Alison Bell is a beautiful a cappella singer specializing in traditional Scottish songs and ballads.  Singer, and harp player too, she enjoys sharing her talents with adult audiences as well as children.  As a singing teacher in Scottish primary schools, Alison particularly loves to teach the old traditional street songs and children’s songs that are disappearing all too fast in our modern world.  For the past two Celtic Festivals she has brought these fun and zany songs across with her and shared them with American children at the pre-festival school programs.

Sadly, Margaret Bennett, premier Scottish traditional singer and folklore scholar, will not, after all, be with us this year.  She had a bad fall breaking her already damaged leg and her doctor has forbidden any travel for the rest of 2008.  Margaret will still be involved in this year's finale concert whose theme is  "Coal Mining's Heyday" – a comparison of mining life in Southern Colorado and Scotland during the late 1800's till the1950's. Margaret had suggested this unusual theme when she performed with us last year and realized Huerfano County's strong mining heritage.  Now with the help of others she has been researching period songs, music, mining history and stories from the Scottish side and will take a leading hand in designing the shape of this Scottish / American concert.  When the doctor gave his orders that she must not travel, Margaret decided that instead of another singer from Scotland, it would be more appropriate to have an American singer replace her. And so she chose Jennie McAvoy to join Scotland's favorite Ed Miller as lead soloists.  We will miss Margaret very much but are delighted that Jennie is able to come in her stead.

Jennie McAvoy, who hales from Massachusetts, is a fresh talent that we are pleased to be introducing at this year's festival. Having sung from childhood, Jennie attended Oberlin College where she had intense voice training, performed with a variety of choral groups, and took part in college musical productions. But even before college, in her mid-teens, she picked up the acoustic guitar and immediately took the next natural step. She began to learn folk songs starting with American folk, but soon spread out further a-field expanding her repertoire. which is exceptionally large and wide-ranging, and she is equally at home with Scottish traditional songs and ballads.  Margaret Bennett first heard Jennie sing at a gathering in North Carolina and was amazed by the clarity and beauty of her voice, her subtle interpretive skills and her strong stage presence.  Later Margaret introduced Jennie at an Edinburgh Fringe folk concert where, she reports,  "Jennie's voice spoke with an immediate rapport and warmth that won the hearts of her enthusiastic Edinburgh audience and my heart too!"  Jennie is an amazingly adaptable singer, eclectic in her range of interests, both instrumental and singing, but with a particular gift for interpreting old ballads and more modern songs and making them her own.

Since she was 18, when she astounded the Celtic music world by winning the Senior All-Ireland Championship, Liz and her fiddle have amazed audiences wherever she played. Her recordings and appearances on concert stages, television, and radio, have established Liz as one of traditional music’s most sought after performers. Liz’s first solo album, in 1988, “Liz Carroll,” was chosen as a select record of American Folk Music by the Library of Congress. That same recording was called “a milestone achievement in the career of a fiddler reaching beyond herself,” by noted critic and radio host Earl Hitchner. Liz’s recordings are, in the majority, her own compositions, and they have given her a stature equal to that of her playing. When you listen to a Liz CD, you’re hearing the tunes of a composer celebrated for invigorating the traditional styles of Irish music. Her compositions have entered into the repertoire of Irish and Celtic performers throughout the world. One of Liz’s proudest concert moments was performing at the 1st American Congress of the Violin, hosted by Yehudi Menuhin. Liz has won many national and international honors including being named Irish Traditional Musician of the Year 2000 by Earle Hitchner of The Irish Echo; winning the AFIM Indie Award in 2001 for her recording “Lost in the Loop”; and being presented a National Heritage Award Fellowship in 1994 by Hillary Clinton, to name just a few. Mayor Richard M. Daley proclaimed September 18, 1999, Liz Carroll Day in Chicago. 

“Is she the best fiddler in the world? Many would say ‘Yes!’ and receive little argument here or elsewhere.” The Irish American News
“One of the greatest of contemporary Irish fiddlers.” The Chicago Tribune

This sizzling, red-hot young Celtic rock band from the Northeast of Scotland performs Scottish music with a contemporary and funky edge. Their take on traditional music will have you on the edge of your seat – unless you’re already up dancing, of course! The Ceilidh Peppers may be young but they’re a hugely talented bunch of individuals and together they’re electric. In the line-up are Kirsty Telfer and Emma Gibbs on fiddle – the girls are also dancers – Joe Whiteman on fiddle, Calum Lawrie on pipes and electronic pipes, Phil Allen on bass, Robbie Mackay on guitar and Liam Flaherty on drums and bodhran. Bob Black joins them on accordion. The style is high energy and the look is Scottish -they wear their kilts on stage - and there’s no mistaking, they love what they do. The band was formed a couple of years ago by Ruby Mackay, a music teacher who is passionate about giving young players lots of performance experience. Things are really taking off for them now, with a busy schedule of concerts and dances in Scotland and in Scandinavia. Their first CD is out this summer. The Ceilidh Peppers will be performing throughout the festival but their main gig is on Saturday afternoon in the park in La Veta. Be there, or risk missing one of the big treats of this year’s festival.

