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Sessions The Bus Pass Ceili Band - Rice's International Bar, Newtownards Reel - The Boy in the Boat Jackie Flynn (accordion), Bernie Stocks (fiddle), Davy Graham (guitar-bouzouki), Trevor Stewart (pipes), Dianna Skillen & Nigel Boullier (fiddles), Paul Bell (flute), Ian Hull (bodhran). Recorded 4th January 2023. Jig - Connie the Soldier Jackie Flynn (accordion), Bernie Stocks (fiddle), Davy Graham (guitar-bouzouki), Trevor Stewart (pipes), Dianna Skillen & Nigel Boullier (fiddles), Paul Bell (flute), Ian Hull (bodhran). Recorded 4th January 2023. Ards Peninsula Sessions - Coach Inn, Portaferry Reels - Austin Tierney's & Return to Miltown From the left; Shirley Howard (fiddle), Davy Graham (mandola), Anita Anderson (piano accordion), Bob Torrens, Ernie Swain, Marie & Deirdre Shannon, Dianna Skillen (fiddles). Recorded 4th November 2012. Reels - Sailing into Walpole's Marsh & the Galtee Ben Healy (flute), Davy Graham (mandola), Bob Torrens, Ernie Swain, Marie & Deirdre Shannon, Dianna Skillen (fiddles), Ian Hull (bodhran). Recorded 4th November 2012. Jig - Sean Ryan's No. 3 This jig was known as Sean Ryan's Number 3 in the Comber and Balloo sessions because it was played in a set after two other compositions of Sean Ryan's. It is generally titled the Dooney Rock . Davy Graham (mandola), Shirley Howard, Bob Torrens, Ernie Swain, Marie & Deirdre Shannon, Dianna Skillen (fiddles). Recorded 4th November 2012. Ards Peninsula Sessions - The Portaferry Hotel, Portaferry Reel - Music in the Glen From the left; Brian Harte (guitar) off screen, Liam McQuillan (bouzouki), Ian Hull (bodhran), John Savage & Ernie Swain (fiddles), Ben Healy (flute), Bob Torrens (fiddle), Trevor Stewart (pipes). Recorded 2017.

Dances, Box Socials, Surprise Parties & Games! When I visited John Jess (1909 – 2010) in 2009 he was quick to show me his fiddle that he had played for over 90 years; he proudly commented “you couldn’t imagine the amount of money this wee lady’s made for me!” [John started playing the fiddle at the tender age of 7 purely because he loved the music. After many years playing at dances and social gatherings he was still playing the fiddle at home into his 90s. Clearly his love of fiddle music was his main driver; however earning money was also a factor.] I asked John about the various dances he had played at; these were numerous, where dances were regularly held on Friday nights in various local halls and regular dancing classes were held two or three nights a week in different halls within the area. The dances were similar to those that John Simpson, Willie McCloy and Willie Savage played for. John described the 1920/30s craze for “Surprise Parties” where a number of folk were organised by a friend to arrive at an unsuspecting house for a private party and dance, usually to celebrate a birthday or the like. “Box Socials” or “Canadian Box Socials” were also popular. At these social functions young ladies would bake a cake and put it in a box. These were auctioned during the latter half of the evening and the gentleman who was the highest bidder not only got the cake but walked the young lady home as well. John sadly declared that the women ruined the Box Socials as they would put a distinguishing feature on the box, or tie the box with a recognisable ribbon to ensure, by prior arrangement, that the man of their choice successfully bid for them. But John’s most surprising reply was to my question; “Well John, you played at loads of dances in all these various halls, but did you ever play in Church Halls?” “Oh, I’d say I did.” “For dancing?” “No, no, no. For games.” I enquired what the games may have been. John, aged 100, lapsed into silence, but his daughter Betty suggested these may be; “the farmer wants a wife”, “musical chairs”, the grand old Duke of York”. Two years later when I discussed this with Will Patterson and Thomasene Rodgers they had recollections of “The Haymaker’s Jig”, “The Waves of Troy (I assume Tory)” and “Sir Roger” (which I assume is short for Sir Roger de Coverley). A social held in 2nd Dromara Lecture Hall in connection with St John’s Parish Church Choir, was reported in the Leader, 1st February 1947, which stated; Mr James Pollack, who acted as M.C., introduced a number of popular games, the music being supplied by Messrs. James Steenson and James Jess. Prizes for “musical knees” were won by Miss J. Lindsay and Mr J. Fee, and for the “honeymoon express” by Miss M. Maguire and