One of the most obnoxious flute recordings ever

BigTex · Post by **BigTex** » Fri Sep 10, 2004 10:13 pm

Harry wrote:...More sub-standard ear candy crap for the tonally conditioned. People don't generally really know what they like, they like what they know because they've been taught to 'know', and what better way to appeal to people than giving them easily palatable ideas of things... 'celtic' this, 'pure drop' that, 'innovative' this, 'fusion' that... it's advanced bollocksology for idiots invented largely by idiots who have attached themselves to Irish music because there is something to gain from the atmosphere of quite high levels of artistic ignorance sorrounding it....

End of rant.

Regards,

Harry.

I literally ran into Flatley in New York nearly ten years ago after a River Dance show. I turned around and his face hit my chest, and he cursed at me. Just goes to show you that no tree is too big for a short dog to lift his leg on.

I've got no clue about your rant, but I want to say I love your stuff. Bad Turns, Careless Straying and Tap Room Trio get a lot of play time at home. My son and I have spent at least 80 hours fine tuning our attempt at replicating your rendition of the Belfast/Lilted March. At Arkey's Blue Silver Dollar in Bandera we play it each week and call it Harry's March.

Best to you.

Saludos
Tex

oleorezinator · Post by **oleorezinator** » Fri Sep 10, 2004 10:19 pm

did shakespeare say anything about sour grapes?

Harry · Post by **Harry** » Sat Sep 11, 2004 8:05 am

I'm not sure, but I can tell you that they are an acquired taste and are best suited to an educated palate.

Regards,

Harry.

RudallRose · Post by **RudallRose** » Sat Sep 11, 2004 10:19 am

did shakespeare say anything about sour grapes?

Dunno, but Aesop did!

Just goes to show you that no tree is too big for a short dog to lift his leg on.

OMG. I laughed out loud!!

oleorezinator · Post by **oleorezinator** » Sun Sep 12, 2004 3:25 pm

Harry wrote:I'm not sure, but I can tell you that they are an acquired taste and are best suited to an educated palate.

Regards,

Harry.

we marvel and long for more máistir.

Post by **Nanohedron** » Mon Sep 13, 2004 9:35 am

oleorezinator wrote:
Harry wrote:I'm not sure, but I can tell you that they are an acquired taste and are best suited to an educated palate.

Regards,

Harry.
we marvel and long for more máistir.

..."moisture" as Gaeilge, right?

That and iffy hygeine of the grapes, and you have the makings of noble rot.

All right, I'll go off and try to make an actual, valid contribution elsewhere.

Harry · Post by **Harry** » Mon Sep 13, 2004 11:03 am

Close, but no todóg.

Regards,

H.

Cathy Wilde · Post by **Cathy Wilde** » Mon Sep 13, 2004 11:16 am

Not to sound like a suckup, but (......SUCKING UP SFX.......) I've been lately pondering exactly the point Harry raised. It seems like sometimes a crossover can be genius (I'm thinking of that one charming Sharon Shannon turn with the Portugese (?) reels; can't remember the name?) but a lot of times nothing but crap. Nonetheless, this whole nimbus of "Celtic-like" stuff has risen out of what was once fairly unadorned music where all the magic depended on the musicians/singers & listener or dancer interaction. So now I keep wondering what separates the good from the bad in today's efforts. Is it the ability of the players? Is it personal taste level -- the players', the listeners', or both? Is it the need to establish your 'cred' as an exceptional traditional player before you go branching off? It certainly isn't production dollars spent, as some of the most heartbreaking stuff you'll ever hear is one person, alone .... (and I think lots of people would agree they've had an experience like that)

Even in my own playing I struggle with 'how pure can pure-drop be?' Or can I ever even be capable of it? Because I'm American and because of my playing background, I can't help but be influenced by jazz, by certain harmonic progressions, and even by what influences the people I play with, etc. -- and they all seem to bleed into my playing. However, I hear others do jazzy-type stuff, arranged tunes with hamonies, deploy unusual/unexpected accompaniment with great success (at least commercially).

Is it good or is it bad? And how do you know when you're on a good track -- is it just what feels good to you, even though it may not be as commercially viable?

Wow, sorry for the waste of space. But just pondering .....

Cathy Wilde · Post by **Cathy Wilde** » Mon Sep 13, 2004 11:32 am

Nevermind. Just read the "In defense of Michael" thread.
Sorry.

oleorezinator · Post by **oleorezinator** » Mon Sep 13, 2004 9:10 pm

Harry wrote:Close, but no todóg.

Regards,

H.

so sorry, a mháistir.

oleorezinator · Post by **oleorezinator** » Mon Sep 13, 2004 9:17 pm

harry, on a serious note, who are the flute players that you admire? seamus mac mathuna is one of my favorites. o