The well-worn admonition against “Getting one’s hand caught in the cookie jar” is testimony enough for me that I am not alone in preferring ‘stolen’ cookies! (But preferably chocolate chip !) Somehow, someway, the trepidation and risk just seem to add a special secret, desirable ingredient to the taste of cookies, or at least, to the experience of eating them! 

The first part of the tune is full of scheming; the second part represents the conquest and the successful escape, undetected. 

Oh, can’t you just feel the sheer drama of it all?

Thank you Eileen for your lovely playing of this tune!!

"The Stolen Cookie"  - Reel, played by Eileen O'Brien (fiddle & piano)

#30. The Four Broody Lads – 2021

This tune was inspired by my wife Patti’s name for a painting we have called “1930” by American artist, Guy Brown Wiser. 

During the Depression here in the 1930s, the WPA (Works Progress Administration) was a government organized effort to sponsor artists and artisans and it resulted in some amazing pieces of art and architecture being produced. This painting depicts four men looking for work during the early days of the Depression.

 Because of our three boys, Patti has always thought of this piece as a sort of “family portrait” of Me, Gavin, Trevor and Connor.

Thanks for the lovely playing, Liz!

The Four Broody Lads (Jig) played by Liz Kane

#39. The Oddity (Jig), 2020

This tune just sort of “landed” in the head, and I was unprepared for it as it emerged quite unlike other tunes of mine. Usually tunes develop for me in “chunks”: long phrases, short phrases, sudden variations on those, and then gradually a second part (and a rare third part) develops or arrives. This tune descended swiftly and uncharacteristically whole, hence the name. (Hopefully I did not plagiarize it?)

Thank you for the lovely playing, Liz!

" The Oddity" (Jig) Played by Liz Kane (me messing 'round on the piano in the background…)

When We Were Kings – 2018

One of my favorite paintings in the world of Irish art is entitled “King O’Toole” by Sean Keating, painted in 1930. At that time, Keating maintained a small studio in Wicklow, outside of Enniskerry. At some point in the late 1920s, he befriended a local shepherd, Joe O’Toole, who stopped by to see him when en-route to sell his sheep at the mart in Enniskerry. (Keating depicted him three times that I know of: in this painting, in another called “Holy Joe in the Mountains” and in a pencil portrait.) The story attached to Joe is what inspired this piece and the March version of it goes by the same name. Allegedly, Joe descended from the famous O’Toole clan who were once local chieftains-back in the 1500s. Their lands were confiscated by the ancestors of the owners of the famous Powerscourt House and Estate at that time. Joe O’Toole was regularly moved into action by this ancient injustice and after selling his sheep he would “fortify himself” at the local pub. Then, he would march down the avenue leading up to Powerscourt House in a fit of pique, all the while “f’in and blind’in” (as the Irish say) Lord Powerscourt and his family, and “urging them” in no uncertain terms to cease and desist their usurpation of his ancestral lands.
As Lord Powerscourt was also the local magistrate, Joe would be carted off to jail for a couple of days, fined a nominal amount and sent back to the hills. The story had many repeat performances as Joe rekindled his emo- tions and responses at every mart he attended in Enniskerry! The Waltz is meant to depict his somewhat sedate, melancholic image in the painting; the March, (# 4 in the March section) his trip down the avenue. (Every King deserves a March!)

WHO DO WE SAY WE ARE?

When We Were Kings (Waltz/March)

14. When We Were Kings (Waltz/March)

© MARTY FAHEY / THE DREAMER (BMI)

MARTY FAHEY (piano)
KYLE SANNA (electric guitar & acoustic guitar) 
JENNA MOYNIHAN (fiddle)
OWEN MARSHALL (guitar)
SEAMUS EGAN (flute)

14. When We Were Kings (Marty Fahey / The Seamus Egan Project)

Tune for Lar – 2014

Larry Gavin is a member of the famed Gavin family of musicians <Paddy Snr. (RIP), Patrick Jr. (RIP); Michael and Kathleen> whom I have referred to elsewhere. “Lar” is widely known for his great musicality and for incredible repertoire of unusual tunes and/or unusual variations of more common tunes. He is also appreciated for his dry wit and great stories. For many years now, Lar and Nuala have welcomed us into their home outside of Tulla, Co. Clare. Such visits have resulted in many memorable evenings of chat and music and more tunes for me to learn than one can imagine. 