Mr J. Rankin. (Dromore Leader 1st February 1947) In reality then, whilst Church Socials weren’t called dances many, in reality, weren’t far short of them. Surprise Parties The following report of the “greatest surprise party ever held in this neighbourhood” was described in the Dromore Leader ; “The greatest “surprise party” ever held in this neighbourhood took place on last Friday evening at Mr A. Chambers, Ballykeel. Over 400 persons were present, young and old, great and small being there – indeed one individual humourously remarked “they were there from the four winds of the earth.” At any-rate there can be no mistaking the popularity which Mr. and Mrs. Chambers enjoy. When it became known that Mr. Chambers was leaving the Cross Roads and going to reside at Sunnyside, a little further down the road, having sold his farm to Mr. Richard Graham, the opinion of all was that he would have to be given “a night,” and this was truly carried out. The accommodation, large though it is, was taxed to its fullest capacity in dealing with such a numerous company, and all bent of course on a jolly night’s amusement. The spacious barn, which is over 100 feet long, made an impromptu ballroom and in this the merry throng of dancers chased “the fleeting hours” until six o’clock the following morning. Messrs. James Alexander and Alex. Young having their “violinistic” abilities tested to the fullest extent. Mr. Joseph Alexander as M.C. had “some time” discharging the duties connected with the office. The catering for the wants of the mammoth gathering was carried out in Mr. Chambers’ dwelling-house, The Misses Jess, Miss Lily Walsh and Miss Clarke having a busy time as teamakers, and Messrs. James Murdock, John Alexander, and Dick Young as stewards. During the night songs were given by – Miss Nellie Kingan, The Misses Graham, Miss L. Stewart, Messrs. William Wright Skelly, John Patterson, John Spence, Jack Eaton, Abraham Martin, and James Alexander. Before separating in the morning, Mr. Lavery, on behalf of the organisers of the event, thanked all for coming. He specially thanked the ladies who brought cakes, and the teamakers and stewards for the manner in which they had put forward the tea. He was sure he was voicing the sentiments of all when he said they rejoiced to know that Mr. and Mrs. Chambers were not leaving the neighbourhood, but only going a little further down the way. At M’Adams Cross Roads they would still be on the borders of Ballykeel. (Applause.) To their new home they certainly carried with them the best wishes of old and young. (Hear, hear, and applause.) Dromore Leader 11th February 1922 Quilting Parties Quilting Parties are not generally associated with Irish culture, being most popular in North America, particularly the Appalachians. Quilting Parties were a social gathering where women met up to make a quilt and have a chat whilst doing it. The custom was generally linked in producing a quilt for a couple about to be married or a girl shortly “coming of age”. The soirees generally took place through the day, with the men folk joining the company after their normal day’s work was done. The party then took the traditional role of music, dancing and merrymaking. Quilting parties are known to have taken place in the Low Country, around Ballyhalbert. The following description, which dates around the 1890s, was collected from Sally Young by Mark Thompson and Dick Glasgow; James’s wife, Elizabeth Bailie, was a quiltmaker and would hold quilting parties when 8 – 10 other local women would come to the Bailie’s farmhouse and spend a few days making a quilt. When the quilt was done and the men had come back from their day’s work they would clear the barn and hold a celebratory barn dance for the completion of the quilt. (Mark Thompson from Sally Young, August 2000. Sally is from Ballyfrench, a townland just south of Ballyhalbert.) Another County Down reference to quilting parties was reported in the Dromore Leader in 1932, when it reported the death of William Coulter, a weaver born around 1834; Mr William Coulter, Ballymacormick died on 28th October 1937 at a ripe old age. He was born at the Rock, Ballyvicknakelly. Mr Coulter in his early years took a keen interest in social evenings and dances, especially the old “quilting dances. Dromore Leader 5th November 1932 House Warming Parties House warming parties were another opportunity to indulge in the obviously very popular past-time of dancing; this is a brief description of one such party at