2014 Seattle Tionól

Registration for the 2014 Seattle Tionól is now open. Use PayPal or you can register the old fashioned way, by mail and check.

Tionól Registration including concert ticket $100

Concert Ticket only $20

Flute Class with Leo Mac Namara (minimum 3 students) $40

Fiddle Class with Dale Russ $40



Saturday Feb 15

10.00 AM – Noon Workshops – Piping, Fiddle, Tin Whistle/Flute

2.00 – 4.00 PM Workshops – Piping, Fiddle

7.30—Midnight Concert & Céilí

Sunday Feb 16

11.00 – 1.00 PM Workshops – Piping

2.30 – 4.00 PM Lecture & Piping Recitals

4.30 – 7.00 PM Public Recitals & Session at Conor Byrne‘s Pub

(free admission, age 21 and over)

Venue: The Doric Lodge

619 N. 36th St, Seattle, 98103

IvanIvan Goff, originally from Dublin and nowbased in Brooklyn, plays the uilleann pipes (Irish bellows-blown pipes), Irish wooden flute, and pennywhistles. As a child, he took lessons from the legendary Dan O’Dowd. When he was older, Ivan turned to Mick O’Brien, hismentor and  biggest musical influence, to study both pipes and penny whistle.  Apart from solo work, Ivan has toured with Irish traditional bands Dervish, Danú, Lúnasa, Téada, The Green Fields of America with Mick Moloney, and is a former member of the Eileen Ivers Band.  He has dueted with many traditional musicians over the years including Mícheál Ó Raghallaigh, Tony DeMarco, Tom Morrow, and Patrick Ourceau.  Ivan is a member of recently formed Ghost Trio with Iarla Ó Lionáird and Cleek Schrey (www.ghosttrio.com).

Ivan has collaborated across many genres. He has performed with jazz saxophonists, Paul Winter, Matt Darriau, and Ada Rovatti-Brecker and his music has featured in work as diverse as acclaimed experimental art-film ‘Cremaster 3’ (dir. Matthew Barney) exhibited in the Guggenheim museum, in live accompaniment for 1922 silent film ‘Come on Over’ performed at MOMA in association with the Irish Film Institute, and in theatrical productions such as ‘Peter and Wendy’ (Mabou Mines, dir. Lee Breuer).

Ivan has worked as soloist with composers throughout the world on various projects including a specially commissioned concerto for uilleann pipes with the Albany Symphony Orchestra (comp. Robinson McLellan) and, more recently, a new-music piece with bass clarinet and 23-piece orchestra (comp. Elizabeth Hoffman). In electro-acoustic and improv-based music, Ivan has performed at the International Computer Music Conference and the Society for Electro-Acoustic Music in the United States Conference (SEAMUS). In 2012 he collaborated with Evan Parker, Franziska Schroeder,and Pedro Rebelo at Sonic Arts Research Center (SARC) in Belfast, as part of the Sonorities Festival. Ivan has also performed in well-known productions including extended engagements with Riverdance (US tour and Broadway) and Michael Flatley’s Lord of the Dance.

Ivan has a BA in music from Maynooth University, an MA in Computer Composition and Music Technology from Queens University, Belfast, and an MA in Musicology from University College Dublin. He is currently a Ph.D. candidate in music at City University New York.

MichaelIt seems like MichaelCooney wasdestined to play the pipes. He was raised in a family of Highland pipers from Co. Tipperary. His father, Martin, and his uncles played in the Sean Tracey Pipe Band in Littleton that his grandfather and great uncles founded. Irish dancing and singing also ran in the family. At a young age, Michael took a liking to the whistle. His father, eager to expose him to as much music as possible, began driving Michael all over the country for instruction.

