Timmy “The Brit” McCarthy

Timmy “the Brit” McCarthy (1945-2018) was born and grew up in London but his Irish parents maintained strong ties to their native Cork. Though he was enrolled in step dancing lessons as a youngster, he wasn’t especially inspired by the tradition. “My grandfather Timmy Roche, who I’m named after, was a champion All-Ireland step dancer, in 1922 I think, with a dance called The Blackbird,” recalled Timmy. “My mother insisted that I do step dancing, and to be honest I hated it because you used to have to wear [a kilt which] I thought was a dress.” After his parents’ death at a young age, he was raised in Catholic orphanages which he remembered with some fondness as an adult.

After a short stint in the R.A.F., he moved to Cork in the 1960s to work as a butcher (where his London accent earned him his life-long nickname). There he was surprised to find less traditional and folk music being played than there had been in London when he left. In Cork city, the scene was only just beginning to shift from the showbands playing American and British pop music to the folk revival that would soon sweep the nation, and Timmy was determined to urge the change along. He stumbled upon a folk club organized by Jimmy Crowley, and when that came to an end, Timmy organized a folk club of his own in the Cork city suburb of Douglas. Through his determination and enthusiasm this would eventually morph into the beginnings of the Cork Folk Festival, still going strong today. In the course of looking for folk acts to perform at the festival, he found himself one day hunting down Johnny O’Leary and Mikey Duggan at Dan O’Connell’s pub in Knocknagree. There, he later recalled, “a woman called Eily Buckley saw me sitting down and she took me up and threw me round the floor. I didn’t know what the hell had happened to me, but that was the Sliabh Luachra set, and it changed my life.” The scene at Knocknagree was worlds away from his dance lessons as a boy in London. “I thought it was gobsmackingly beautiful, because I’d never seen a set before that was so inclusive,” he later said. “There was no age left out. It was teenagers up to octogenarians.”

He soon became a regular at Dan O’Connell’s, and found himself assuming the role of pupil and disciple to the man of the house. O’Connell was a tireless cheerleader for the Sliabh Luachra traditions, and infected McCarthy with his enthusiasm. “Dan O’Connell’s philosophy, I’ve inherited. He had a very simple way: Stay behind the people in front of you; in front of the people behind you; opposite the people opposite you, and you do it on bloody time. That means that if you’ve an old couple in front of you and the book says you have to get back militarily to the geographical place you started off, you don’t push them out of the way, you dance according to their comfort zone. I think that philosophy was wonderful.”

Inspired to immerse himself in the tradition, he moved to Baile Mhúirne where the music and dancing was a large part of local life. There, in addition to the Sliabh Luachra set and the Ginnie Ling, Timmy sought out less widely known local set dances such as the Black Valley Square Jig, the Coolea Jig, the Borlin Valley Polka Set, the Tuosist Set, and the Mealagh Valley Jig Set. At that time some of these were not danced very often, and some not at all, having fallen out of fashion. In an effort to rescue them from obscurity, he took it upon himself to start teaching, and even picked up the accordion so that he would never lack for a musician (considering taped music unacceptable). “I never set out to teach set dancing but people asked me to teach. I had a passion for the music of Sliabh Luachra, Corca Dhuibhne, Múscraí, and the dances that went with it. I set out to connect and re-teach all those old sets that were dead in the villages where they were, and have people dancing their own sets. People would ask me to teach them sets, so I used to make a deal that each week they were to go to the people that had the local set, learn it, or bring the people up to teach it to me, and I’d teach it back into the local community. We saved an awful lot of sets that way.”

He was to take these local dances all over the world, traveling far and wide to teach the sets he loved so dearly. Soon before his passing in 2018 a concert was organized in his honor, with countless luminaries of the tradition attending to pay tribute to the man who had done so much to preserve and spread the culture of the Cork-Kerry border. Timmy exclaimed, “I’m just overwhelmed. I don’t deserve it, but what a compliment. I’ve had a fabulous life and this is an amazing, gobsmacking tribute… that’s all I can say. When I see the line-up for that concert… people know me as Timmy the Brit, but they were the people that made me feel I’m home, I’m Irish.”