well-sinker Thomas McClurg’s new cottage at Crossgar, Dromara as reported in the Dromore Leader in 1927. (Two of Thomas’s sons, Jimmy and Charlie were well-known dance music fiddle players.) House Warmer at Dromara A most enjoyable “house warmer” was given at Crossgar, Dromara, a few evenings ago by Mr. Thos. McClurg and his sons, who have lately taken over occupation of a new cottage. About fifty guests were present, and after a couple of hours of dancing to the strains of melodious music contributed by Messrs. Chambers and Morgan, tea was served in excellent style Mrs. W.J. Moore, The Misses Rowan and Miss. M. Thompson. Dancing was subsequently indulged in with vigour and delight, songs being rendered at intervals by Mrs W.J. Moor, Mrs. J. Moore, Messrs. T. McClurg, J. Steele, W.J. Moore, and others. Before dispersing, Mr. Thos. Fee proposed that the best thanks of the company be given to Messrs. McClurg for the sumptuous manner in which they had been treated, and wished them long life and happiness in their new home. Mr. Wm. Maguire, seconding, the vote was passed by hearty acclamation. (Dromore Leader , 26th November 1927)

The Gray & Moore Manuscripts Robbie & Davy Gray Robbie and Davy Gray were two fiddle playing brothers who were raised in Ballynahinch and played regularly together for 60 years. Robbie (1909 - 1991) married and lived in Ballynahinch throughout his life where he worked as a cobbler, the same trade as his maternal grandfather William Shields. Following the death of their mother, Davy (1917 - 1990) went to live with Tommy McCormack's family at the Burren, a few miles west of Ballynahinch on the road to Dromore. He lived there for the remainder of his life. He worked on the roads carrying out maintenance and took pleasure cutting men's hair in the evenings. John Rooney (piano accordion), Robbie & Davy Gray (fiddles) & Stanley Carson (button accordion), at the Annahilt Official Unionist annual meeting, c.1982. Robbie Gray Davy Gray Jim Moore Jim Moore (1921 - 2018) lived all his life in Dromara working as a lorry driver and van driver. He initially learned the fiddle from Sammy Thompson. Other influences on his playing were Robbie Chambers of Finnis, who called regularly to the family home, and Robbie & Davy Gray of Ballynahinch and the Burren. Jim Moore playing a few tunes at Davy Gray's house at the Burren, c. 1983. Jim Moore Part 1 Jim Moore Part 2

Map of Lecale The McDonalds Will's Billy Curran Charlie Stewart Johnny McKeating Hughie McComb, James Robinson, Paddy Brennan

Various Local Dances Dances were common throughout County Down through numerous generations. The type of venues varied in the extreme. At one end of the social spectrum the gentry and nobility were holding functions and balls in the "big houses", which included many of the European dance forms that may have in vogue at the time. Many of these dances were passed down to the commonality. At the other end of the social scale the common folk held a variety of dances, some regular and organised, most impromptu and held in cottages and farms. The following dances are a small number of dances showing the variety both geographically and type of venue, which range from farms, barn lofts to school houses. Much of information has been passed down through several generations of fiddle players or dancers. Other sources are gleaned from local newspapers of the period. Kearney Village School-House & Tara Ned McCarry, who was raised at Craigarodden Upper, ran a dancing class in the School-house in Kearney Village where he lived in later life. He also played for dancing at Tara. Both Kearney and Tara are on the south-eastern tip of the Ards Peninsula. Above; Kearney Village Left; Millen Bay, photo taken from Tara. Kearney where Ned McCarry lived, is on the horizon in the centre. The deserted clachan of Craigarodden Upper, where Ned was raised, is in the hinterland to the left. The Ballyclander Ball Surely one of the smallest (size-wise) regular dances in County Down must have been the “Ballyclander Ballroom”, as it was affectionately known locally. The “Ballroom” measured only 22 x 18 x 15 feet, and was reputed to have up to 30 people “bunged” in each Saturday night, and is thought to be Ballyclander Orange Hall. Ballyclander is a townland about a mile from Church Ballee, near Ardglass in Lecale. Above; The Ballyclander Ballroom in the past. Above; The Ballyclander Ballroom in 2012. The dance was at its peak in the late 1800s, and like many of the dances it has been