When I composed this tune for Lar I sent it to him with this “provisional” name and asked him what name he’d like me to give it—and in his inimitable way he said, “What’s wrong with “Tune for Lar”? And so it stuck.

Lar has inspired many tunes: Josie Keegan’s “Brook Lodge”; Paddy O’Brien’s “Larry’s Favorite”; “The Man in the Tower” (Lar used to direct those directing air traffic in the tower at Shannon); “Gavin’s Piano”, etc.

Tune For Lar (Larry Gavin)  Jig   <Piano-me>

The Backward’s Glance –2014

“Backward’s glance” is a well-worn phrase that has different connotations: interest; caution; suspicion; approval or disapproval.

In this context it refers to a watercolor that I did in 1978 as a gift for my Dad: it depicts a man in a row boat in the midst of a foggy, misty lake, looking around him.

My Dad was someone who weighed all discernible options before making big decisions and so, in this case, the name points to his innate caution and thoroughness. And, of course, As it happens, there were times when the “Backward’s Glance” was wielded as a cautionary admonishment directed at me.

“The Backwards Glance” ( Slip Jig )<Box/piano-me>

The Maestro – 2020 

The first official/yearly Comhaltas Ceoltoiri Eireann (CCE) tour that came to the US was in 1972 and was called 'Farewell to Erin.'

Amongst the great musicians, singers and dancers featured on the tour were two stellar accordion players, Joe Burke and Paddy Gavin. Joe Burke was already well-known here as he had lived in New York and visited Chicago previously. Paddy Gavin was the newly minted All-Ireland Senior Champion on both the 2 and 3 row button accordion and so a featured member of the tour that year. 

Paddy, who hailed from Balbriggan in North county Dublin was old family friends with two Chicagoans then, Nancy Harling and Mary Gardiner, both of whom had deep Dublin area musical roots. As such, he decided to come back to stay in Chicago the following Summer (1973). While here, he played often with the up and coming musicians, Liz Carroll and Jimmy Keane and many a night, I saw him on stage during my Father’s live radio program, held every Sunday night at Hoban’s Pub on 63rd St on Chicago’s South side. 

To say that I had not heard anyone play like Paddy at that time or ever since might sound like hyperbole, but if you have ever heard recordings of him play, you know what I mean: he was just brilliant. Inspired by what I heard, I started playing myself just a couple of months after Paddy's visit to Chicago, in the Fall of 1973.

This tune was crafted to sound like something he might choose to play. (And yes, the beginning few bars owe a debt to the Ed Reavy tune “The Fisherman’s Island“, which Paddy loved to play!)

It's a lovely gesture that Daithi and Catherine chose The Ceilier (another great Reavy tune) to follow the tune for Paddy;  Liz, Carroll, Jimmy Keane and I all learned The Ceilier from Paddy's older brother and also a wonderful person / box player, Lar Gavin.  So, we have a 'full circle' of Gavin and Reavy influences at work here!)

Thank you Daithi and Catherine for this lovely track !

The Maestro / The Ceilier (Reels)        Box: Daithi Gormley / Piano: Catherine Mc Hugh

In Good Company – 2015
In the Fall of 2014 friends and fellow musicians, Sean Ryan, Andrew O’Brien and I took a trip to the Ennis Festival for the pure craic and devilment of it. What a time! Great music and laughs were had with the likes of Mick O’Brien (Andrew’s brother), Lar and Kathleen Gavin and many more. This tune commemorates that trip. The notion and the picture of Sean carrying my accordion through the airport was nearly worth the price of the ticket on its own.

In Good Company (Hornpipe) Marty: box and piano

Day 7 of 30: The Piper's Plot  <aka The Kesh Jig>…another "post-publication" tune

Widely known and widely played, The Kesh Jig is a staple of almost every Irish musician's repertoire. Who even knows how old it is? And (if you have heard it) who can forget the Bothy Band's memorable handling of it?

