On our last trip to Ireland in 2024, our friend Gary brought us a gift of smoked fish. He mentioned that when others brought him fish to smoke, his pay was a portion, which he referred to as “the smoker’s cut”. We joked that it sounded like a good tune name—and then James wrote a jig (The Smoker’s Cut) to commemorate the moment.
On that trip Rick brought only one instrument, a 5-course Stefan Sobell cittern that was a generous gift from Susanne Croft after James Funke passed away. We thank them both.
Rick’s ever-growing facility on the instrument inspired a new approach to our music, one in which Rick’s accompaniment is every bit as central as the melodies we are playing. On this recording, Rick only plays guitar once, on Craigie Hills, a song James learned from Fiona Maria Fitzpatrick at a session in Ballyshannon in 2022.
We recorded this music live in the studio as a trio, then added bodhran and other instruments, notably Don’s mandolin and banjo. Don was less involved in this recording and after 16 years of playing together is moving on to other projects. But we’re glad we captured a bit of the “Thomsen Fairy Dust” on this album, which we dedicate to the memory of his wife, Sheila.
We owe a huge debt of gratitude to Jon Goforth for the loan of his studio equipment, to Fionn Hunter-Green for his mixing & mastering skills, to Bridget Green for the photography, to David Sams for artwork assistance, and to Mr. O’Keefe for the artistic and spiritual direction.
Thanks to John Williams for The Bright Hollow Fog and the story of its origin. To all of you who come out to hear us play and support us by buying this recording: we hope you have as much fun listening to the music as much as we did making it! For us it is an expression of our respect for the tradition, of our brotherhood, and of the boundless joy of weaving together our musical souls.
Below, you’ll find short excerpts from each piece, along with credits and notes about the tunes and songs.
1. Slip Jigs: Elizabeth Kelly’s Delight / Na Ceannabháin Bhána / Drops of Brandy (4:49)
Rick: cittern -James: flute – Morgan: fiddle – Don: mandolin
This is a set we put together on our last trip to Ireland in 2024. We play it bright — probably too bright for dancers — but we love the way it takes flight at this tempo.
Elizabeth Kelly’s Delight (Aoibhneas Éilis Ní Cheallaigh) is a slip jig that Eliza Kelly taught to her son, the West Clare fiddle & concertina player, John Kelly. Aoibhneas (EEV-nass) means a bone-deep or spiritual joy, often connected to scenery, song, or gentle weather.
2. Reels: Garret Barry’s Reel/McGovern’s Favorite/Kit O’Connors
Morgan: fiddle – James: flute, bodhran – Rick: cittern
Things appear when the conditions are right: Morgan put this set together over 20 years ago, but never felt that he – or any of the musicians he has played with – could make it sound like it did in his head.
3. Song/Jig: Craigie Hills/I Ne’er Shall Wean Her
James: vocals, flute – Rick: guitar, vocals – Morgan: fiddle – Don: mandolin
James and his family happened to be in Ballyshannon, Co. Donegal, in summer 2022 during the Folk Festival, and wandered into a pub drawn by the music of The Messages. Eventually plucking up the courage to ask to sit in, James played a few sets with them. At one point, Fiona started into Craigie Hills and the pub fell silent listening intently to her gorgeous voice.
We asked her all about the tune and then the next day, when they performed it on the main stage of the festival, she even dedicated it to “the Washington crew”!
There was something about the jig I Ne’er Shall Wean Her that evoked sailing on the ocean and bonnie boats sailing down by Doolin shore – or perhaps it was just that we were in Co. Clare, a couple of miles from Doolin, looking at the Aran Isles, when we learned it…
Lyrics
It being in the spring and all the birds were singing,
Down by yon shady arbour I carelessly did stray,
Where the thrushes they were warbling, the violets they were charming,
For to hear two lovers talking a while I did delay.
She said. “My dear, don’t leave me for another season.
If fortune does be pleasing I’ll go along with you.
