Johnny B. Connolly - Bridgetown
Green
Linnet GLCD 1217; 42 minutes; 2001
The Josephine Marsh Band - I Can Hear You Smiling
Own
Label JMB 0002; 57 minutes; 2001
John Williams - Steam
Green
Linnet GLCD 1215; 46 minutes; 2001
Here’s a triumvirate of youngish box players, each with their own take on
the Irish tradition. First up is Dubliner Johnny Connolly, erstwhile member of
Anam, whose use of his middle initial ‘B’ thankfully distinguishes him from the
same named Connemara pair (the melodeon playing Johnny and his son, accordionist,
Johnny Óg Connolly). 
Johnny
B. has been based in the US since 1996, forging the partnership with guitarist
Aidan Brennan which forms the bedrock of Bridgetown, a substantial debut
album. Ever sprightly and brightly toned, Johnny’s accordion and melodeon
squeeze their way effortlessly around a collection of predominantly Irish
traditional tunes, though casting an occasional Francophile glance via a set of
Breton tunes (Ton Doubl Fishel) and a musette (Marcelle And Marcel).
From the other side of Ireland, accordionist Jo Marsh has garnered a
substantial reputation since emerging from East Clare with her self-titled
debut album in 1996, a splendid confection which highlighted both skilful and
sensitive playing. Somewhat overshadowed by her contemporary, Sharon Shannon,
comparisons became more obvious once Jo opted to form her own band a couple of
years back. Yet while these remain apparent (most notably in the use of bouncy
double bass and
the occasional quirky rhythm change), there’s more than enough originality and
sparkle here to augur increasing familiarity with The Josephine Marsh Band in
its own right. While Jo’s box dominates much of the proceedings, she’s at her
best when playing unison with Declan Corey’s scintillating mandolin (as on The
Egg set of reels or O’Shea’s waltz). Like many a modern Irish album,
tunes are punctuated by the occasional song, delivered with some resonance by
guitarist Tommy Carew.
Chicago-born,
Irish-American John Williams first made his name playing accordeon and
concertina with Solas before setting sail on a solo career which has
incorporated film soundtracks and guest spots on many an album (including most
latterly Tim O’Brien’s Two Journeys). A dab hand on the whistles, flute
and bodhrán too, John’s first solo album since his 1995 eponymous debut is high
on both production values and sheer expertise. Williams always opts for
subtlety above simply demonstrating his virtuosity and reinforces this message
by employing some of the most masterful accompanists around (including
guitarists Dennis Cahill, John Doyle and Randal Bays). However, the undoubted
standout tracks feature his musical colleague from the Windy City, Liz Carroll
whose majestic fiddling adds even further dimensions to reels such as Rolling
Down the Hill or Johnny O’Leary’s jig. Unquestionably, this is one
of the best Irish traditional albums of the last year.
This review by Geoff Wallis was originally written for fRoots
magazine – www.frootsmag.com/.