Mozaik – “Changing Trains”

(Compass Records 2007)

Andy Irvine and Donal Lunny have long been recognised as prime movers in the popularisation of Irish Traditional music. From the early ‘70’s both were hugely influential in taking a tradition that had turned in on itself somewhat and introducing it to outside influences that both re-vitalised the music and made it accessible to an audience that looked outside Ireland for its musical interests. That they accomplished this without betraying the essential spirit of the music is a testament to their skill and vision. Planxty, the group that Andy and Donal along with three others founded, went on to spread the word about Irish music all over the world and it would be fair to say that it would be difficult to imagine where the music would be today without its influence. Planxty made its last album in 1982 and its various members went their separate ways, coming together for one – off gigs and a live album in 2004. Andy and Donal have each played with a number of formulations over the years. Mozaik really is a mosaic of international stars. The two Irishmen are joined by the American Bruce Molsky, a fiddler with attitude who also plays guitar, banjo and holds his own as a singer. Dutchman Rens van der Zalm contributes fiddle, guitar and a number of other instruments, while Nikola Parov, from Hungary, plays a bewildering number of instruments, many of which I’d never heard of before encountering Mozaik. Add to this eclectic mix the uilleann pipe and whistle on three tracks of former Planxty stalwart Liam Og O’Flynn and the ingredients for a multi-mood, multi-cultural experience are in place.

Irvine is obviously the prime mover here; apparently his ideal formation of musicians led to the genesis of the group. He started his musical career in the 60’s and it’s a pub that gained fame as the Mecca for Irish music in that period, which begins the journey here. “O’Donoghues” illustrates one of Andy’s strong points. He has a wonderful way of telling a story and the tale he tells of this celebrated pub would bring tears of recognition to the eye of anybody familiar with that time. Famous names that are mentioned include Ronnie Drew and other members of the Dubliners, Johnny Moynihan, with whom Andy went on to form Sweeney’s Men, the mythical Seamus Ennis and a host of others. The mood of youthful, carefree abandon is captured beautifully, as anybody who’s been to a good Irish pub will know from the line “Have yiz no homes to go to?” the cry of the harassed barman who wants to empty the pub before the Guards arrive. Another of Andy’s autobiographical reminiscences “ The Wind Blows Over The Danube” recounts his travels and loves in Eastern Europe. “Reuben’s Transatlantic Express” is a classic example of what a group of musicians, virtuosos in their own fields, can produce when virtuosity is married to a feel for music outside their own tradition. The song, an American standard from the 1880’s, sung by Bruce Molsky, careens like the train of its title across the Atlantic and takes on an Eastern European feel, with echoes of Ireland seeping into the steaming mix. The mood is calmed, momentarily, with “The Humours Of Parov” which begins with a slow, haunting violin accompanied by guitar before the piece quickens and takes on a Balkan feel, which then slides seamlessly into an Irish slip-jig, co-incidentally, in the same time signature. Yes, I know this sounds technical but the overall effect is of a group of musicians intuitively exploring and creating a wonderfully joyful and exciting piece. The same experimental approach is used on the next track “The Ballad Of Rennardine/Johnny Cuig”. A song traditionally played in 4/4 is instead played in a Bulgarian “horo” 5/8 timing, bringing a new energy to the song, the group colouring Andy’s vocals with innovative strokes at every turn.

Other highlights include a venture to the microphone by Donal Lunny on “Siun Ni Dhuidir”, a gorgeous song in Irish that is interwoven with a piece, “Mary Rogers”, titled after his mother’s maiden-name. Since it’s the first time we’ve heard Donal since the 1973 Planxty album “The Well Below The Valley” we’re being offered a rare treat here. Molsky continues the railway theme on “Train On The Island/ Big Hoedown”, another piece of Americana from the late 19th century. He has the kind of voice that comes straight from the heart of all that’s great about American folk music as he conjures up the feeling of the Appalachian Mountains, before the piece veers off across the Atlantic to take on a more Irish feel, with the band adding texture as the music builds. “The Pigfarm Suite” owes its title to the fact that it was first played in a venue in Italy that was once a pig-farm. Just one of the stand-out tracks on the album, it follows a similar dynamic to others in that begins slowly with a whistle playing a melody that could be Irish or Eastern European with uilleann pipes and other instruments joining. The piece then changes tempo as the mood becomes more definitely Balkan, creating a dynamic which would, I’m sure, be even more effective heard live. The album is rounded off as it began with a song by Andy Irvine. “Nights In Carrowclare”, originally recorded as “Carrowclare” with Patrick Street (another of Andy’s numerous musical alliances), is a beautiful ballad in the classic Irvine style. The arrangement here is slower than the earlier recording and is more effective for that. Andy’s voice has lost none of its character over the years and this track, in particular, recalls the halcyon days of Planxty.

Any musician or group of musicians playing traditional music is involved in a dual dialogue; with the past on which the tradition has been built and the present in which the engagement with an audience takes place. When musicians attempt to meld traditions it’s very easy to for the result to be a welding rather than a blending. Mozaik pass the test on both of these counts, creating a music that respects the various traditions on which on which it’s built, while presenting the audience with sounds that open the ears with their dynamism, texture and sheer joie de vivre. “Changing Trains” is an album to bring pleasure to the converted and unexpected enjoyment to anybody coming for the first time to this genre of music with an open mind.