Review of "Close To Home"
By :: Gerry Quinn
Publication :: Clare People

THOUGH relatively new on the Celtic and Irish music scene, Nashville-based Compass Records, owned and founded by American banjoist Alison Brown and her bass-playing husband Garry West, is fast becoming one of the most prolific suppliers of roots music in the marketplace. Home to the likes of Paul Brady, Lunasa, Solas, Mick Moloney and Liz Carroll, Compass have recently bought out the back catalogue of Green Linnett Records, turning them into the biggest player in Irish traditional music recording. Donal Clancy’s Close to Home is yet another fine release from this label.

Traditional Irish tunes played on the acoustic guitar - it does what it says on the tin! Clancy, the son of folk legend Liam, takes a no-nonsense approach to this recording, playing 12 selections, comprising of assorted jigs, reels, airs, a mazurka and a pair of hornpipes. Subtle touches and an obvious feel for the music is the immediate impression on hearing the album for the first time. Though used extensively as an instrument of accompaniment for Irish music in recent years, the guitar as a solo instrument has been less prolific in a recording sense. Obvious comparisons will be made to Arty McGlynn’s Fancy, released back in 1979, and I’ve come across nothing to compare with it, until now. A measured and mature approach to tune selection makes this new record stand apart.

Clancy resists toying with recently composed material in the traditional idiom in favour of big session tunes and established airs. I believe that variety is an essential ingredient for a successful recording and here we get plenty of that, despite remaining within the tradition. Even though the guitar is the featured instrument, “trendy trad” this album is not. A beautifully interpreted pair of hornpipes, ‘Byrne’s/Kitty’s Wedding’, recall two 1970’s classic albums, Gael Linn’s Jackie Daly and Seamus Creagh and Noel Hill and Tony Linnanes’ superb 1979 release. Some of the tunes, particularly the slower, gentler ones, are played in a finger-picking style in a classical or folk fashion – just one guitar with a bass section.

The jigs and reels are picked with a plectrum, reaffirming Clancy as an accomplished guitarist with a warm, rich style. Sparse production, by the man himself (this is truly a solo album) allow tunes to live and breath naturally, and phrasing is influenced by, but never copied, a host of fiddlers, pipers and accordion players. ‘Garret Barry’s/The Humours of Trim’, a pair of jigs are delivered with a lilt in an easy-paced laid back manner similar to the East Clare fiddle style, while a set of reels ‘Farewell to Connaught/The Repeal of the Union’ evokes the spirit of sweet and engaging piping. O’Carolan’s harp tune ‘Lord Inchiquin’ sounds here as if it was composed especially for the guitar, such is Clancy’s elegant and measured playing.

I would recommend this record for guitar players who don’t particularly like traditional Irish music and equally to those traditional players who aren’t too keen on the guitar. But moreover, this album is a must for anyone who has a smidgen of interest in well played, well produced acoustic music, regardless of label or style. Close to Home is a tribute to a gifted musician whose impeccable taste as a tune selector and master exponent of the traditional Irish guitar has to be heard, to be believed. Donal Clancy Close To Home Compass Records cd of the week