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From Clare To Here Part 2.

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Uploaded by on May 19, 2008

Martin Hayes & Dennis Cahill.
http://www.martinhayes.com/

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Education

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Uploader Comments (clarebannerman)

  • Of the series, this part(part 2) is my favorite. That first tune - I Love it, it is so beautiful.

    Does anyone know the name of that tune?

    I'll bypass the American commentary! Martin does have the connection of spirituality and the music right!!! They are inseparable.

  • Thugamar Féin an Samradh Linn

Top Comments

  • thanks for the Martin Hayes Clare film. my Irish side of the family originates from Spanish Point,Cty Clare. Just hearing the music brings back memories of my Irish folk.

  • I was a student there during this video. Martin

    Is a Great teacher. I appreciate who he is and where he's coming from. He puts music and feeling First. He is everything he believes in.

    He walks the walk of his believes. He challenge himself to stay real with the spirit of his music at all times; I never hear less then his very best .

    Annie

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All Comments (21)

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  • Martin Go Hiontach ar fad Nice to see ya on U tube - Hope you are Keeping well - Go raibh maith agat -Mach Weiter so -- Gracias -- Senhor -- slan a baile --pat

  • So how many of the blues scales and common jazz scales, or arpeggios based around such scales, did Junior Crhean and Wilie Clancy utilise? How many of their tracks were played in swing time? How often did the old style Irish trad musicians employ the African-based polyrhythms used in ragtime as far back as 1895? How often did they bend notes by more than a half-measure?

    Sure, we Irish invented jazz.

  • No, it's the "you're full of shit and not worth countering riposted". Get over yourself.

  • Oh, the "liar, liar pants on fire" riposte. Since you haven't countered any of my points, and since it seems clear you've never heard any of the north-African music that infliuenced both Celtic and Flamenco , much less the west-African music that played a huge part in spwaning the NEW styles of blues and jazz, I'll rest my case.

  • Irish music was NOT heavily influenced by such music. To say so is, quite frankly, blasphemy if not just foolish. Your comments are pure bollocks. I'll leave it at that.

  • You misunderstand the context in which the term "jazz" was coined. The journo who first used it in 1917 (before Willie Clancy was born) wrongly claimed the word was of African origin. Some of the stye's early practitioners objected because they considered it a white man's term and not authentic.

    Some old Yemeni folk songs played on the oud sound more bluesy than anything in Irish trad, as does an old Thai/Lao piece I can play on the phin. And I've been playing Irish trad for 25 years.

  • I have recordings of Willie Clancy and Junior Crehan. Both made liberal use of chromatic slides in minor keys - something employeed commonly in many musical styles around thew world and hardly an Irish innovation. They didn't use them in the context of blues scales; Africans did.

    Irish music was heavily influenced by north-African music, which also employs the type of chmoratic slides favoured by Crehan etc. You wont''hear North-Africans claiming to have "invented" the stlye, though.

  • Naturally, it would be. They wouldn't want their preciouse jazz to be stolen or even borrowed. You really have to listen to old recordings of the legends of Irish music to understand. Namely, Willy Clancy and Junior Crehan. You can here the "blue" notes in their playing. However they had no idea what a blue note might be as they played in the old style. Hence, dating back we hear the sound of jazz formed there and earlier.

  • The blues pnetantoic scale comes from Afirca, as do the "blue notes", the usage of call and response, and the utilisation of melisma . There is some Europen influence too, inlcuding Irish (largley the result of black artists parodying European music) - but it seems far-fetched to say the Irish invneted jazz or blues.

    There is some evidence ot suggest that the word "jazz" cames from the Irish "teas" - but the term was disdained by early jazz musicians.

  • Thank you!

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