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Irish Music Magazine (Excerpts)
Emily Dickinson and Celtic Harp music don't seem immediately tangible bedfellows. However American harpist Lily Neill has managed to combine these disparate elements in her second album "The Habit of a Foreign Sky". A collection of compelling settings of traditional tunes and complex yet exciting original material, it possesses the sense of adventure and musical wanderlust that traverses through her psyche. The title, "The Habit of a Foreign Sky", comes from a line in a poem by Emily Dickinson, an American poet to whom Lily has a familial connection. "Emily Dickinson has such an individual way of stating things and I love that her phrase can be interpreted in different ways. Foreign skies have been my habit over the past few years and I thought that was a great way to tie together all the music, which comes from and was inspired by so many places".
Lily Neill's musical compass remains eclectic. While she courts the old manuscripts and composers, her Sat Nav is placed firmly leftfield. That sphere includes plentiful original compositions which form the backbone of her live and recorded programme so far. One of the most challenging and provocative musicians of her time -Lily Neill's daredevil approach works wonders. Seen by many (myself included) as standing outside the periphery of harpers and conventional images of harpers, I asked Lily if this is a good interpretation? "One never truly knows how others perceive her or him so that's a fascinating question. In regards to my harp playing I've always more or less followed my convictions. From a very early age I was really entranced with the harp and its musical potential. Unlike many instruments, the harp is exceptional in that it has a powerful presence in Irish history and politics and in art and mythology. When considering such an instrument I have to recognise that many listeners might have a perception regarding the harp's sound and, for want of a better word, "personality". I don't try to challenge this; I simply express the harp through the music I play and I think there's a lot to express.
Playing safe has never been part of Lily Neill's game plan. That's good news for those of us who have shared her journey and championed her every move. For new ears still unaccustomed to Lily Neill's evocative creational muse "The Habit of a Foreign Sky" could be a habit worth acquiring.
© John O'Regan. Excerpts from his article in the September 2011 Issue of IMM
The Derbyshire Times
" [...] the night belonged to American harpist Lily Neill whose music was perfect for the setting of the concert. This awe-inspiring player was as mesmerising to watch as she was to listen to, gently plucking the strings with her right hand, stroking or tapping others with her left and at one point stamping her feet to provide percussion. I was amazed how many different sounds Lily could conjure out of her 30-string lever harp, including a very appropriate peal of bells, jigs and a march. Anyone at the concert must have felt that they were truly in the presence of greatness - after all, this was a young woman who had played for ex-president Bill Clinton and folk luminaries The Chieftains".
© Gay Bolton. To read the full review from the Derbyshire Times, you can visit this link.
Le Télégramme
« Je découvre une virtuose qui fait ce qu’elle veut avec son instrument. Elle l’appréhende tantôt comme une basse ou une guitare, tantôt comme une percussion !»
© Sophie Robic’s article, “On a testé… la harpe irlandaise”, Le Télégramme. To read this article (in French), please visit www.letelegramme.com and view archives from 11 August 2007 (11 Août 2007).
The Gazette
“…associating classical music with boredom and advanced age makes about as much sense as associating harp players with fluffy white clouds and angel wings. Just ask Lily Neill, one of Strathmore’s Artists in Residence and a musician who’s had a hankering to be a harpist since she was a toddler […] The key word is passion: as in, Neill is passionate about the harp.”
© Chris Slattery’s article, “Don’t go breaking her harp: Neill at the Mansion”, The Gazette. Please visit www.gazette.net/stories/022107/entenew145802_32322.shtml to read the article in its entirety.
Irish Music Magazine
“Music is a powerful language, the ultimate form of communication is one without words. The concept of music without words heralds an aural communication with the emotions beyond the intellect; where the ears and soul are fed without the hectoring noise, bustle, and bluster so beloved of modern day commercialism. Without Words, the debut album from American born harpist and composer Lily Neill is one of those said occasions when the compositional mind and the interpretative heart come together in harmony. It is a rare moment where music from the Celtic and Classical traditions is welded with Oriental, Jazz, and Rock influences to produce music that while vaguely familiar, is new, fresh, and exciting. ‘Without Words’ is not your standard Celtic Harp CD. It takes a sidelong glance at the Tradition, but boldly embraces new musical horizons.”
