Mike Duggan (1921-2012) (also called Mikey or Mick) lived in Knockrour East, Scartaglin and was one of Pádraig O’Keeffe’s fiddle pupils, encouraged by his parents, both of whom played the concertina. He also learned from a neighbor, Eileen Spillane, who played both fiddle and concertina and who frequently hosted house parties and dances. He soon became a sought-after musician for local events and played in every pub and open house in Scart. He was a member of the Desmond Ceili Band with Denis Murphy, Johnny O’Leary, Jimmy Doyle, and Michael O’Callaghan.
Mike Duggan and Denis Murphy playing together in Scartaglin, 1967 (from the Comhaltas Archives)
When Denis Murphy died in 1974, Duggan took his place playing with Johnny O’Leary for the set dancing at Dan Connell’s pub, and for local step dance competitions, and the duo continued for the next 20 years. It seems he felt his true calling was to play for dancers, be it in competition or house dance.
Matt Cranitch credits Duggan with getting him started on his doctoral work on Pádraig O’Keeffe when he gave Matt a collection of O’Keeffe manuscripts and taught him how to read them.
Mike Duggan and Johnny O’Leary at the O’Keeffe monument in Scartaglin
Johnny O’Leary, Dan O’Connell, and Mike Duggan in Knocknagree
Mikey Duggan (left) pictured with the late Johnny O’Leary in Tom Fleming’s bar in Scartaglin on July 25-1991. The Scart fiddle player is to be honoured at Sunday night’s concert. Photo by John Reidy
Denis “The Hat” McMahon (1941-2018) was a respected fiddle and accordion player, teacher, and an authority on Sliabh Luachra music. Originally from Churchtown, Castleisland, he settled in Ballyhar, between Killarney and Farranfore. As a youngster he learned fiddle from Jerry McCarthy, and continued with lessons on the accordion from Pádraig O’Keeffe. At some point his friends Nicky McAuliffe and Jack Regan convinced him to pick up the fiddle again. In the late 60s he spent two winters working and living in London where he often played with his fellow expats Con Curtin and Julia Clifford. Back in Kerry he was a member of the famed Brosna Ceili Band and the Desmond Ceili Band and had a fruitful musical partnership with Connie O’Connell. When Mike Kenny broached the idea of what was to become the Patrick O’Keeffe Traditional Music Festival, Denis was an early and enthusiastic supporter. He was quite often featured on radio and television, being a great exponent and historian of the local music, and had innumerable stories about his old teacher Pádraig O’Keeffe and others of his generation. At the 2010 Castleisland Festival, Peter Browne presented Denis with an award for his dedication to the music of Sliabh Luachra.
RTE Radio presenter, Peter Browne (centre) presenting the award for dedication to the music of Sliabh Luachra to Denis McMahon at the concert at the Ivy Leaf Art Centre on Saturday night. Included are: John Brosnan seated with the festival committee’s Mike Kenny and Cormac O’Mahony. Photo by John Reidy 24/10/2010
Jerry McCarthy (left) and Mikey Duggan (centre) pictured with Denis McMahon as they played on the opening night of the first Patrick O’Keeffe Traditional Music Festival in 1993. Photograph: John Reidy 22-10-1993
Maida Sugrue (born Mary McQuinn in ~1933) was raised in the townland of Fiddane, Ballyegan, Nohaval Parish, near Gortatlea, Ballymacelligott, Kerry, on the “Low Road” between Castleisland and Tralee. The McQuinns were a musical family: her father played the concertina and accordion, and her uncle John McQuinn was a well-considered flute, piccolo, and concertina player. Two neighbors, brothers Jim and Matty Sullivan of nearby Maglass, would sometimes visit their home in the evenings to play tunes. Jim saw Maida’s interest in the music and let her try a tune on his fiddle, and upon seeing that her desire to play was in earnest, gave her the loan of his fiddle on which to learn. She soon showed great promise, and when she was about twelve years old the renowned Pádraig O’Keeffe was enlisted to take her on as his pupil.
She recalls Pádraig’s sporadic visits with fondness. Whenever he happened to be travelling through the area he would stop in to the McQuinn home. She remembers him writing out tunes in his own tablature, but he encouraged her to learn standard notation as well. She recalls that he was easy-going and funny and a great teacher. Often he would come late at night when the children were already in bed, and while her mother made him a bite to eat he would play the fiddle. The family all loved his visits and could listen to him playing forever. Lessons with Pádraig continued for about three years.
In her teens, her musicianship was already highly regarded and she took part in many local music and singing competitions. She won the very first “Crock of Gold” competition put on by the Catholic Young Men’s Society (CYMS) in Tralee, and she was briefly a featured singer for the original lineup of the Brosna Ceili Band. However, subject to the economics of rural Ireland at that time, she emigrated Chicago in December, 1952. She was “sponsored out” by a cousin who happened to be a sister-in-law of Cuz Teahan. Neither were playing much music at that time, but upon meeting, they bonded over their shared tradition and both having been students of Pádraig. Cuz was delighted to hear stories of and new tunes from his old teacher. Inspired by this new connection, they struck up a musical partnership.
