Those are really "gypsy reels", more commonly known as "horas". I can't remember the name of the first one, but the second theme is called "Onga București" (Bucharest Dance). Very nice irish-style performance, btw.
This was the 'Late Late Show' in the nineties. Neither they, nor De Dannan needed to pre record, you're probasbly confused with the slight delay due to watching online
I wish they'd pre-recorded when I was on there in the late 70s with the Corrymeela Singers. The producer told us which song he wanted us to perform. It started with an unaccompanied solo vocal. The singer didn't hear the note she was given, started singing in the wrong key and couldn't get back to the right key. She was mortified!
She played with the above lineup in the mid-80s (up to 87 when they disbanded). She returned in 1991 to play with a newer lineup and did a USA tour (September 91) and also did an Australian tour (Sept 1992); and a few concerts here and there in between.
These tunes really sound a bit like klezmer or balkan dance music, but definitely irish - this is really what can be called a fusion. Anybody knows where they really come from ?
They were defo good enough but the late late show do actually pre-record (and sometimes just use album audio) for bands they have on. And this recording is identical to the album one.
Judging by the youthful appearance of the musicians, and the stage decorations; I'd say this would have to be from the mid-1970's. Probably 1976 or '77. Just a guess, though...
This is an Irish group playing two Jewish reels in a modern style (at the time) with string accompaniment from a Greek bouzouki. Bouzouki was only introduced to Irish music two decades before this was shot. Why would a guitar start an argument?
+wqpeb She is Caroline Lavelle. I saw her live on stage with de Dannan in Paris at the Theâtre de la Ville, she was absolutely brilliant ! (And the lads too, of course).
These tunes were learned from Klezmer musician Andy Statman, with whom De Danann did a tour of America. Statman got them from the repertoire of clarinettist Dave Tarras, who was from Bessarabia (present day Moldova). Although Tarras is regarded as one of the leading lights of Klezmer music of th 20th Century, he also had an interest in the non-Jewish music of S.E. Europe (Ukraine, Bessarabia, Romania, Greece) incorporating that into his repertoire and composing his own tunes in those styles. These tunes sound somewhat more Romanian to me than specifically Jewish - I am not sure whether or not they are Tarras' own compositions.
Irish (Celtic) music has been "World Music" long before the notion was marketed. The tonalities and rhytms of "diiddly idle" has connections and resonances in Hasid music, Oriental tones and themes from the Indian subcontinent. All reaching across and beyond the more staid European classical tradition and usually predating the more sedate Western developments. We have a lot to be proud of, and so many links to far away places. All that, without taking away a whit from the proud and important niche role of the Irish Jews in Irish culture and society. .
@@rhapsag Joel E. Rubin provides the following correction: ====== That comment is basically correct about Dave Tarras, except he was not from Bessarabia (Moldova). He came from Ternivka, SW of Uman' in Ukraine, but spent a bit of time (some weeks or possibly months) in Edineţ in NW Moldova on his way to the US ca. 1920-21.