© John O’Regan’s article “No Words Just Strings Attached”, Irish Music Magazine, Volume 10. No. 9 June 2005. To read the article in its entirety please visit www.irishmusicmagazine.com.
Reviews of "The Habit of a Foreign Sky"
fRoots
This is the second album from a much traveled American harp player, and was recorded in Finland's Sibelius Academy. Neill's playing has firm roots in traditional Irish music (she has recorded with The Chieftains), but she is unafraid of adopting other influences. With nods to South America, Scandinavia, Hot Club de Paris and elsewhere, her syncopated and percussive technique reminds this non-harper of Savourna Stevenson, which is no bad thing.
There's a lovely mix of material - traditional Irish and Finnish dance music, a sensual Finnish tango, one of Phil Cunningham's lovely slow airs as well as her own compositions - and all are tackled with great aplomb. With sporadic help from a few guests (including the blessed Timo Alakotila on keyboards and some superb Grapelli-esque fiddling from Kukka Lehto on "Life on Wheels"), this is a sparkling and delightful album of superb music from start to finish and well worth seeking out.
© Bob Walton, fRoots, Aug/Sept Issue (338/339)
Folkworld (German Version)
Die amerikanische Harfenspielerin Lily Neill hat ihr zweites Album „The Habit of a Foreign Sky ” mit 13 eigenen, gecoverten und traditionellen Instrumentalstücken in Helsinki produziert. Acht Stücke trägt sie Solo vor, bei den restlichen fünf wird Lily von den finnischen Gastmusikern Timo Alakotila (Harmonium, Piano), Ilkka Heinonen (Kontrabass), Kukka Lehto (Violine) und Vesa Norilo (Cello) begleitet. Es beginnt mit der zauberhaft schönen Solo Performance, „Bedford Row ”, einer rhythmisch verspielten Tune. Dann stimmt der Kontrabass ein und erzeugt den jazzigen Groove zu Lilys feiner Harfenmelodie und die Violine brilliert mit virtuosem Spiel, das wunderbar lautmalerische „Life on Wheels ”. Harfe und Cello spielen bei den traditionellen Irischen Tunes „The Miser's Pocket/Sergeant Early's Dream ” zum Tanz auf, ergänzt wird das atemberaubende Set mit Brian Rooney's „M and M ”. Neben traditionellen finnischen Melodien hat Neill auch „Rannalla ”, einen wunderschönen Tango von Vesa Tuomi, aufgenommen, hier begleiten sie Violine und Cello. Ein weiterer Höhepunkt ist das Set „A Thousand Farewells/The Clear Coaster” (Seán Ryan/Lily Neill). Das Zusammenspiel von Piano und Harfe erzeugt eine groBartige Klangfülle und einen mitreiBenden Pace. Mit Phil Cunninghams „Lady Ramsey” beendet Lily das Album wieder Solo. Ihre Finger scheinen die Saiten der Harfe zu verzaubern und spielen die betörend schöne Melodie. Lily Neill gehört sicher zu den bemerkenswertesten Harfenspielern, sie hat einen sehr eigenständigen fast märchenhaften Stil, überzeugt aber auch mit rhythmisch folkigem Spiel.
© Adolf „gorhand” Goriup, Folkworld
Folkworld (English Version)
An American harpist playing music from several traditions, Lily Neill is an innovator and composer in the same league as Ailie Robertson, M äire N í Chathasaigh, or Catriona McKay. Here she plays old and new material from Ireland, Scotland and Finland, as well as six tracks of her own tunes ranging from American swing to light classical. Lily obviously felt that her foot-tapping Life on Wheels was good enough to be included twice on this recording, once as a band arrangement and once as a harp solo: I'm inclined to agree, it's a fabulous piece.
