The North American Uilleann Pipers Scene

[Jumper]

Dave Page had a huge impact on those of us fortunate enough to know and play with him. His style and repertoire are still strongly felt in the San Diego Irish music community. He set a brilliant example of how this music should be approached, performed, and enjoyed. Most of his family still lives in this area, and they are deeply involved in Irish music, dance, theater, language, and culture.

I don't think John Tuohy would mind if I repost an article he wrote in 1989 for publication in Folk Notes, the journal of San Diego Folk Heritage.

Herewith:

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Dave Page: Memories of a Premier Irish Piper by John Tuohy

It was June 1974. We were having our end-of-the-school-year potluck and contra dance. One of our friends brought along some uninvited guests: an elderly Irish gentleman, his wife, and two of their friends. The Irishman, a musician, had brought his instrument in a long, narrow, grey case. He sat on our front porch, set that strange looking case next to him, opened it and slowly assembled what appeared to be a most complex intrument, and then treated us all to some of the finest Irish music that we'd ever hope to hear. The gentleman was Dave Page. The instrument was the uillean pipes.

Dave Page was born in Dublin, Ireland in 1906. While in his early twenties, his father enrolled him in a piping school taught by the great piper Leo Rowsome. Dave proved to be a talented musician and was soon winning competitions and performing in a quartet with his teacher. During the early 1930s he was a member of the Siamsa Gael Celidhe Band. This was a 7-10 piece band consisting of fiddles, piano, drums, piccolo, and of course, the pipes. The band, led by Tom Page (Dave's brother), was one of Ireland's most popular dance bands. In the late 1930s, Dave gave up the pipes and took up the piano accordion. The pipes at the time were considered to be "old fashioned." During this time Dave and his wife Bridgie moved to London where they lived for twenty years, working and raising their four children. Dave became a well known figure in the Irish music scene in London. In the 1950s, the Pages were persuaded to move to Chicago where they lived and worked for another twenty years. In the late 1950s Dave got the chance to acquire another set of uillean pipes. He became well known as both a piper and a fine accordion player.

In 1974 the Pages vacationed in San Diego, liked and it and decided to retire here. Dave soon grew tired of musical retirement, went looking for music, and ended up at our potluck party. He became an integral part of the San Diego traditional music culture and a cornerstone of the Irish music scene. The interest Dave generated in Irish music soon led to the formation of a San Diego incarnation of the Siamsa Gael Celidhe Band. It was Dave's support and encouragement that led a number of us "young Americans" (in particular Judy Lipnick, Ian Law, and me) to seriously pursue Irish music in all of its intricacies and subtleties. In the late 1970s, Dave decided to "retire" from piping and offered me his set of pipes and his tutelage. Dave died in 1987, after several years of ill health.

Simply put, Dave Page was one of the finest people I ever met. The impact he has had on me and on others cannot be overstated. The major component of good traditional music is integrity. When Dave played, his music became an extension of his personality and there was no lack of integrity in his personality. There was no nonsense or flash in his style, just solid, thoughful playing (this should not be confused with lack of humor).

When Dave played in informal situations amongst friends his music would take on the finest qualities of his personality, a lack of ego, a kindness, a fine sense of humor, and a deep understanding and love of his musical tradition.

I remember one of the last times I heard Dave play. We were at a party and it was late. Towards the end of the evening an accordion was handed to Dave and he was asked to play an air. Dave had been in ill health and had not touched the accordion in months. With shaky hands Dave took the accordion and, after several false starts, played one of the most beautiful rendition of the ancient air "The Coolin" that I had ever heard. The notes that he played were simple but I'd trade all my "advanced" technique to be able to play that tune the way he did.

It is now February 1989. Dave has been gone for almost two years now. Judy and I are sitting here knocking out a few of our favorite tunes. That long narrow, grey instrument case now sits by my side. We've just finished playing a medley of one of Dave's airs and two of his favorite reels. We are both silent for a few seconds and then Judy says, "Dave would have liked that."
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Jonathan

[djm]

I would have to mention Chris Langan in Toronto. Well respected in Ireland (where there is now a summer festival in his honour) and in Canada (where there is now a winter festival in his honour), he was a close friend of Brendan Breathnach, and a regular at WCSS for years. A more in-depth biography is in the collection of his tunes called "Move Your Fingers".

I never met the man personally (I didn't know he was just up the road), but I am now learning from Chris' students, who can't say enough good about him.

djm

[Kevin L. Rietmann]

I've traded a good deal of music with Tom Wilsbach over the years, he's a great guy. He wrote a paper on piping in America, also - in 1976. About the lineage there - his teacher was Tom Standeven, who learned from Tom Busby who learned from Michael Carney who learned from Patsy Touhey. I believe that's a Leon Rowsome chanter he plays, also.
Mattie Connolly of Monaghan/New York is another great old-time piper. Haven't had the chance to hear Mike Rafferty on the pipes, just the flute - he's a helluva flute player though. And New York also had the great Andy Conroy for years and years - he taught Bill Ochs for a while there.
Paddy Keenan's in Boston, too. Don't get much better than that. The fellow who put out the Uilleann Piper journal in the mid-70s was Rev. James MacEnzie, I think. Hats off to all the editors of the Piper's Review - Denis Brooks. The 5 or 6 poor Basmatis who tried to keep it going after Denis. Then Wally - many hale and hearty years to ya, Wally.

[meemtp]

Tom IS a great guy! I've known him for about 5 years now. He was very supportive when I first began attending our local session. I could play decently enough at home, but would get nervous playing out and mess stuff up. He was one who encouraged me and complimented my playing anyway. Definitely one of the people who kept me going when playing music didn't come as easy as it does now. I've gotten a lot of tunes and wisdom from him since. He's got some great stories as well.

[brianc]

I thought I'd resurrect this thread and mention that if it weren't for the likes of Eric Olson, that I would never have followed the "UP path".

Thanks Eric!



And I'd be remiss if I didn't also mention Bill Tiernan, who never hesitates to share a tune.

[oleorezinator]

bill ochs

[Brian Lee]

Brian hit it with Eric and Bill! Each of them have helped me out as an individual piper, and have been influential in the start of the Denver and Salt Lake groups. Great men both.

[rgouette]

I would like to humbly bring Bruce Childress's name to mention.
I am currently playing a practice set he made for me a few years ago & I went to his home(Mass at the time) to pick up the set.
Very gentlemanly fellow & though new to pipes, I was impressed byt he workmanship.
On request, he broke out his full set & showed me what these things are capable of: thereby providing motivation for a newbie.

Also, dittos for Tom Wilsbach; he gave me my first lesson, and though I have since VERY foolishly dropped lessons with Tom, he's still provided assistance from time to time via email. Warm & friendly gent there.

Cheers from lovely Maine!
Rich