immortalised in local poetry. “The Ballyclander Ball”, by Alec Millar of Ballyclander, notes some of the popular dances as; “an Irish reel”, “the Ironmonger’s Jig”, and the “cake walk”. The Ballyclander Ball by Alec Millar Och, so many purty faces I’m delighted for to see Of wee childer, wives and sweethearts That ornament Ballee So, if yiz pay attenetion An’ lissen wan an’ all, I’ll sing to you a ditty On the Ballyclander Ball. Chorus; There was Jack Dickson, from Australia That chap of high renown, And Professors Neill and Kelly From the Scadden and the Town, But the names of the nobility I cannot not recall That gathered on that famous night To patronise the Ball. 2. When the big wigs all assembled The tables they sat roun’; Sure they supped their porter up like ducks And with whiskey rinshed it down, There waz sassages and fill-me-quick, Fat puddins, pies, an’ all, And potted harns and pigsfeet fresh From Johnny Morgan’s stall. Chorus; There wuz the Thompsons from Ballyclander, And the Stewarts just o’er the way; Montgomery from Ballylig And Caven from Brimstone Brae. Och, such a grand assimbly You cudn’t find at all As came that night with all their might To patronise the Ball. 3. When the supper it was over The dancin’ did begin, And their heads and feet went reelin’ For they had the whiskey in; And such a bit of tum’lin’ Yez niver sa’, I’m sure, There wuz bits of eyes and noses found Nixt mornin’ on the flute. Chorus; There was John and Pat Fitzsimons, And our ould friend Daniel Carr – To find any better sportsman A man would travel far. Some big nights we’ve spent together And upon their knees they’d crawl, Out of their beds at midnight To patronise the Ball. 4. I thought I niver wud survive, For cud I move a peg When Fitzsimons sang “Still his Whuskers Grew” And “Maria’s Wooden Leg.” Then Professor Neill got on the boards And caused a loud whiroo With “Pat Miles the Irish Poet” And “Cock-a-doodle-do”. Chorus; There wuz Albert Conn, from Ardglass, And Charlie Martin too; Jack Lascelles from Downpatrick, Three Jolly boys and true, Now every man wuz dressed to death The regular fal de dol, ‘Twas a pity we’d no ladies axed To patronise the Ball. 5. Then Daniel Carr an Irish reel He dances both nate an’ trig, While Professor Kelly he did fut “The Ironmonger’s Jig”, Jack Lascelles danced the cake-walk And some cudn’t walk at all, When they tried to stan’ without a hoult It was tumble, rise and fall. Chorus; There wuz Millar from Ballygallum And Douglas Napier That gallant son of Erin Who’s respected far an’ near, With his artistic handicraft He adorned our clubroom wall With burnt-stick pictures ere he came To patronise the Ball. 6. The speeches that thim big bugs made Wuz illgant to hear, But they hadn’t the eddycation To converse with young Napier. He spoke on emigration To the lands across the say, Ould Ireland’s wrongs, the rights of man And the rents they has to pay. Chorus: There wuz McMechan for Ballybrannagh, George Martin from Lismore, Hugh Carson from Corbally, We had them all before. They’re the essence of good breedin’ And whatever might befall, Their prescence we relied upon To patronise the Ball. The Clea Ball In the late 1880s the Clea Ball was a dance regularly held at Moore’s of the Clea, in the half loft in the yard of Robert Moore’s farm on Clay Road a few miles north of Killyleagh. The Moore Family were regulars at the dance at the New Line Tennis Club. Above; The half loft to the rear Robert Moore's farm at the Clea, where the "Clea Ball" was held. Above; The derelict farmhouse of Robert Moore on the Clay Road, close to the Clea Lough. This poem, recalled by Mrs Lindsay (Willie Lindsay’s mother) was written, in memory of the Clea Ball, in the late 1890’s. A Few Lines in Memory of Clea Ball Snoring Bab and Walloping Jean, and baby beetle was on the scene And John the son did wink his best, to see that no one was oppressed Hans Stephenson with two in hand, did make a speech but not on land And old Jock Boyd with his game leg, Soapy Sammy minus Meg The ladies they were rather scarce, and some of them a little fierce The Miss McG’s they took the Ball, for style and appearance that was all But Tailor Moore he did not go, he thought it better not just so But Miss Delina she was there, quite a specimen that’s rare Murland Henderson who deals in chaff, and buttermilk he made them laugh J McConnell he did not like, to let the half crown out of sight But on the night that May was wed, John was numbered with the fed Two masons