Most music is ephemeral - they play, you listen, and it's over. This recording is somehow different - the mood and the melody stay with you, there's a rapport which lasts beyond the last note. It's not just that you want to put the CD on again: it's more like an affection for the music. Lily Neill's performance is not overly flamboyant, there's a gentleness of touch, but her music strikes deep - it certainly touched me in a way few albums do. Whether it's the traditional reel Sergeant Early's Dream or the post-modern experimentation of Beneath a Balcony, this music has a warmth and spirit which is rare indeed.
Lily's other compositions here include the graceful It Was Early, the punchy Bedford Row, and the jazzy Johnny. Her complex jig The Clear Coaster is paired with one of Sean Ryan's tunes, and there are two fine sets of Irish reels too. Loftus Jones completes the Hibernian helping, but Phil Cunningham's soaring air Lady Ramsey is only a small step away. The Finnish pieces are rather different: a harp and keyboards arrangement of three traditional polskas, and a flowing modern tango with violin and cello. I felt the fiddler could have taken more risks on Rannalla and Life on Wheels, but otherwise the accompaniment is spot on. Almost two thirds of The Habit of a Foreign Sky is solo harp, and you never feel there should be more: the recording is very detailed, clean and sharp, but still full of life. This CD could well be one of my favourites for 2011.
© Alex Monaghan, Folkworld
Celtic Beat
Beltaine to Lughnasadh Issue 2011
If ever a harper made a harp dance it is Lily Neill. Seldom have I heard such a sprightly get up and dance kind of album produced with harp. While there are introspective pieces here that are in a word grand, along with them are these wonderful pieces, both traditional works and compositions by Lily Neill herself.
That this CD confirms the above statement is clear right from the start with three great tunes composed by Lily "Bedford Row", "Life on Wheels", and "Beneath a Balcony". The first here is a great opener and sums up everything I've said so far. The second is no doubt a commentary on life on the road, certainly true for an artist who spends her time between Finland, Ireland and the greater Washington DC area. In both of these works Lily Neill makes her debt to Swing and the music of the thirties and forties manifest. Harry James would no doubt have loved this. In "Life on Wheels" her harp interfaces and interweaves with the fiddle of Kukka Lehto of Finland. "Beneath A Balcony" is a complete change of mood and pace from the first two and beautifully introspective. Later on "It was Early" follows a similar path. The latter is powerfully evocative. Lily Neill establishes beyond a doubt from the start on this CD that she is her own woman and a versatile one as a composer.
Not that this CD has taken flight of its roots. Lily Neill brings over her individual approach to the harp into traditional works like "The Misers Pocket"/"Sergeant Early's Dream"(here combined with contemporary work "M and M" by Brian Rooney). Here backed by the cello of Vesa Norilo and interplaying and weaving with same this cut is a glory. Seldom has tradition been so aggressively performed. On this CD is also a deft solo performance of "Loftus Jones" more traditional, but unmistakably Lily Neill. And then Lily Neill's agile harp truly dances in a Celtic mode in "In Memory of Michael Coleman" by Ed Reavy combined with "Kiss The Maid Behind The Bar at Nine O'Clock".
The Irish works compliment the Finnish pieces here. Many of the artists working with Lily on this CD are Finns. And here also Finnish traditional tunes come forth. In Yxi Kaunis Papillinen Polska"/"Polska fran Jeppo after Johannes Jusslin" what starts out as seeming waltz becomes an exuberant polska. In another aside into combining musical styles superbly there is "Rannalla" composed by Vesa Tuomi. This is in style clearly a tango harking back to that art form's early days. A Finnish tango performed by an Irish harpist, in the best of all known worlds.
Throughout this CD Lily Neill works like a painter with her harp. Drawing upon contrasts and making her brush speak. At the end she picks Phil Cunningham's "Lady Ramsey" to close this musical adventure in another different turn. Lily Neill is one of the most exciting artists today by virtue of the music that she both composes and performs!
© Art Ketchen, Celtic Beat
The CD jacket is in keeping with the spirit of the works within. While it harks back to other styles in the past it is still unique and it makes you look!