His first road trips were for whistle lessons from Dan Cleary, who led the Ballinamore Céilí Band of Co. Offaly in the 1940s. He also learned from Sean Ryan, a fiddle player originally from Newtown, Co. Tipperary. Michael enjoyed the whistle (he still does), but it was the pipes that eventually called to him – uilleann pipes – which were just being rediscovered during the folk revival of the 1970s. In 1975, the Cooneys moved back to Gortnahoe in Co. Tipperary from Westmeath, allowing the young piper to meet new musicians.

Michael’s father, who was raised in the musical traditions of the nearby Slieveardagh Hills, a region rich in fiddle and flute playing, returned to that very place, now taking his son there to learn from the locals. After Michael received his first set of pipes (made by Tom White of Co. Wexford), he continued to go to the hills for music. Because pipers were scarce there, he learned instead from accordion players Paddy O’Brien and Pat Lyons, and fiddler Niall Cleere. Tuesday nights were devoted to lessons with Niall at his cottage in Kilbraugh, where the two would pore over tunes from one of O’Neill’s collections. Occasionally, Niall added a regional tune, one he got from Pat Dunne, the legendary fiddler who taught musicthere at the turn of the last century. Saturday nights Michael would try out his new jigs and reels at Pat Lynch’s Pub in The Commons, often ending the evening with “The Blackbird,” one of Pat Lynch’s favorites.

Michael defined his piping style by listening to his father’s tapes of Johnny Doran, Willie Clancy, Felix Doran, Leo Rowsome, Patsy Touhey, and Seamus Ennis. He was also a big fan of Planxty and the Bothy Band, two groups from the folk revival that featured pipers.

In the 1980s, Michael “Piper” Cooney made a name for himself, winning multiple All-Ireland championships in pipes and whistle. He also spent some time in the US, where he played music with legends like Andy McGann, Paddy Reynolds, and Joe Burke.

A Stone’ Throw takes us a fair distance through Michael’s musical biography. There are reels here passed down to him from Niall Cleere and Paddy O’Brien, as well as a couple of Scottish tunes, and an American waltz picked up in St. Louis. Along with the solidly traditional, there’s a dash of innovation in accompaniment. Pipes are matched with the surprising sound of a slide guitar in a slow air, and keyboards back much of the album. But what emerges above all is the smooth sound of a master piper.

LeoLeo Mac Namara: Leo Mac Namara hails from Scariff, Co. Clare, Ireland and for the last fifteen years has lived in Seattle, Washington. He began tin whistle aged five and wooden flute at eight, greatly encouraged by his father Martin. He grew up learning from and playing with such great musicians as P.J. Hayes, Paddy Canny, Martin Rochford, Martin Woods, Martin Hayes and Christy Barry. His playing blends the East Clare style with Sligo/ Roscommon flute techniques. 

He played with fiddler Martin Hayes and harpist Triona Marshall of the Chieftains at the 2013 Masters of Tradition Festival in Ireland. He has performed across the U.S. including at the National Flute Association of America’s annual conventions and the Comhaltas Ceoltóirí Éireann North American Conventions. He recently made his orchestral debut. He loves performing and

passing on the music to a new generation of musicians, and can be contacted at leomacnamara.com

DaleDale Russ: Dale Russ has been playing Irish fiddle for over 35 years. He has performed and taught at concerts and festivals throughout the U.S. and Canada, including fourteen years at the Lark in the Morning camp in Mendocino, California. In 1990 he was invited to perform as one of the 16 finest Irish fiddle players in the U.S. at the first Boston College Irish Music Festival, ―My Love is in America‖. The Green Linnet recording of the concert won the ―Traditional Recording of the Year‖ award from the Smithsonian Institute. He was also featured in the 1997 issue of Fiddler Magazine.

Dale has lived in Seattle for many years and has played with several groups including The Suffering Gaels, Setanta, Jody’s Heaven, and also with fiddler Kevin Burke. He currently plays in the trio, Crumac with Mike Saunders and Tom Creegan He occasionally tours with Paddy O‘Brien in the trio ―Chulrua.