from the Board you know, the ones that built the byre O’ And D proposed to Miss McG, but oh how quick she ran away Of carpenters there was just a few, Drunken Hayes and the sober Jew The Dairyman’s wife with her grey head, counts loss and profit all night in bed But husband Tom could not be matched, so all that night he was on watch As for S Cochrane we cannot say much as he is considered a kind of lurch The Misses Marshall they thought it best, not to meddle with that nest As delph and china it went thither, it did not suit them altogether They had fiddler Edmonds on the drum, to cause vibration and give room He sighted long and took good aim, and then at last he got the range As D. Moore with lamp in hand, did early come at the command And later on came gentle Ann, with loving smiles she did him fawn Young Cursing Moore from Lisnaw Brae, had got tight somewhere on that day He was not pleasant to behold, just learned from father P I’m told Old Mrs Connolly was there also, the lies as usual they did flow And to these lines I draw a close, to the next month to see how goes. Ardkeen School-House The Ardkeen and Ards Grand Social Reunion was held in the Ardkeen School-House on Easter Monday night 1908. It commenced at 8.30 and lasted until 3 o'clock the following morning. Tea was served at 11.30. Many songs were sung, the main contributors being Mrs J H Dynes and Rev J Nolan P.P. The dance music was played by Francis Donnelly the fiddle player. Clanvaraghan School-House Clanvaraghan School had two classrooms which a dividing stud wall. This could be removed to provide more space. During the 1930/40s the school rooms were opened up for dancing. John Burns, who lived in close proximity played there with, on occasion, James and Gus McElroy. Right; The long disused Clanvaraghan National School was built in 1913. Photo in 2012. McElroy's Hall, Drumnaquoile McElroy's Hall was to the rear of McElroy's pub at Drumnaquoile. Wednesday night sessions as well as impromptu sessions were a regular occurrence for many years. The McElroy Céilí Band played there regularly - whilst members of the family regularly played in the sessions. Greyabbey Village Hall, Greyabbey In the early 1990s Philip Robinson and Will McAvoy started a weekly dancing class in Greyabbey Village Hall. Both Will and Philip were from Greyabbey (Will was raised on Mid-isle, an island in Strangford Lough, off Greyabbey connected to the peninsula at low water by a causeway). Will had regularly attended Mrs Jane Simmington’s house dances where Jackie Donnan played the music, so Jackie was approached to play the fiddle. The dances were taught initially by Mrs Jeannie Peake who brought her husband James and her sister Mrs Christina McBride along. Prior to the start of the class Jackie Donnan had assisted Mrs Peake and Mrs McBride in writing down the dances and refreshing any parts that they may have forgotten over the years. left to right; Nigel Boullier, Jeannie Peak, Jim Cuthbertson, Lydia McMullen, Jackie Donnan, Margaret Davidson, James Peak, Tina McBride Philip and Will’s intention was to keep the old local dances alive and they found a willing partner in Jackie Donnan. The old local dances were those defined as Country or Old-time Dancing including figure dances, square dances and round dances, as danced throughout the community in the 1800s, before being superseded in many areas in the 20th Century by céilí dancing, ballroom and sequence dancing. The dance continued for 24 years, ending in 2016 due to a fall off in numbers. Greyabbey Village Hall, 2006. American students visit the weekly dancing class Back row - US student, Philip Robinson, Andy Brown, US student, John Bailie, Phyllis Goodall, US student, Hammy Lawther, Betty Schofield, Betty Woods, Margaret Gibson, John Davidson, Jim Cuthbertson Middle row - Rachel McAvoy, US students Front row - two US students, Nigel Boullier (fiddle), Jackie Donnan (fiddle), Bob Traite Map showing Locations of; (a) Crossroads Dancing & Outdoor Events (b) Various Local Dances

