated and tasteful playing of Dennis Cahill served each other so well over the years. Cahill could be one of the very few trad guitar accompanists knowledgeable enough to allow Hayes the space he deserves. Although they outnumber Cahill, Brooklyn Rider are able to do the same.
The Butterfly is a long-time favourite of mine. It’s a slip jig that I’ve accompanied on many’s an occasion, but it’s here where Hayes truly steps into the world of Brooklyn Rider for the first time. With a Debussy like introduction, the Butterfly rears its wings after a few minutes. I’ve always loved the Butterfly but this arrangement by Colin Jacobsen gives it the most incredible garden to live in. Some may say this isn’t traditional music, so why do I feel like I’m standing in Caher Bridge Gardens?
As much as I loved the Butterfly, I think that Peadar Ó Riada’s Bob and Bernie and its arrangement by Dana Lyn is my favourite of the album. It captures the relationship Ireland and America have shared for many years. Perhaps it’s the resonances of fellow Brooklyn composer Aaron Copland that draw me to it. But then again, the over-simplistic arrangement of Ship in Full Sail is brilliant for all the opposite reasons. Kyle Sanna completely sacrifices his abilities by leaving it all up to Hayes and it has to be applauded.
The Drunken Sailor reminds me that I haven’t mentioned how flawless Brooklyn Rider play. Their tuning, their attack (or suitable lack of) and most of all, their groove, even amongst the most intricate of off beats. There is a wonderful quality of the late Mícheál O’Súilleabháin in this track also. He too embraced the rhythms of the traditional and classical world with both hands, loving being able to juxtapose them against each other. Mulqueen keeps that going. Naturally a very energetic reel, this is fully embraced by Jacobsen’s arrangement.
I don’t know Port na bPúcaí. It sounds like a tune for the pipes that only someone with the touch of Hayes can pull off. In saying that though, the echoing violins behind him are able to mimic him perfectly. This track is incredible, and if Hayes and Brooklyn Rider had gotten together for it alone, it would have been worthwhile. Arranged by Nicholas Cords on viola, it is outstanding, and really shows the musicianship of all involved here.
An Rogaire Dubh (The Black Rogue) and P. Joe’s Reel are a couple of lovely flourishes that take us on the home stretch of The Butterfly, before we make our way home through The Hole in the Hedge. It’s another beautiful and reflective arrangement from Dana Lyn that ties everything up nicely with another traditional classic.
Martin Hayes has always pushed the boundaries of Irish Traditional music and in doing so has helped its journey from the traditional Irish home, to concert halls all around the world. Whether intentionally or not, he is one of the reasons why Traditional melodies are held in such revere, both musically and culturally. This collaboration shows that, thankfully, he has no plans in resting on his laurels. Brooklyn Rider add colour and shape to the aura of Martin Hayes fiddle. It was always there, but now we can finally experience it in technicolour.
Order The Butterfly via Amazon