There’s an old musician’s joke which goes – how do you define a minor seventh?  Answer – two fiddlers playing in unison.  Not a suspicion of that here, however.  When the two fiddles of Karen Ryan and Elaine Conwell crack into the New Year’s Eve reel, the cohesion between the two wouldn’t allow a triplet to go astray, let alone a minor seventh chord.  But then I’ve always suspected all-women bands play with a greater cohesion than all-male bands.  None of that testosterone-fuelled one-upmanship, you see.  Of course it’s competitiveness that often leads to virtuoso playing – but again there’s no lack of that with London Lasses either.  I suspect that there’s the equal of traditional players anywhere in the world contained among this band.

I have been so far referring to the distaff side of this ensemble – but there is one man, Pete Quinn, the piano player.  Pianists, however, are a breed apart, so he probably doesn’t mind his anomalous position as the only man in an all woman band.  And it would have to be said that he does a great job providing a straightforward vamping background to some of the dance pieces, and imaginative backing to the vocal numbers.

There’s a delicious depth of texture throughout this recording – Irish music in all its splendour is here.
 

The Lasses released their self-entitled debut album, independently, in 2000.  It was a tight, energetic selection of material that heralded something of a rejuvenation for the tired session scene in London.  Album number two, Track Across the Deep, due off the press any day now, sees a slightly altered line-up on board.  Deirdre Havlin is on flute and whistle; Maureen Linane is on accordion, while Kathleen O’Sullivan takes over on vocals.  This is a very well travelled ensemble by now, and you can be certain of quality.  As with the previous record, Track Across the Deep was recorded with the intention of capturing the essence of the Lasses’ live delivery and Karen Ryan freely admits that they would forego much studio alteration and live with the occasional slip-up for the sake of authenticity.  I actually find this album noticeably less vigorous, more considered and reflective, than the first record.  There are some very beautiful and sensitive (dare I say mature) interpretations and arrangements.  ‘The Beautiful Goldfinch’ is one example, ‘Rodney’s Glory’ another.  Pete is the picture of restraint, opting to let the ladies do their thing with delicate but always effective support.  He and Deirdre Havlin do a simple but striking duet on Carolan’s ‘Bridget Cruise’.  The set of reels that comprise track ten is just one of many great platforms for all the talents of the group.  Maureen Linane showcases her very considerable contribution to the Lasses’ sound with ‘Imelda Roland’s’, while the seamless meshing of the individual talents is very much in evidence on the later tunes.
 

Overall, Track Across the Deep reiterates the elevated stance The London Lasses and Pete Quinn enjoy on the London Irish trad scene.  They will undoubtedly continue to be the very worthy torch bearers of a style that is entirely unique, and all London.
 

With a new line-up and an already impressive reputation for great music, many critics have been awaiting the London Lasses’ follow up album with anticipation.  They won’t be let down, as the new line-up has only enhanced their sound and the Lasses are sounding as fresh and unpretentious as ever.

The musicians, all young, have once again produced an album that reflects a London style, which has come about through the legendary London pub sessions of the fifties and sixties, which merged playing styles and repertoires from every county in Ireland.  Track Across the Deep is a fine manifestation of the very best elements from every known trait of the Irish tradition.

The album contains some fine tunes with a lovely blend of jigs, reels and waltzes.  A high point of the album, though, must be Rodney’s Glory, a classic old set dance that the Lasses play at a slower pace.

Just as worth as their first one, Track Across the Deep is a brilliant reminder of the great amount of musical talent that exists, not just in London, but in many parts of Britain.
 

When I interviewed this London-based, Irish-bred group a few years back, fiddler Karen Ryan astonished me by cheerfully admitting that their original raison d’être was to subsidise a free holiday-cum-tour in the States.  Since then they’ve gone through a line-up change or two and solidified into a six-piece band, but their sound is still as honest and unpretentious as their manner.  Vocalist Kathleen O’Sullivan has an old-fashioned singing style that matches the rather conservative nature of the instrumental arrangements, with a small céili band’s worth of melody players (two fiddles, accordion and flute) plus unobtrusive piano backing from Pete Quinn.  High points include the deliciously raunchy double-entendres of ‘The Ball of Yarn’ and a wistful slowed-down version of the set dance ‘Rodney’s Glory’.
 

I know that comparisons can be irksome but unfortunately this will occur due to the similarity in musical line-up (fiddle, whistle & accordion) with their American counter-parts Cherish The Ladies. Now that’s out of the way, let’s settle down and enrich our audio pleasure in the glorious sound that is The London Lasses and Pete Quinn. This album proves time and again that good honest musicianship will out all of the technology and flashiness that sometimes swamps an artists performance. Listening to this I remember with fond nostalgia the many happy hours I spent at The White Hart in Fulham and The Boyle Family at The Riverside Studios and this recording will bring a lump to the throat of those old enough to remember the sessions in Camden (now sadly long past). I’m pleased to say that along with some of the more established tunes such as ‘Hardiman The Fiddler’ and a lovely rendition of ‘Rodney’s Glory’ this is the kind of album that let’s the listener and musicians amongst you ‘in’ for the craic. The tunes are all performed at sensible speeds so you can easily pick up those tricky reels by Paddy O’Brien and the dum-ching piano accompaniment provided by Pete Quinn adds just the right effect to the proceedings. I for one heartily applaud the girls for taking my jaded ears back to the roots from which I started and can only hope that their musical prowess finds a more youthful audience as eager to embrace the tradition as I once was. Tremendous stuff! Copies of the album can be obtained from Alan O’Leary at Copperplate Distribution,
Tel: 0207 585 0357
 

Flautist Dee Havlin and singer Kathleen O’Sullivan round out the excellent London Lasses, who are joined on this, their second release, by pianist Pete Quinn. High points include a barn dance composed by Donegal fiddler, Danny Meehan that sounds almost like a Scottish strathspey, and a nicely paced reading of the set dance, Rodney’s Glory.