That said, the tune became a 'cause celebre'  awhile back when it was the subject of a very interesting (and insightful, hysterical…)two episode discussion on "The Lizzes" podcast (Patreon)< Liz Carroll and Liz Knowles>  You should really tune in in case you haven't yet….

Anyway, in the course of hearing the discussion it dawned on my that perhaps The Kesh Jig could use an "alternate set of clothes" and following the leads of one of the stories told in the podcast I decide to have a go at it.

The tune has been transformed into G min (my favorite 'moody' key) and follows an imaginary narrative setting behind the tune which involves some subterfuge and intrigue—hence the name, The Piper's Plot. Long story, but a bit of fun to frame the process of composing...

“The Piper’s Plot” — Box/piano: me / Inspiration: Liz Carroll and Liz Knowles

Day 11 of 30: "The Level-headed Lad" (Jig) 

At some point in the years between 2012-14 I decided to compose a tune for Patti and each of our boys, Gavin, Trevor and Connor.

This was composed for our oldest, Gavin. The names of the tunes and the melodies themselves were meant to "reveal" something about them and their unique personalities. 

(Starting with "Savannah's Lullaby" - posted yesterday- the next dozen or so posts will all consist of tunes inspired by and composed for family members.)

Pictures: Gavin, Ashley, Savannah and Declan // Gavin and Savannah // Gavin and Declan  // Gavin, Ashley, Savannah, Me, Patti, Connor, Holly

(Piano-me)

The Level - Headed Lad (Jig)

Day 12 of 30: “The New Day” – 2013

From an early age, our son Connor- the youngest of our boys- used to greet us right out of bed in the morning with the ever-so sunny declaration, “It’s a new day...”! 

To this day, he smiles more than most people I know. That deserves a cheerful tune, I think. (This is in the unusual key of E major.)

(Piano-me)

The New Day (Jig)

Day 13 of 30: The Thinker (Jig)  2014

Our middle son Trevor was always cogitating, exploring, pushing boundaries and questioning. If you got into a discussion with him - and if he cared about the subject - exchanges could last for hours. Discussions could easily turn the corner into debates then into diatribes and as quickly/suddenly amidst some gales of wild laughter, it might even all arrive back into the realms of a sane discussion again!

Trevor passed away suddenly in February of 2018-we miss him.

The Thinker (Jig)

Day 14 of 30:

The First Fleadh and (another for the boys…) Berries in Summer 
(Jigs)  Marty (box) / Ryan Molloy (piano)

The First Fleadh – 2014

Jim DeWan is a friend and great guitar player, singer, cook, writer, and character who lives here in Chicago. His daughter Violet competed in her first Fleadh in 2014 on the button accordion and has since become very ac- complished. She is also a great visual artist and storyteller. This tune marked her first appearance at the Fleadh competitions. When I composed the tune, I wanted it to be accessible to someone her age and also to have a little “Josephine Keegan flair” to it. Hopefully it succeeds on both accounts.
---------------------------------------
Berries in Summer – 2014

A favorite activity for my sons Gavin, Trevor and Connor when growing up was picking raspberries and blue- berries. As might be expected, the quantity that came into the house as a “work product” in bowls or buckets was far below the actual total picked as much was consumed during the task at hand! This tune is based on the popular jig, “Apples in Winter” but is updated here to commemorate these nostalgic and much cherished memories.

The First Fleadh & Berries In Summer (Jigs)

“Buddy and Bella’s Slip Jig”

Here is the first track on our new CD- Music at the House- One more time…a sequel to our 2003 recording, Music at the House. It is available on band camp.com.  https://musicatthehouse.bandcamp.com

Brendan Bulger, Marty Fahey, and Kathleen Gavin - Music at the House - One more time... - 01 Slip Jigs- The Dark Horse - Steps in Time

A "remodel" of  the famous Kesh Jig with a  taste of minor key 'gravitas.'

“The Piper’s Plot” (aka The Kesh Jig anew)

A remake of the famous Pigeon on the Gate- dating from a day when Patti and I were sitting in a cafe and a pigeon landed on the back rail  of chair next to me…and remained there for ages.

“The Pigeon on the Chair “ (reel)

Sometimes I am encouraged to rework something I really don't prefer (in this case, The Harvest Home HP) into something I do prefer—here's an example.

Morcheen

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