Samantha Gillogly wrote this review.
As two-fifths of the Celtic superstar band Solas, accordion player Mick McAuley and fiddler Winifred Horan have for years rocked the traditional music scene with their power and precision. In 2005 the two decided to merge their talents on separate, non-Solas album. Serenade features a mix of trad sets, original tunes, and a smattering of folk songs both old and new.
Horan was classically trained at New York’s Mannes School of Music and Boston’s New England Conservatory. Her tone is more solid and silvery than that of most traditional fiddlers, something I applaud her for. McAuley’s accordion and low whistle are crisp and tightly joined to Horan’s fiddle line. Their years of performing together are evident in the accuracy of their ensemble work. But there is a fine line between cleanliness and sterility. Horan’s 2002 solo album of original music Just One Wish was filled with bouncy energy and soaring good humor. Sadly, unlike Just One Wish, Serenade lacks the impetus of genuine musicality.
Granted, the sets are by no means played in “textbook” Irish style. The arrangements have a thoroughly contemporary feel. Horan’s characteristic gypsy-jazz influences speak through the swingy rhythms and French-inspired harmonies. Even so, there is no actual “swinging” going on. The music feels rigid, more like an over-rehearsed recording session than a merry night at the pub. Horan and McAuley do little to convince the listener that they are even enjoying themselves. Their approach is very controlled; not much room for spontaneity here. The musicians seem locked into the framework of the compositions, never straying off the page for an improvisatory quip.
Donal Clancy (guitar/bouzouki/mandolin,) Chico Huff (acoustic bass) and Paul Gurney (electric bass) join as the album’s backup band. Their collective sound is clear and well balanced, and they mingle well between Horan and McAuley’s sounds. Faint, semi-synthesized wisps of Horan’s vocals are threaded through the background of some tracks. This adds a nice dash of modern flavor, but still does not make up for the lack of genuine spirit in the lead instrumentals.
To give credit, McAuley’s voice is mellow and pleasing. His version of Bob Dylan’s “To Make You Feel My Love” is warm, sweet and comforting. However, he could have taken more creative risks in interpreting the old Celtic standard, “Adieu Sweet Lovely Nancy.” This is one of those well-worn traditional songs that could do with a fresh spin.
I expected a more thrilling ride from what are essentially two very talented artists. Solas fans may wish to buy it, if only to hear a different angle of the group. I just hope that if McAuley and Horan plan any future duet albums, they will be inspired to jolt some of the old fire back into their playing.
(Compass Records, 2005)