Matt and Shannon Heaton blend Irish traditional music with original songs about bicycles, love, and death. Their own compositions tell timeless tales, while their renditions of centuries-old songs feel modern. Their music comes from a traditional aesthetic, a devotion to strong traditional bones, and a passion for reaching out to the modern world around them. Matt Heaton plays guitar and bouzouki while Shannon Heaton sings and plays the Irish flute, whistle, and vocals. Their backgrounds in traditional Irish music are ‘conventional’: they learned in Irish music sessions in Chicago; they took regular trips to Ireland, where they learned tunes with some of Clare’s finest; and they moved to session-rich Boston in 2001. But these 2 multi-talented musicians have had anything but a traditional start; their unique backgrounds lend an added texture to their music. Shannon, for her part, brings a keen love of language and folk melodies to the duo. She was raised by writers who took her around the western United States for research trips for their book Let My People Know, a history of Native American journalism, which involved countless visits to Navajo reservations to collect oral histories. She learned about highlife music—and started on the tin whistle from a Belgian neighbor!—while living in Nsukka, Nigeria, where her folks taught journalism. And she was drawn into the mournful sound of the Saw Sarm Sai  (a 3 string instrument) while living in Suphanburi, Thailand (a sound she still refers to when writing melodies). Meanwhile, Matt’s first taste of professional music was turning pages for his father, an organist and choirmaster, behind the organ console. His very first electric, a Harmony electric plus amp pointed him in the right direction. Though he has played classical guitar in Italy, rock in Chicago, and tango in Denver, it is Irish music in Boston where he has made his musical home. Matt and Shannon have been performing together for over a decade with a variety of groups, including critically-acclaimed Irish band Siucra (which they formed with Beth Leachman during their three-year “sabbatical” in Boulder, CO), Tangeuros Orquesta Atipica, as well as traditional luminaries Aoife Clancy, Robbie O’Connell, and Scottish gem Emily Smith. Since breaking out as a duo in 2003, Matt and Shannon have released three CDs and one songbook.

Kieran Jordan is a Boston-based performer, teacher, and choreographer of Irish dance. With more than 25 years of dance experience, herunique approach to the dance marries deep-rooted traditions with contemporary innovations. Born and raised in Philadelphia, Kieran has been performing as a solo step dancer since her high school years, collaborating with some of the finest Irish musicians on the East Coast. She has developed a musical and expressive style, incorporating traditional Irish dance technique with sean-nós, Cape Breton, and modern dance styles. As a choreographer, Kieran leads her own performance ensemble called Kieran Jordan Dancers, and she co-directs the Turnstyles Dance Project, a new choreography initiative in contemporary Celtic dance. She is Dance Director for the WGBH theatre production “A Christmas Celtic Sojourn” and her dancing is featured in the show’s DVD release on Rounder Records. As a teacher, Kieran has established a non-competitive Irish dance community in the Boston area, where she offers weekly classes. She also teaches Irish dance at Mt. Holyoke College in South Hadley, Massachusetts. She has served on the dance faculty at the Catskills Irish Arts Week (New York), Pinewoods Dance Camp (Massachusetts), and Blås Summer School (Limerick, Ireland). She travels widely to teach sean-nós ("old style") dance workshops and she has taught her own "Beyond the Feis Workshop" nationwide. Kieran has a BA in English & Irish Studies from Boston College; an MA in Contemporary Dance Performance from the University of Limerick, Ireland; and the TCRG certificate for teaching Irish dance.

Kevin McElroy plays the fiddle, mandolin, banjo, and guitar for concerts and dances.  He also sings both traditional and contemporary folk songs and has a particular interest in ballads and songs of immigration.  Twenty years as a performer has put him in touch with older people who have eagerly shared family music and immigration stories, and he has gathered a vast repertoire of traditional songs as well as self-composed songs.  Kevin has performed with some of Ireland’s most famous instrumentalists including Seamus Connolly, Joe Burke and Paddy Keegan.  He was asked by Mick Moloney to teach banjo and mandolin at the Augusta Heritage Arts Program-Irish Week at Davis and Elkins College. He has performed in Irish festivals throughout Canada and the States. Brian O’Donovan of WGBH radio’s “A Celtic Sojourn” says of Kevin: “His music and infectious enthusiasm inspire the listener to learn and enjoy.  It is a testament to the many years he has spent playing in sessions, pubs and kitchens, festivals and dances.” Kevin has three recordings available, including one recently released.  He currently teaches private fiddle and mandolin lessons at his violin shop where he also works as a restorer of fine instruments.