I’ll forsake friends and relations
and quit this Irish nation
And to the bonnie Bann isles Forever I’ll bid adieu.”
He said, “My dear, don’t grieve me or yet annoy my patience.
You know I love you dearly although I’m going away.
I’m going to a foreign nation
to purchase a plantation
To comfort us hereafter all in Americay
“Then after a short while, if fortune does be pleasing,
’Twill cause you for to smile at our late going away.
We’ll be happy as Queen Victori
all in her greatest glory.
We’ll be drinking wine and porter all in Americay.”
The landlords and their agents, the bailiffs and their beadles
The land of our forefathers we were forced to give o’er.
Now we’re sailing on the ocean
for honour and promotion
And parting with our sweethearts it’s them we do adore.
So fare you well, sweet Craigie Hills, where oftentimes I roamed.
I never thought my youthful days I’d part you anymore.
Now we’re sailing on the ocean
for honour and promotion
While the bonnie boats are sailing down by Doolin shore.
4. Jigs: Castletown Connor’s/The Meelick Team/The Maid at the Spinning Wheel
Rick: cittern – James: flute – Morgan: fiddle
[description to follow]
5. Hornpipes: Humors of Ballyconnell / Pol ha’Penny
James: flute – Rick: cittern – Morgan: fiddle – Don: mandolin
Pol Ha’Penny is one of the many tunes Ciaran Carson discusses in his brilliant book Last Night’s Fun (1996). The origins of its name read like an extended game of telephone, where “Molly MacAlpin,” became “Halpin,” which became “Halfpenny,” and then “Holey Ha’penny.” This is a caution to anyone at a session who asks: “What was the name of that last one?”
Donal O’Sullivan in his 1958 biography of the harper and composer Turlough O’Carolan (1670-1738) writes that O’Carolan loved Pol Ha’Penny so much that he wished he had written it instead of any of his own brilliant tunes. It was in fact written by harper Laurence O’Connellan (c. 1645). [Traditional Tune Archive]
6. Reels: Maude Millar’s/The Four Courts/The Steampacket
Morgan: fiddle – Rick: cittern -James: flute, bodhran
[description to follow]
7. Song: Alan Tyne of Harrow
Rick: vocals, cittern -James: flute, whistle, uilleann pipes, bodhran – Morgan: fiddle – Don: mandolin, banjo
Rick first proposed Alan Tyne, a rob-the-rich-to-help-the-poor tale, to the band in 2018, but it got lost in the huge number of songs and tunes that we were working on at the time. But once he worked up a cittern part to accompany himself, there was something gloriously English-folky-camp about the song that captured our attention. Something about hearts being set a-quiver, perhaps…
Once we had recorded Don’s part’s, James kept hearing more and more possibilities, adding pipes, whistle, and bodhran until the lads cried “Enough!” The song builds, with lots of obvious and not-so-obvious musical “easter eggs” scattered along the way, until Alan finds himself in Newgate, sentenced to death for his robbin’ ways.
Lyrics
I am a bold young highwayman; my name is Tyne o’ Harrow.
I come from poor but honest folks near to the hills o’ Yarrow.
For getting of a maid with child, for England I sailed over.
I left my parents and became a wild and daring rover.
Straight to London I did go where I became a soldier,
Resolved to fight Britannia’s foes; no sergeant-at-arms was bolder.
They shipped me to a foreign land where cannons loud did rattle.
Believe me, lads, I do not boast how I behaved in battle.
Many’s the battle I have fought, in Holland and French Flanders;
I always fought with courage keen, led on by brave commanders.
But a cruel ensign called me out and I was flogged and carted;
Cruel the usage that I got, and so I soon deserted.
Straight for England I set sail as fast as wind could heave me,
Resolved that of my liberty there should no man deprive me.
I slipped into the woods by night, by all my friends forsaken,
I could not walk the road by day for fear I should be taken.
Being of a courage keen and likewise able bodied,
I robbed Lord Lowndes on the King’s highway with my pistols heavy loaded.