The Irish Edition
Putting on Airs
Now, here's an album I've been waiting a long time for. It's been about six or seven years since I first heard the debut release by harp player, Lily Neill, and here at last is the follow-up. As regular readers of this column will know, I particularly like this instrument, and Lily is one of the finest exponents I've heard.
With a thing like the harp, you have to be very careful. In the wrong hands, its plinky-plonky qualities can be annoying and the high-pitched ringing can get on your nerves. Because of that, a good player will introduce variety: variety in sound and in content. And that's something Lily does exceptionally well. She presents a good mix of her own material, along with tunes from the traditional Irish repertoire and music from Finland.
Reels, jigs and airs blend well with ragtime and tango. Her harp is balanced with the occasional appearance of other instruments, including Timo Alakotila's harmonium and piano, Ilkka Heinonen's bass, Kukka Lehto's fiddle and cello by Vesa Norilo. (As you might have guessed, she basically recorded the album in Helsinki, Finland).
The is so much movement in her playing that takes her miles away from that new age sound so often associated with the instrument. There is more than enough of an old style traditional approach to keep me satisfied and the tunes and the innovation and emotion of the playing and arrangements keep me on my toes, listening out for the next surprise, drawing me in to new elements I hadn't expected.
© Jamie O'Brien, The Irish Edition
CD Slamtime
www.LiveIreland.com
www.irishamericannews.com
Google Lily Neill, and you will find magic. The regular reader knows we don't write much about harpists. There are, in our opinion, two seminal harpists working in the tradition. Michelle Mulcahy and Maire ni Chathasaigh. Lily Neill may well be the third. A lot of this album is straight ahead traditional, and it is beautifully played. There are also points where she almost re-invents the harp and what it can do. Look--we're not going to try to explain this. Can't be done in writing. It can only be done in hearing. It is different, special and great. The album is Without Words. You are going to have to get it directly from Lily, so get to her site through Google, and get your copy. If you really love harp---and there are millions who do, this would be a must-have addition. This woman can play!
Rating: Four Harps
© Bill Margeson
Celtic Beat
Without Words could only better be titled Beyond Words. One word for this CD that could be used is exquisite. The quality of Lily Neill's playing is deft and supremely confident.
From the sprightly hornpipe “The Golden Eagle” to one of her own compositions, the modern trad combination with Zan McLeod on guitar “The Silver Heart” this CD will leave you amazed at such combinations in the mind and soul of one artist of tradition and her own innovations. In another of her compositions “The Little Purple Plum Tree” Lily Neill combines her harp with instruments from the east: the jushichigen and koto played by Claudia Clark. And throughout this music goes far beyond simply artistry of execution and aesthetics, for it reaches out and entices you into Lily Neill's world.
One final word: this artist is still a student, just getting started. I will say with confidence hearing this CD that the possibilities are endless with Lily Neill. Beyond that words fail.
© Art Ketchen, Celtic Beat
The Green Man Review
Washington, D.C. native Lily Neill has paced a lot into her impressive career from appearing with The Chieftains, playing before ex-president Bill Clinton and studying music at the Irish World Music Academy in the University of Limerick in Ireland. Adding to that she is a prodigious composer of tunes with an eclectic taste that crosses from Irish and Scottish musical forms into Classical, Jazz and World music styles. Her debut album Without Words manages to cover all bases impressively. Much of the material contained herein is original and, as befits her interest in classical composition, some border on the epic. ‘Tantivy’ is broken into two parts that are roughly eight minutes in length, while the six minute ‘Neach Neamhshaolta’ includes elements of classical, world, and Irish flavours mixing harmoniously, with the latter including the Chinese Jushichigen and Koto which blend eloquently with the harp. This, along with the pure folk-rock energy in ‘The Silver Heart‘, complete with drums, bass and electric guitar from Zan McLeod, show her versatility. She can handle traditional music equally well as on ‘The Sunflower’ with Mr. McLeod and bodhrán player Jessie Winch adding solid support, or the gorgeous ‘Mna na hEireann’. It is delightful to welcome a new talent and one that is brimming with ideas, creative energy and yet has a vice grips-like hold on traditional methods and methodology, while pushing the envelope stylistically. Without Words is a gorgeous, fascinating and wonderful debut album - it deserves your time.