Ed Miller, originally from Edinburgh, Scotland, is based in Austin.  He is one of the finest singing products of the Scottish folk revival, having progressed from Edinburgh folk clubs and pubs to being in great demand throughout North America.  At the University of Texas, he completed a PhD in Folklore in the 1980’s.  He has since graduated to taking his songs, stories, and droll humor to festivals, clubs, concerts and Highland Games all over the country.  He also returns to Scotland at least once a year where he draws enthusiastic audiences the length and breadth of the country. In Austin, he hosts the “Folkways” show on KUT-FM, highly popular with Texas folk music lovers.  He has also established a reputation as a fine teacher at events like Swannanoa Gatherings in N.C., Alasdair Fraser’s famous Valley of the Moon Fiddle Camp, and the Rocky Mountain Fiddle Camp. In the summer of 2003, Ed was selected as a presenter and performer at the D.C. Smithsonian Folklife Festival honoring Scotland. Ed’s repertoire of Scottish folksongs covers the whole spectrum from Robert Burns to 20th century songwriters.  He has 6 CD’s to his credit that all highlight a rich and appealing voice “as strong and satisfying as a good single malt whisky.”

Born in Borrisokane, County Tipperary, Áine's large musical family encouraged her to pursue a number of different instruments during her youth (which explains her obvious skill at arranging). They played together as a family and attended fleadhs (traditional music festivals). But it was at the age of twelve while at boarding school in County Galway that Áine discovered her true love - the harp - which she decided to pursue in lieu of the others.  She spent three years developing her talent as a harpist at Bunratty Castle, County Clare, the perfect setting to emphasize the harp's lyrical connection to Irish history. Áine moved to the United States and settled in New England and continues to concentrate on the traditional music of her homeland, both as a soloist and collaborator. Áine takes the ancient art form, extensively explores its underpinnings but adds her own creativity to each piece. Áine's harp has entertained former Irish Presidents and Prime Ministers. She is a regular performer at folk festivals and concerts throughout the country.  Her recordings include Were You At the Rock, To Warm the Winter's Night, The Mysts of Time, Between the Worlds and Circle of the Sun.  Her music videos have been aired on PBS's ” Out of Ireland “ and she provided a solo instrumental harp soundtrack for Dr. Leo Shea's Yeats Country.  In the last few years, Áine's production company, DruidStone has enabled her to widen her musical scope. She now produces albums in several styles and is making fast headway in the soundtrack industry. As traditional Irish music and dance continue to enjoy phenomenal success both here and in Ireland, Áine Minogue is an artist who has long explored its themes and who captures its very essence. Her voice reflects the lyricism and richness to be found in Irish music, mythology and poetry with a voice undeniably her own and a diverse group of instruments that add to the traditional flavor of her work.

Annabel Oates, qualified teacher of the Royal Scottish Country Dance Society, admits her real love is the more informal dance of Scotland, called Ceilidh Dancing, the dance of the people. For many years she taught ceilidh dancing to schoolchildren, K-8, and has also been teaching adult classes for the past 12 years.  During the summers she regularly gives dance classes to foreign students who flock to Edinburgh to learn English at the various language schools.  For the last 15 years, Annabel has been a freelance dance caller, traveling the length and breadth of Scotland with a variety of Scotland’s excellent dance bands.  Annabel is also on the Board of Directors of The Scottish Traditions of Dance Trust.

Internationally acclaimed by critics, Alfredo is considered by many to be the foremost exponent of the Paraguayan Harp.  He is also a composer, lecturer, and author. Born in Cuba, he immigrated with his family to Venezuela where he began studying the Venezuelan folk harp followed by the Paraguayan harp. Just two years after his first harp lesson he began his medical studies in Colombia. Music supported his medical studies until graduation. For eight years he worked as a medical doctor as well as a harpist.  Alfredo then decided to dedicate his life to his first love, the harp.
With a multicultural repertoire that covers folk, classical and popular music of many countries, Alfredo has performed and lectured for all types of audiences at festivals, conferences, conservatories, and universities around the world. He has recorded over forty albums and is the winner of a Gold Record in South America. His acclaimed “South American Suite for Harp and Orchestra” premiered in California on March 3, 1996. Alfredo was invited to perform his Suite at the World Harp Congress in Prague, Czech Republic, in 1999, having as his audience over one thousand classical harpists. Between 1983 and 2007, Alfredo has performed an unheard of five times at the World Harp Congress (Czech Republic, Holland, Austria, N. Ireland, Ireland).He has also performed at international festivals in countries such as Japan, Scotland, Paraguay, Venezuela, Brazil, and Mexico.  This will be his second time performing and teaching at our festival.