I clapped my pistol to his breast which set his heart a-quiver,
Five hundred pounds in ready gold to me he did deliver.
With part of my new store of gold I bought a famous gelding
That over a five-barred gate could jump; I bought him from Ned Fielding.
Lord Arkinstone into his coach I robbed near Covent Garden,
And two hours later that same night I robbed the Earl of Warren.
One night at Turnham Green I robbed a revenue collector,
And what I took from him I gave to a widow to protect her.
I always robbed the rich and great, to rob the poor I scorn-ed,
But now in iron chains I’m bound, in doom I now lie born-ed.
It’s now in Newgate I’m confined and by the law convicted.
To hang on Tyburn tree’s my fate, of which I’m much affrighted.
Farewell, my friends and countrymen and my native hills of Yarrow.
Kind providence will test the soul of Alan Tyne of Harrow.
8. Jigs: John McKenna’s/McIntyre’s Fancy/Behind The Haystack
James: flute, bodhran – Morgan: fiddle – Don: mandolin – Rick: cittern
[description to follow]
9. Slow Air: The Bright Hollow Fog
Morgan: fiddle – Rick: cittern -James: flute
[description to follow]
10. Reel: The Graf Spey
Rick: cittern -James: flute, bodhran – Morgan: fiddle
[description to follow]
11. Song/Reel: The Hare’s Lament/Jenny Picking Cockles
James: flute, bodhran – Morgan: fiddle – Rick: cittern
[description to follow]
Lyrics
On the first of November on a bright autumn’s day
To the hills of Dromela I chanced for to stray
I was feeding on green grass that grows on yon ground
When my heart was set a-beating by the cry of the hounds
Musha right tallyho, harky over high ho
Harky over cried the huntsman harkey over high ho
They hunted me up and they hunted me down
The bold huntsmen of Stratham on my tail set the hounds
Over highlands and lowlands, moorlands also
Over hedges and ditches like the wind I did go
There was Ringwood and Rouser they gave me a close brush
But they soon found me hiding ’twas in the rush bush
For better or worse I know I must die
But I’ll do my endeavor these hounds to defy
And now I must die and I know not the crime
To the value of sixpence I ne’er harmed mankind
I was never brought up for to rob or to steal
Except for the croppings and tops of green kale
Then up steps the huntsman to end all my strife
Saying “Let the hare go, let her flee for her life
Wouldn’t it be far better you killed Raymond the fox
Who killed all your chickens, your hens and game cocks?
12. Reels: The First Day of Spring/Paddy Canny’s Toast/The Return To Camden Town
Morgan: fiddle – Rick: cittern -James: flute, bodhran – Don: mandolin, banjo
The First Day of Spring is a composition by the late Donegal fiddler Tommy Peoples, who Morgan met in…
Paddy Canny’s Toast is a Charlie Lennon tune that we learned from Verena Commins and Julie Langan’s fantastic album, Fonnchaoi.
Don suggested Return to Camden Town as a great Amin/Cmaj tune to follow the two Gmin tunes, so on this recording he’s playing both mandolin and banjo.
13. Jigs:Tom Billy’s Fancy/The Smoker’s Cut/Eddie Kelly’s Jig #2
James: flute, bodhran, whistle, uilleann pipes – Rick: cittern – Morgan: fiddle
This is another set we put together on our last trip to Ireland in 2024. Rick had been listening to Éilís Crean’s amazing album, Searbh Siúcra / Bitter Sweet and played us Eddie Kelly’s Jig #2 from that album – and it was love at first listen!
As mentioned above, James wrote The Smoker’s Cut in appreciation of Gary’s smoked salmon, on the day we left Westport in 2024. The first tune we got from Mick O’Brien’s beautiful May Morning Dew recording. It’s really a slide, not a jig, but it seems to fit here…
The Smoker’s Cut is streaming on all major platforms and the CD is on sale at BandCamp or wherever we play.