A lovely program from Radio 1 called “Timmy the Brit Comes Home”:

Another profile of Timmy:

Paddy Jones

Paddy Jones is the youngest of Pádraig O’Keeffe’s students. He was born not far from Pádraig’s home in Glountane, and he showed an interest in the music from a young age. He took lessons with the fiddle master for only three short years, but they were to have a long-lasting effect. Though he discontinued the lessons out of frustration with his master’s peripatetic lifestyle, he nonetheless maintained a fondness for Pádraig, and helped look after him in his last days. He later continued his musical education with Pat and Willie O’Connell in nearby Cordal, and learned to read staff notation while in school which enabled him to expand his repertoire and scholarship considerably. As he developed in his music, he was able to play with a number of the older generation, including Jack O’Connell of The Lighthouse who mentored him and encouraged him to study of the music and heritage of Sliabh Luachra, but also to appreciate good music no matter where it came from. His great curiosity led him to explore the world, both geographically and intellectually, but he has always maintained a particular love and interest in his native music. It was perhaps only natural that he himself would become a teacher and lecturer, and he has developed a great number of the younger generation into excellent and thoughtful members of the Sliabh Luachra tradition. He was honored for his lifelong commitment to the culture of Sliabh Luachra at the 2016 Patrick O’Keeffe festival in Castleisland.

Learned from: Pádraig O’Keeffe, Pat and Willie O’Connell, Jack O’Connell

An interesting lecture by Paddy on the music of Sliabh Luachra. You can read the transcript here.

Jack ‘The Lighthouse’ Connell

Jack Connell (1906-1994) took his nickname from his home in Meendurragh, just north of Ballydesmond, known locally as “The Lighthouse”. The village sits at a high point along the Cork/Tralee road, and in days gone by a lantern was indeed kept lit to direct carriages travelling by night. Jack was a celebrated fiddler, teacher, and tune-maker, taught by both Pádraig O’Keeffe and Tom Billy Murphy, as well as a certain “Mrs. Cronin” of Rathmore. His sister Nonie played the melodeon.

Apparently, Pádraig O’Keeffe once told him one should practice daily for 15 minutes, and Jack took it to heart; for nearly his whole life he played, whether at a dance or session or on his own at home. In the 30s and 40s he played for dances in the nearby Clamper dancehall. In later years he took on students and had a lasting influence on the local music community. Dan Herlihy was a pupil, and remembers Jack using O’Keeffe’s accordion tablature with which to teach him. O’Connell provided tunes to Breandán Breathnach who treasured his large and rare repertoire. Along with the usual dance tunes, he was known for his large store of waltzes. Interestingly, though he played and taught the Sliabh Luachra music of O’Keeffe and Murphy, his ideal musician was the legendary East Clare fiddler Paddy Canny. Anytime Canny was heard on the radio conversation with Jack would stop until the tune ran out. “The Lighthouse” is remembered as a good-humored, easy-going man and a patient and thoughtful teacher.

Learned from: Pádraig O’Keeffe, Tom Billy Murphy
Taught: Dan Herlihy

jack-oconnell-and-wife-mary
Jack with his wife Mary

Taidhgín an Asail

Tadgh Ó Buachalla (anglicized as Timothy Buckley) aka Tadhgín an Asail (little Tadgh of the donkey) aka Tadeen the Fiddler aka Tadeen the Cobbler was a travelling music master from Park, Knocknagree active in the latter half of the 19th century. He also lived at various times in Kiskeam and Scartaglin. It’s likely he got his music from Corney Drew, and he passed that tradition to his pupils, including Din Tarrant and Tom Billy Murphy. He made his living travelling the countryside on the back of a donkey (a noteworthy mode of transport even at that time) and mending shoes when he wasn’t teaching music. His pupil Tom Billy would later adapt the ABC notation he used (as well as the knack for donkey-riding) when he became a renowned teacher himself.

At least one slide is still commonly called Tadhgín an Asail’s, and the polka known as The Cobbler may refer to him as well.

Learned from: Corney Drew
Taught: Din Tarrant, Tom Billy

William Fitzgerald

William Fitzgerald lived in the mid-19th century in the area around Ballydesmond–possibly Glenreagh or Lacka, but information on him is spotty. It seems he was a student of Corney Drew and became a travelling fiddle teacher himself. In 1866 he produced a manuscript of his repertoire which survives to this day. It was printed, in part, in Dan Herlihy’s Sliabh Luachra Music Masters, Vol. 2 (though misattributed to Corney Drew.) The Fitzgerald manuscript represents the repertoire and style of Sliabh Luachra before the craze for polkas and slides as we know them really took hold. It contains a great many waltzes, jigs, and reels, a few English tunes, and a number of polkas in a more “continental” style than what we would now identify as a Sliabh Luachra polka.

It has been said that Pádraig O’Keeffe “studied the music of Fitzgerald,” and by this we might take it to mean that he owned a copy of this manuscript and drew some tunes and settings from it.

Not long after the creation of the manuscript, it seems that Fitzgerald emigrated to America  (perhaps coincidentally, around the same time that Corney Drew himself emigrated) and what happened to him after that is not known.

The standard known as Fitzgerald’s Hornpipe (collected by Breandán Breathnach for the second volume of Ceol Rince na hÉireann from Molly Myers Murphy in 1967) is probably named after him.

Learned from: Corney Drew