Jim Moore Part 1 Jim Moore learned most of his fiddle music from initially Sammy Thompson, then Davy and Robbie Gray. He was also influenced by Robbie Chambers. He had a large collection of tunes in manuscript, many written by Jimmy Ward, Sammy Thompson and Davy Gray, including many written out by himself. He did not play from music, neither did his compatriots, but he used his collection for reference. In the years following his death his daughter, Linda Poole, contacted me and gave his collection in 2020. 1 Hornpipe - The Tinware Lass (HD ref JM360) 2 Hornpipe - Tim the Turncoat 3 Hornpipe - The Leitrim Fancy Hornpipe 4 Hornpipe - The Kildare Fancy 5 Hornpipe - The Plains of Boyle 6 Hornpipe - The Fairies 7 Hornpipe - The Sherwood Rangers 8 Hornpipe - Down the Glen 9 Hornpipe - Tomorrow Morning 10 Hornpipe - Pretty Maggie Morrissey 11 Hornpipe - Off to California 12 Schottische - The Danish Polka (HD ref WS130) Hornpipe - The Honeysuckle Hornpipe 13 Polka - The Wearied Soldier (HD ref JW304) Hornpipe - The Star Hornpipe (HD ref DG372) 14 Hornpipe - The Greencastle Hornpipe (HD ref JD148) 15 Hornpipe - The Galway Hornpipe 16 Figure Dance - The Siege of Ennis Hornpipe - The Stack of Barley 17 Hornpipe - The Man from Newry (HD ref DG371) Jig - Kitty's Ramble 18 Hornpipe - Chief O'Neill's Favourite 19 Mazurka - Untitled Mazurka (HD ref JD152) 20 Mazurka - Polka Mazurka locally titled The Spanish Mazurka (HD ref WS115) 21 March - Tyrone's Ditches (HD ref JM363) 22 March - Shane O'Neill's March 23 March - The Bonnie Lass of Bon-Accord (HD ref WS115) 24 Waltz - Mrs Elder (HD ref JM364) 25 Waltz - Sweet Sixteen (HD ref ST356) 26 Waltz - The Fairyland Waltz (HD ref JW338) 27 Quadrille Tune 2/4 - 2nd of the Lancers generally titled I Wish I were where Gadie Rins or The Hessian's March (HD ref JW307) 28 Figure Dance - The Sweets of May (HD ref WMcC94) different version 29 Quadrille Tune 2/4 - Highland Whiskey (HD ref WS122) generally titled Niel Gow's Farewell to Whisky Jig - My Darling is Asleep

Bob Davey, Harry McCracken, Jackie Donnan, Davy Dillon, Geordie Anderson c. 1969 Davy Dillon, Jackie Donnan, Bob Davey, Harry McCracken c. 1968. David Lowry - Toye, 2021 Bob Davey, Harry McCracken, Jackie Donnan, Davy Dillon, Geordie Anderson c. 1969 1/12 Musicians from the Comber & Balloo House sessions (c. 1965 - 1982) Geordie's Wonder Band - Donaghadee Folk Club, Tivoli 1976 Ronnie Crutchley (guitar), John Wilson (guitar), Ernie Swain (fiddle), Geordie McAdam (flute), Stanley Mooney (B/C accordion) Geordie's Wonder Band - Donaghadee Folk Club, Tivoli 1976 George Russell (bodhran), Essie McHugh (banjo mandolin), Ronnie Crutchley (guitar), John Wilson (banjo), Ernie Swain (fiddle) Noel Lenaghan, Martin McGinley, Nigel Boullier - St Johnston 2022 Geordie's Wonder Band - Donaghadee Folk Club, Tivoli 1976 Ronnie Crutchley (guitar), John Wilson (guitar), Ernie Swain (fiddle), Geordie McAdam (flute), Stanley Mooney (B/C accordion) 1/11 More Formal Davie Wylde, Ernie Swain, Geordie McAdam - Gormanston, 1976 Dianna Skillen, Nigel Boullier, Josie Nugent & Geordie McAdam - Edenderry, 2014. Dianna Skillen & Mairéad Ní Mhaonaigh - Portrush c.1980 Bernie Stocks, Nigel Boullier, Dianna Skillen, Davy Graham - Sam McCaughey's Wedding, Dundonald 2007 Bernie Stocks, Andy Dickson, Russ Bradburd - Ormeau Road, Belfast 2012 Dianna Skillen & Mairéad Ní Mhaonaigh - Portrush c.1980 1/7 Sessions - various Davy Graham, Dianna Skillen & Bernie Stocks -Fealty's c.1992 Brian Montague - Fealty's, 2002 Patrick Alexander, Davy Lennon, Nigel Boullier, Geordie McAdam - Fealty's, 2019 Davy Graham, Dianna Skillen & Bernie Stocks -Fealty's c.1992 1/9 Fealty's, Bangor (c. 1969 - 2023) Davy Lennon, John Flack, Foxy Carberry, Nigel Boullier, Geordie McAdam - Foxy's Shed, Bangor, 2020 Nigel Boullier, Josie Nugent, Brian Stafford, Davy Lennon, Dianna Skillen, John Flack - Court House, Bangor, 2022 Darren Mag Aoidh, Deirdre Shannon - Court House 2023 Darren Mag Aoidh, Deirdre Shannon - Court House 2023 Courthouse Program 2024 Darren Mag Aoidh, Deirdre Shannon - Court House 2023 1/9 The Court House, Bangor (2022 - 24) Paul Bell, Bernie Stocks, Nigel Boullier, David Williams Maddens, Belfast c. 2017

Map of Central Down (Ballynahinch) The Flavelles of the Spa Willie McCaughtry & Hugh Wade Willie Harrison, John & James Stevenson John Kinghan Bertie Carlisle & George McKelvey Pat & John McCormick James & Maggie McLeigh, James & Davy Mullan

