Patrick Kavanagh once described poetry as being all the old truths rediscovered but immersed in a new personality. I have often thought that the same could apply to traditional music: the old tunes played again but given that unique touch of an individual musician. Nowhere is this more evident than in this selection of fiddle music from John Carty. He has taken some of the time honoured favorites and given them new life, new beauty. Bill Hart an old accordion player from Co. Leitrim used always to say, "one note, one note can make all the difference." Is it any wonder that these tunes have survived in such popularity when heard played down the years by musicians such as John Carty? For indeed he is a master. One hears of course the echo of older generations of fiddlers; Lad O'Beirne and Michael Coleman in particular, but John's style cannot easily be categorized as a particular regional type; he has gone further than that, taking what appealed to him from the players he liked, where ever they came from, and fusing it into an exciting and original style.
When you listen to this music, you realize also that not only is it meant for the ear and the heart, it's roots are in the dance. It is played with great vibrancy, a great sense of rhythm urgency and life. This to me is the hallmark of the best of traditional music, not just fast for quick appeal but with great control by use of rhythm and marvellous technical ability.
When I first met John Carty in London years ago, I had no idea of his talent as a fiddle player. I knew him as a very fine banjo player, and it was always with that instrument that I associated him. Then, one day in someone's house he casually picked up a fiddle and played a few reels. Since then I have enjoyed that music many times, and am delighted that it is now (and not before time!) reaching a wider audience.
I am confident that anyone who hears this music will be absolutely reassured, despite the years of digression, the radical changes that have taken place in traditional music, that in the hands of a master such as John Carty, the old music will never die.
— Gregory Daly
November 1995
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