Jerry O’Sullivan has been widely hailed as America’s premier Uilleann piper and he commands considerable attention overseas.  He also is at home with Highland pipes, Scottish small pipes, whistles and flute.  Besides his own three solo albums, Jerry has appeared on more than 90 albums.  He has performed with The Boston Pops, Henley, Paul Winter, James Galway, The Colorado Symphony Orchestra, and The Nashville Symphony Orchestra. He has recorded a number of film tracks, among them “From Shore to Shore”, “The Long Journey Home” and “Out of Ireland”.  He has toured extensively performing and teaching in Europe, Asia, the Middle East, and America.  He has performed in such reputable venues as New York’s Lincoln Center, St. Patrick’s Cathedral, and the mall in Washington DC for the Smithsonian Folklife Festival.  Born in New York City to an Irish-American mother and a father from Dublin, Ireland, Jerry, surprisingly, first learned to play the Scottish Highland pipes.  However, during summer visits to family in Dublin, he was inspired by some of Ireland’s best players of the day and there he learned the uilleann pipes. A much-loved performer and teacher, he will be returning to our festival for the third time.

Patsy Seddon is one of Scotland’s outstanding, innovative, harp players and is in great demand as a teacher. She is also a Gaelic and Scots singer and plays the fiddle as her second instrument.  Patsy has a passion for traditional music, which she has combined with her own unique contemporary playing style.  Her work with the harp duo Sileas and the group The Poozies is celebrated amongst the most creative in Celtic music today. Patsy and Mary MacMaster formed the harp duo Sileas, and, after graduating University, decided to have some fun for a while, touring their harps across the world - ‘taking the harp to places it may not recover from!’.  In 1985 they drove to France to pick up the first electro-harp produced by CAMAC harps, which was to transform their career and that of the harp worldwide.  The electric harp enabled them to add deep bass notes to broaden their sound and also later to play in louder line-ups.  As Sileas, they have released 4 CDs and have toured around the world from York to New York, and on to Tokyo and back again. In 1990, Patsy formed the group The Poozies with Mary MacMaster , singer Sally Barker, and accordionist Karen Tweed.  The Poozies have produced numerous sell out albums and, as a group, are considered the most exciting all-girl band in Britain. They used to tour widely, including the States, but, with their young families, their stamping grounds are restricted to Britain, Ireland, Scandinavia, and the Continent. In 1995, Patsy was asked to create the harp syllabus for a new degree course in Scottish Music at The Royal Scottish Academy of Music and Drama (RSAMD) in Glasgow. Since 1996 she has been teaching on this innovative course, influencing many young players of Clarsach and other instruments.  Patsy also enjoys giving individual lessons and teaching in group settings at workshops, courses and festivals, at all levels from complete beginners to advanced. Besides playing with others, Patsy is a soloist in her own right. Patsy plays a 34-string Aziliz ‘Harpe Celtique’ made by Camac Harps in Brittany, France. She also plays a 36-string Camac Electro-harp. She still has her much-loved Henry Briggs 30-string Clarsach, made in Glasgow in 1931.Folk Roots has described her as “Pushing harp playing to new boundaries”The Boston Globe describes Patsy’s playing as:‘Virtuosic…..rhythmic and harmonic intricacy. ….a gem'

Kim McKee and Ken Willson have been touring America as a duo since 1990 and have built up a strong following of devotees among adult audiences and children whom they reach through their widely popular in–school assembly programs.  These two versatile and high-energy performers have crafted a unique freestanding hybrid of Celtic and contemporary acoustic music.  Both strong singers, their rich harmonies are accompanied by an array of instruments including hammer dulcimer, mountain dulcimer, accordion, guitar, bodhran, harp, keyboard and Irish bouzouki. Kim, also a superb composer, won first and second place at the 2003 Milwaukee Irish Festival Songwriting Competition.  Since then she has twice again placed in the Competition winning a second and a third.   Willson and McKee have produced 8 CD’s including their latest “This Thin Place”.

Heather Yule offers unique programs of Harp and Traditional Tales from Scotland and Ireland designed for adults and also for children.  The daughter of Scottish harp maker, John Yule, Heather took up the harp as a child. During her childhood, she was regularly exposed to storytelling as a traditional art form practiced by the Scottish traveling people.  The magic of their stories, passed down family lines for hundreds of years, stayed with her and she now incorporates harp music to enrich the telling of these treasures as well as other stories she has since collected.  Heather’s dual skills make her a favorite guest artist and teacher at storytelling and harp festivals in Scotland and abroad. She has traveled throughout Britain, Iceland, Scandinavia, Canada and the States in her dual role.  For fifteen years she has been on the Board of the Edinburgh International Harp Festival. She has taught annually at the festival and has performed as a guest artist.