well known characters, such as ‘Big’ John McMannus and John Joe McGuire also had a major influence in the musical direction the young McConnell was to take. “I had never heard traditional music played on the flute before”, explains Cathal, “but when I heard John Joe McGuire for the first time it just blew me away. I think it was the first time I had ever heard The Bucks of Oranmore”.


He goes on; “Traditional music wasn’t really cool in those days. It was actually regarded as a bit old fashioned. Big John McMannus had a huge influence on me then, and still has in many ways. A great man, with centuries of music in his blood”. John McMannus, now in his mid-80s, still teaches and plays the fiddle from his home in Aughakillymaude, Co. Fermanagh. “My father played the flute and sang a bit”, Cathal went on to explain, “like his father and grandfather before him, and he also played the accordion, but he was mainly interested in poetry and story telling. My mother was sort of refined and liked to speak in French. They both gave us the greatest encouragement.” In 1962 Cathal won the All Ireland (over 18) Championship in both flute and whistle against such luminaries as Matt Malloy and Seamus Tansey but, talking about it today, he plays that achievement down as modestly as he does the rest of his illustrious career.


Throughout the 1960s Cathal collected tunes and songs from a wide variety of sources, often travelling throughout Ireland in his quest for rare and interesting material. Sometimes he would be accompanied by the singer Len Graham, a lifelong friend and passionate song collector with whom he made an album much later in the 1990s.


Probably the most significant event in Cathal’s life around this time, and one that undoubtedly paved the way for his future success as an international musician, was his meeting with Robin Morton in 1965. Anyone who knows Robin will understand that he is a man of unfailing energy and ability: witty, intelligent, articulate, with a rare and remarkable gift for recognising and seizing a good opportunity when one presents itself. Cathal first came into contact with him when he was running a folk club in Belfast. At the recommendation of Fermanagh born singer and fiddler Tommy Gunn, Cathal was invited to play at the club and eventually the three of them, McConnell, Morton and Gunn, formed the


The Living Tradition - Page 36


group that was later to become the Boys of the Lough. As Robin is keen to emphasise; “When I first met Cathal and Tommy they were already quite well known and I was, if you like, a mere beginner in the Irish folk music scene. Their kind of music was a revelation to me and I felt truly privileged and honoured to be involved with them”. The rest, as they say is history.


The success of the band, despite its frequent line-up changes, is legendary, with more than 20 albums to their credit and upwards of 70 coast-to-coast tours of the USA. Cathal, however, who is the sole remaining founder member, takes it all in his stride, never for a second resting on his laurels and always looking to the future with music-making in mind.


“...plaintive and beautiful, soulful and deeply personal, like the echo of a voice from another world, or at least a world long gone by...”


In the words of Robin Morton, it is indeed a privilege to play with Cathal McConnell, as well as a challenge. I remember more than thirty years ago being asked by my old record producer in Norway, Halvard Kvale, what my greatest ambition as a fiddle player was, and whether there was any one individual in particular that I would like to play with were a sort of dream situation ever to arise. Instinctively I said Cathal McConnell, whose music I first became aware of in the early seventies.


I explained to Halvard that there was inherent in Cathal’s flute playing a tone quality and depth of expression unlike any other that I had ever heard, particularly in his slow airs. It was at once plaintive and beautiful, soulful and deeply personal, like the echo of a voice from another world, or at least a world long gone by. And to this day I have never heard it replicated. Sure, there is an abundance of great flute players - nimble, assured, brilliant in technique - but in my opinion none of them can produce


that elusive quality of musical expression that, in Cathal’s playing, seems to transcend music itself. And this translates to his singing too, and his whistle playing.


Seeing the Boys of the Lough in concert at Club 7 in Oslo in 1977 I remember thinking then how it was actually Cathal who was the real driving force behind the band, the one solid, reliable component who provided that subtle but essential thread of continuity throughout their performance - the outstanding multifaceted musicianship, the self-deprecating humour - never wavering, keeping everyone on their toes, his confidence and genius an inspiration to the others - consummate artistry, consummate stagecraft. And he hasn’t changed. He’ll never change. Again in the words of Robin Morton: “Cathal lives and breathes music”. And in spite of modern trends and tendencies he has never felt the need to compromise his musical integrity, staying true to himself whilst being a source of inspiration to others, always willing to share his creative gifts and displaying a personality which is humble to a fault.


“...Wherever he goes he brings light and harmony into a situation and people genuinely love and


respect him for it...” Having travelled and played extensively with Cathal over the last few years I have been given a rare insight into the mind of a true genius, a genius who proclaims quietly and politely to the world that, ultimately, he has nothing whatsoever to prove, and even if he did he would not allow the process to sully his basic humanity. For it’s not until you see the human side of Cathal that you appreciate how great a man he really is. He has an extraordinary ability to break down social barriers and create a level playing field with the combined qualities of compassion, empathy and encouragement as the energy force that makes him truly tick. I have never known anyone so modest, nor so generous and unselfish. Wherever he goes he brings light and harmony into a situation and people genuinely love and respect him for it.


“...Such is the essence of Cathal McConnell. As easily as he would give you the shirt from off his back he would freely give you the music from within his soul...”


On one of our car journeys north a few years ago we took a coffee- stop at Peggy Scott’s Diner at Finavon, near Forfar in Angus. As we were standing in the queue the lady in front of us turned around and addressed Cathal: “Last time I saw you, you were in Perth, and you played these two whistles together. It was magic. D’you remember?” In an instant Cathal whipped a whistle from out of his pocket and began to regale the lady, as well as everyone else in the restaurant, much to their utter delight and incredulity! A man in his sixties stopped eating his fish and chips and approached tentatively, “I’ve got ma box oot in the car if ye fancy a wee tune”. Suddenly we had a ceilidh going on, with smiling Peggy and the rest of the kitchen staff forming part of the audience from behind the food counter (Peggy has a photo somewhere to prove it!). Such is the essence of Cathal McConnell. As easily as he would give you the shirt from off his back he would freely give you the music from within his soul. Musically, he is an overflowing well.


It has to be said that Cathal and I don’t practise all that often, but when we do, we generally meet at the Anthony Woodd Gallery in Edinburgh’s Dundas Street on a Saturday afternoon. Gillian, in sales, is usually there to make us tea and scones and customers tend to just wander in and admire the pictures and hopefully enjoy the background music as well.


On one occasion an Irish couple appeared and loved the music so much that they ended up buying a painting for £12,000, encouraged in no small measure by Cathal’s wholly disarming sales technique – a sparkling display of double whistle playing and a full-on version of Mr Dunn! A career change was briefly contemplated.


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