The Edmond Manuscript Jimmy Edmond (1873 - 1935) was a fiddle player from the Curragh, a mile south of Killinchy in East Down. The manuscripts below have been handed down from Jimmy Edmond to his niece Mary Jane to Jackie Donnan to myself. Jackie Donnan met Mary Jane on the road near Derryboye in 1951 and expressed interest in the Edmond's jig The Pleasures of Summer. He had heard about Edmond's playing of the tune from his mentor Willie McCloy. Mary Jane called with Jackie a few days later and gave him the one page of Jimmy Edmond's manuscripts that contained the jig. Sadly the remainder of the Edmond manuscripts were burnt. 1 Reel - Captain Bounce (HD ref JE181) Reel - Fight about the Coals (HD ref JE181) [See also Captain Bounce transcribed by Willie McCloy (HD ref JS85). There is a vast difference in the bowing between Jimmy Edmond's version and that scribed by Willie McCloy. T his is particularly interesting as they only lived a couple of miles apart. ] 2 Jig - Sheelin Agra (HD ref JE180) Hornpipe - Jack's the Lad (HD ref JE179) 3 Jig - The Pleasure of Summer (HD ref JE180) 4 Jig - Happy to Meet (HD ref JE179) Jig - Paddy get up (HD ref JE179) Jig - Paddy O'Carrel (HD ref JE180 )

Seamus Sands These audio clips were recorded by Seamus Sands for his albums Across Bridges , 2015 and A Deep Pool , 2018 and are presented here with his kind permission. The explanatory notes are taken from the album notes and written by Seamus himself. Reel - The Blackbird The first is my interpretation of a lovely Co. Down reel that is included in Nigel Boullier’s Handed Down book on Co. Down fiddle playing. Nigel learned the tune from fiddler Jackie Donnan and I feel the lovely melody suits being played slowly. The Blackbird (Reel) Seamus Sands 00:00 / 01:47 Reel - Sleeping Maggie Drowsy Maggie is perhaps one of the most commonly played session tunes, but this unusual 4-part version, titled Sleeping Maggie , comes from an undated manuscript of Co. Down fiddle player James Ward, who died in 1944. According to Nigel Boullier, Jimmy Ward was known for adding parts to tunes and it is possible that this version was his own creation. I like the fact that the unexpected third part at first doesn’t seem to fit but after a while it does seem to blend and give energy to the tune. Sleeping Maggie (Reel) Seamus Sands 00:00 / 01:19 Figure Dance - Bessy Black A six-part dance tune, also known as Betty Black , once common in Down and Armagh but no longer widely played. Not the typical rhythm of session tunes and I sometimes think the tune has a baroque feel to it, especially when played at a lower pitch, and I play it on a fiddle tuned down two tones. This version comes from my flute-player friend Dermot Rafferty and was recorded by his uncle, Hugh Savage, in 1952. Bessy Black (Figure Dance) Seamus Sands 00:00 / 02:22 Reel - The Silvery Bar The Silvery Bar is one of my own compositions and I play these tunes on the fiddle I made and for this last tune I’ve no excuses …..my fiddle, my tune, my playing! The Silvery Bar (Reel) Seamus Sands 00:00 / 01:23 Reels - The Carrickmannon Lasses / The Wind that Shakes the Barley I learned the first reel from Co Down fiddler Nigel Boullier during an enjoyable visit to share a few tunes. He collected it from fiddler Jackie Donnan who had learned it from fiddler Willie Savage. Carrickmannon is in Co. Down. The well-known Wind That Shakes the Barley is one of the first I learned from Co. Armagh fiddler Jimmy Burns and was a real favourite of the older players and ceili bands in the area. This is my interpretation of a quite ornate version in the Donnellan collection. The Carrickmannon Lasses / The Wind that Shakes the Barley (Reels) Seamus Sands 00:00 / 02:45 Barndance - Jimmy Doyle's Co. Down fiddle players Nigel and Dianna Boullier gave me the first barn dance after a very enjoyable day at their home exchanging stories and tunes. Nigel got the tune from his friend Jim Moore with whom he played weekly for over eight years. Jim in turn learned the tune from another Co. Down fiddle player, Jimmy Doyle, and Nigel includes it in his book Handed Down with some history regarding the player. There is a distinctive G-sharp note at the end of the second part that gives the tune something special and perhaps unexpected. Jimmy Doyle's Barndance Seamus Sands 00:00 / 01:27 Flings - Jimmy Ward's / Craigbuy House On Across Bridges I included tunes from Co. Down fiddler Jimmy Ward (d.1944). I’ve enjoyed playing tunes from this player that were made available through Nigel Boullier’s work and this is another of his tunes that appeals to me. My source for the second tune is John Macpherson Mulhollan's A selection of Irish and Scots tunes collection (Edinburgh). The title may be an alternative spelling of Craigboy, a townland in Donaghadee, Co. Down. It appears next to The Donaghadee Hunt , which I also play on this recording. Jimmy Ward's / Craigbuy House (Flings) Seamus Sands 00:00 / 02:31 Jig - The Donaghadee Hunt The Mulhollan collection (Edinburgh) was my source for the second