In Cuz’s book The Road to Glountane, he recalls:
Maida is an excellent musician and step dancer. She can sing anything in any style and she knows the Gaelic. You can really hear O’Keeffe’s style in Maida Sugrue’s playing. You might have four or five fiddles and most of them are carbon copies of each other, but when their bows are going down, hers is going up. O’Keeffe started most of his music with an up, and the way he taught was you had to keep your right hand very close to your side. You had to keep your right elbow almost on your hip, and bow with your wrist pressed firm. You press the strings firmly at right-angles with your left hand so there wouldn’t be any vibrations, and keep your thumb away from the finger-board. You hold the fiddle with your chin – not the wrist. If you were persistent in bowing widely, he’d tie a cord around you to hold your arm in close.
Maida also played and sang with the live band that performed on Jack Hegarty’s Irish Hour radio program each week. For a while, after marrying Denny Sugrue in 1957, she became less active in Irish music circles, but when her children were grown she started to perform publicly again. She and Cuz formed a group with two other fiddlers, Úna McGlew and Mary McDonagh, that played in the Chicago area for some time.
In 1985 she recorded Maida: An Irish Country Girl, an LP of songs, a number of which are her own compositions. Sadly, it was a limited run and nigh impossible to find now.
Though now retired from performing, Maida is currently still involved in the Chicago Irish music community, appearing at local events on occasion. She recently attended the Patrick O’Keeffe Festival in Castleisland, to great acclaim. She spoke and played at the Fiddle Meitheal where Paddy Jones, a fellow pupil of Pádraig’s, was delighted to meet her.
Fiddane as it appeared on older maps of the area
A flyer heralding Maida’s first appearance as a performer in Chicago
Maida with Cuz Teahan, flanked by Úna McGlew and Mary McDonagh
Maida and her husband Denny
Cover of Maida’s 1985 LP
Notes to Maida’s 1985 LP
Two tracks from the album Traditional Irish Music In America: Chicago. She plays The Queen’s Polka (aka The Top of Maol) and sings Táimse im’ Chodladh (I Am Asleep).
Ellen O’Byrne, born about 1875 in Co. Leitrim, emigrated to New York City at only 15 years of age. There she married Dutch immigrant Justus DeWitt and they opened a real estate and travel agent business together in 1900. Ellen was evidently an irrepressible fan of her native music, and the travel agency soon began to retail sheet music, instruments (including high-quality Italian-constructed accordions made by Paolo Soprani and Baldoni but rebranded under the O’Byrne DeWitt name,) and the few recordings of Irish music then available. In 1916, Ellen O’Byrne persuaded Columbia Records to start producing more authentic Irish recordings, starting with Eddie Herborn and John Wheeler, accordion and banjo. In doing so, she is considered to have essentially created the Irish-American recording industry. Soon, the O’Byrne DeWitt shop started offering Irish recordings on their own label.
After Ellen’s death in 1926, one son, James, inherited the New York store, and another son, Justus Jr., moved to Boston to open his own enterprise under the O’Byrne Dewitt name at 51 Warren Street, Roxbury. The O’Byrne DeWitt business flourished in Boston as it had in New York: an unlikely hybrid of travel agent/music shop. Under a new label, Copley, he soon began recording some of the local talent, and in the early 1950s, Paddy Cronin recorded a number of sides (solo fiddle with piano except for a few duets with flute player Frank Neylon) that became very popular and were essential in creating his worldwide reputation as a musician of note.
Note: A number of these discs are labeled with names other than the ones in common use today, and others are entirely mislabeled. I’ve tried to use the correct names on the mp3 files, but can’t make any guarantees!
In 1949 Séamus Ennis was working for Radio Éireann making field recordings of traditional musicians and singers. He recorded Paddy Cronin in a farmer’s house in nearby Ballyvourney. It’s said that Paddy never heard these recordings broadcast as he emigrated to America soon after. These tracks document his playing in his “purest” Sliabh Luachra style. He sounds very much like his neighbor Denis Murphy here, especially in the reel playing. Contrast with his recordings made after he arrived in America and began to incorporate the Sligo style which was prevalent among his peers there.
The Radio Éireann Mobile Recording Unit
Séamus Ennis in 1950
Note: It’s possible that not all of the tracks linked here are from the Ballyvourney session in 1949, but some of them were unlabeled when I received them and as they all have a similar sound and style, I’ve lumped them together. If they are mis-attributed, I apologize.
A lovely recording of very traditional playing by two musicians from Gib, near Killarney, made in 1977, and sadly still unavailable on CD. There are no reels at all, and only one set of double jigs – the rest of the album consists almost exclusively of Kerry slides and polkas played with the strong rhythmic emphasis on the backbeat characteristic of the Sliabh Luachra region. It is very clear from their sparse, unobscured style that these musicians are of that generation whose music was played, at least publicly, for purposes of dancing, rather than for simply the pleasure of listening. — Robert Ryan
Recorded between 1964 and 1976 this album features fiddler Julia Clifford, sister of Denis Murphy, her husband John on accordion, and their son Billy on flute. Much of it was recorded around a single microphone in Eric and Lucy Farr’s kitchen, so the sound quality isn’t brilliant, but the quality of the music shines through, and Julia Clifford’s playing is, as always, a thing of beauty. — Robert Ryan
There’s some pretty in-depth notes by Alan Ward starting on page 26 of his Topic booklet here.