© John O’Regan, The Green Man
Hot Press
Born in Washington, DC, Lily Neill took up the harp at age nine; five years later she was performing for then-president Bill Clinton and appearing as featured soloist in the premiere of John Cameron’s ‘Missa Celtica’. Now a student at the Irish World Music Centre at the University of Limerick, she brought out her debut album Without Words in the US last autumn and has just released it here.
The CD reveals her to be far more than the superb technician she undoubtedly is: haunting slow airs and sparkling jigs and reels are played with genuine feeling, and there are a number of interesting original compositions, notably the meditative ‘Neach Neamhshaolta’ and ‘The Little Purple Plum Tree’. On the latter, Claudia Clark on the Japanese stringed instruments koto and jushichigen, adds an Eastern flavour. Clark also plays koto on Neill’s delightful pairing of the ancient Scottish tune ’My Ladie Laudians’s Lilt’ with the Irish reel ’The Mountain Lark’. Other guests include violinist Robert Spates, Jesse Winch on bodhrán and frame drum, and guitarist Zan McLeod, who also handled the recording and mixing.
EIGHT/TEN
© Sarah McQuaid, Hot Press
Irish Music Magazine
Harp albums tend to normally follow a pattern of well-worn tunes from a repertoire west of O’Carolan and east of Cornelius Lyons and seasoned traditional pieces. However, a trend is emerging with a wider net cast into the seas of eclecticism. Paul Dooley’s expedition into the Welsh Harp manuscripts is one good exception as is Alison Kinnaird’s latest collection from the Scottish side. Now here is another well-rounded and different addition to the electric canon. A native of Washington DC and starting on the harp at the age of ten, Lily Neill has created a considerable reputation on the U.S. Celtic scene playing the festival circuit and guesting with The Chieftains and the departed Derek Bell in 2001 and 2002. Now ensconced in UL where she is a student of the BA in Traditional Music Performance, her debut album Without Words reveals a considerable talent.
What is most praiseworthy is the amount of self penned material on show added to its wide-angled interpretative lens. ‘Neach Neamhshaolta’ with Japanese Jushichigen and Koto accompaniment hints at an Irish/Oriental crossover, while the Silver Heart uses subtle electric guitar and kit drums in a mild folk-rock exercise. The solo pieces including ‘General Monroe’s’ and ‘The Golden Eagle’ posses regal majesty, while ‘The Sunflower’ suggests a witty hand with original dance tunes. ‘Without Words’ is an invigorating debut which hints at both an active imagination coupled with a rock steady compositional hand - worth investigating.
- John O'Regan, Irish Music Magazine
The Irish Edition
Putting On Airs
Long-time readers of this column will also know I have a soft spot for the harp, played solo or in combination with other instruments. There are a lot of harpists out there producing some fine music on a wide array of versions of the instrument and coming from many different cultures. Although Lily Neill is new to me, in some ways she perfectly sums up the reason for my love of this instrument.
Her sound is timeless: one can equally imagine her playing echoing across windswept hills or coming through a dark forest; she conjures pictures of cold, stone castle halls as well as the warmth of a manor house of parlor; yet here is music of a ceili, a concert, or a hooley. This is harp in its fullest, harp at its best.
Neill approaches a variety of Irish and Scottish tunes - some traditional, some contemporary, including a handful of her own compositions - delightfully capturing the essence of the melodies. Zan McLeod (guitar, mandolin, drum kit, bass), Jesse Winch (percussion), Claudia Clark (jushichigen, Koto) and Robert Spates (viola, violin) guest on here and there, each adding an extra depth with their contributions: Spates, string work which ranges in style from the Kronos Quartet to traditional, Clark mixing east and west, the subtle Winch who never overplays, thereby adding more power, and McLeod whose sensitivity to Neill’s playing is outstanding.
Lily Neill’s debut is one that delivers so much and promises even more.© Jamie O'Brien, The irish Edition
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