jig. The Donaghadee Hunt Seamus Sands 00:00 / 01:06 Figure Dance - The Sweets of May The Sweets of May is a 3-part dance tune most associated with Co. Armagh. This Co. Down version appears in Handed Down and came from the playing of Jackie Donnan who learned it in the 1950s from Willie McCloy. Unlike other versions, it doesn’t have the first part repeated. Figure Dance - The Sweets of May Seamus Sands 00:00 / 02:14 Reel - The Grain of Tea The Grain of Tea is another tune I sourced from Handed Down. In my earlier solo recording, I played an unusual version of The Cup of Tea….. here’s another tea-themed tune! The Grain of Tea Seamus Sands 00:00 / 01:26 Mazurka - Rockin' the Cradle I’m delighted to be joined by my three fiddle-playing daughters, representing a sixth generation of fiddlers, for these mazurkas. The last tune is one I first heard at a session in Drumnaquoile, Co. Down quite a few years ago. This last tune is included in Handed Down. Mazurka - Rockin' the Cradle Seamus Sands 00:00 / 01:20 Air / Hornpipe - The Besom / The Man from Newry The Besom is a simple, but catchy, song and the first that my great-grandfather Sands taught his seven fiddle-player sons, including my grandfather. It was played and sung to me by Colum Sands who has words that start “As I was going to Newry …..” . The song with a similar chorus has links to Tyneside in the late 1700s and to Scotland. A version of the same tune appears in Levey’s 1858 Dance Music of Ireland as The Besom . The besom is a broom made of heather. The Man from Newry appears in O’Neill’s but isn’t a tune I ever heard when growing up in Newry! The Besom / The Man from Newry Seamus Sands 00:00 / 02:40 Set Dance - The Old Lodge Road / Rodney's Glory I grew up in Newry, a town bridging both counties Down and Armagh and many of the first tunes I learned there were set dances, which were played at a relaxed pace. The Old Lodge Road is one such tune that has remained with me from that time and it reminds me of Comhaltas Ceoltóirí Éireann sessions in the old Newry library in the mid ‘70s, with my father at my side to encourage, and the older players patiently sharing. A lot of the tunes were set dances, barn dances, marches, mazurkas and airs, many with a strong Scottish influence. Some of the local players that inspired at those sessions were Willie McSherry, Bertie Trodden, Paddy Rafferty, and Sean O’Driscoll. Rodney’s Glory is also one of my favourites and there is something that keeps bringing me back to both these tunes. The Old Lodge Road / Rodney's Glory Seamus Sands 00:00 / 04:12

Manuscript Indexes The various tune types are self-explanatory (as they relate to various dances e.g. reels, jigs, mazurkas), with the exception of Quadrille Tunes. Fiddle players in East Down generically called tunes played for the dancing of Quadrilles (and their associated sets) "Quadrille Tunes". These include single jigs, double jigs, polkas and marches, and shades in between. Reels Jigs & Slip Jigs 6/8 Quadrilles, 2/4 Quadrilles, 4/4 Quadrilles Polkas Hornpipes Mazurkas, Marches Schottisches, Strathspeys, Flings Barndances, Waltzes, Varsovienna Tunes Figure Dances, Country Dances, Round Dances, Irish Dances, Planxtys, Airs

Fiddle Players and their Manuscripts It is generally perceived that, since traditional music is an aurally transmitted culture, musicians did not regularly use standard written musical notation to record, teach or transmit their art. James O’Neill’s gift for transcribing tunes is well-known, but it was probably not as rare as is generally thought. Clearly his father John (1837 – 1883) was musically literate as Francis O’Neill recorded that James had several volumes of manuscript music compiled by his father (Irish Folk Music , Francis O'Neill, Chicago 1910, page 52). In County Down many fiddle players from the mid 1800s were recording their music in their own hand-written manuscripts e.g.; John Simpson (1836 – 1917) John O’Neill (1837 – 1883) William Hogg (1844 – 1915) Robert James Quinn (1854 – 1930) Willie Wallace (1860 – 1929) James O’Neill (1862 – 1949) Jimmy Ward (1865 – 1944) James Coey (b. 1870) Jimmy Edmond (1873 – 1935) Davy Carse (1874 - 1964) Arthur Coey (b.1881) David Boyd (b.1884) Addy Quinn (1885 – 1971), Willie McCloy (1886 – 1959), Jimmy McElroy (1892 – 1982). The fiddle players noted above were all born in the 1800s – many more fiddlers born after 1900 were also musically literate. Map showing where fiddlers, that were compiling manuscripts, lived and played their music.