Track listing 1. Garret Barry's/The Eel in the Sink/Tom Sullivan's 2. Captain White's/Ellis's Jig/This is My Love, Do You Like Her? 3. George Brabazon/Jim Coleman's 4. Darby's Farewell/Fr O'Grady's Trip to Bocca/The Lansdowne Lassies 5. The Kerry Cow/John Walsh's No 1/Sean Hennigan's Polka 6. Méilti Cheann Dubhrann/John Doherty's. Air/Highland 7. Gan Ainm/Up and About in the Morning  8. Martin Wynne's # 1,2&3 Reels 9. Robbie's Choice/McIntyre's Fancy/Gan Ainm 10. Pachelbel's Frolics/Paddy Fahy's Reel 11. The Coolinerne/The Lisagun/The Dark Haired Lass 12. The Ballinafad Fancy/Lady Anne Montgomery/The Millhouse Click on underscored titles to hear sound samples with Real Player

From Roscommon town, John was naturally drawn to playing in the celebrated North Connaught flute style. After initial tuition from Paddy Ryan, John was helped in starting the flute by the great, Patsy Hanley. His playing was strongly influenced by players from the region, such as Matt Molloy, Seamus Tansey and Peter Horan.
John has won All-Ireland titles at various grades of flute and whistle. He plays and teaches regularly at workshops and festivals in Ireland and abroad.
This is John's debut album. He has also recorded an album recently with the group, Providence, who are gaining increasing popularity on the Folk/Traditional circuit.

John Wynne.  With Every Breath
I first met John Wynne in an establishment in Dublin where he had been playing with his musical friend of many years, Terry Crehan. The music flowed as freely as a stream, as tune after tune bubbled to the surface.
Since then John has gone on to forge a reputation both as a group player with the powerful new group, Providence, and also as a well accomplished solo performer.
John comes from Roscommon, a county that has long been associated with flute music.On this, his debut solo album, he blends the flowing style of the area with the technical expertise we have become familiar with from this new generation of musicians.
John has combined a variety of tunes which are pleasing on many levels, from the spirited rhythmical Reel playing, to the thoughtful air playing on track 6. He holds as exemplary tone throughout the recording and his deep understanding of the music comes through on all tracks. The control and interpretation of both old and new tunes holds the listeners attention throughout. In track 8, Martin Wynne's Reels, we hear sensitive duet playing from John and Terry that can only come from years fo playing together. And in track 11 we hear the Wynne family carrying on the flute tradition. To the listener -- sit back and savour the music on this fine CD.
To John -- Good luck and keep the music flowing !!! Catherine McEvoy
 
 

                                                    Press Reviews

Pay The Reckoning Web Site
Many of Pay The Reckoning's audience will be familiar with Wynne, who plays flute and whistle with ace ensemble Providence and who has appeared as a guest artist on a number of superb CDs in recent years.
This, his 2000 solo album, will warm the heart of the fan of honest, sincere and fluid musicianship. Wynne's integrity and passion shine through this CD like a beacon.
His choice of material is exemplary. Old standards are set alongside less common tunes with the effect firstly of shedding new light on the well-known and secondly of making the unfamiliar tune appeal instantly to the ear.
Wynne's playing lacks the aggression and force of some of the recent crop of flautists. Relaxed and in control, Wynne instead prefers to allow the tunes to ooze from his flute. His ornamentation is restrained and graceful, avoiding cheap tricks in favour of poise and soulfulness.
The opening track on any CD is key to capturing the listener's attention and Wynne's first set of reels "Garret Barry's/The Eel In The SInk/Tom Sullivan's" is instantly captivating. He follows this set up with three single jigs "Captain White's/Ellis' Jig/This Is My Love, Do You Like Her?". The final tune in this set will be familiar to many as one of the Bothy Band's show-stoppers. However the jigs which precede it are no less interesting and Ellis' Jig in particular has some, ahem, interesting connections given that it is purported to have been written by a hangman by the name of Ellis whose boast was that criminals would dance a jig at the end of his rope. God help the poor buggers, but they could have died to a worse tune!
And so the CD proceeds, one exquisitely assembled and superbly executed (no pun intended) set after another. The combination of the song and hornpipe "George Brabazon/Jim Coleman's" is a thoughtful and affecting marriage which leads us to as fine a set of reels "Darby's Farewell/Fr O Grady's Trip To Bocca/The Lansdowne Lassies" as you're likely to hear.
The three polkas which follow (The Kerry Cow/John Walsh's No 1/Sean Hennigan's) make for a very lively set and prove that it's not only the Kerrymen who have the monopoly on rendering the 2/4 tunes to great effect.
Three oustanding sets deserve special mention. His verson of Martin Wynne's reels Numbers 1, 2 and 3 is an amazing piece of musicianship. His coupling of the classical piece Pachebel's Canon (adapted in a trad style and renamed Pachebel's Frolics by Connemara's Liz and Yvone Kane) with Paddy Fahy's reel is an engaging set. The unfamiliar, but compelling, logic of the first resolves with the first few bars of Fahy's reel.
Finally Wynne's flute trio with sister Liz and fiancee Orla McAtavie (The Coolinerne/The Lisagun/The Dark-Haired Lass) is a master-stroke. The closeness of the three is evident when all three play in unison; where they opt for a more "arranged" approach, their mutual empathy (telepathy?) assures the listener of an aural treat!
As well as McAtavie and Liz Wynne, Wynne is assisted on this CD by a lively and talented bunch of accomplices who comprise Terry Crehan (fiddle), Al Cowan (djembe), Paul Doyle (guitars, bouzoukis, keyboards), Brian McGrath (piano), Tom Morrow (fiddle), Seamus O'Kane (bodhran, bones) and Noel Ryan (guitar). All involved play their hearts out and, while they certainly make their presence felt, they never overshadow the man of the moment! Particular mention is due to Doyle's often "unconventional" techniques, such as his injection of a little slide guitar. Other, less subtle accompanists might have used such approaches to ill effect. However Doyle's work is interesting without ever once jarring, sparing rather than blatant, providing light and shade rather than obscuring Wynne's music.
Available via Copperplate, whose consistently inspired sense of direction has given rise to one of the most stimulating and essential catalogues of traditional Irish music. See for yourself at http://go.to/copperplate.

Irish Music Magazine Review
“Up Roscommon” declares flute player John Wynne’s album through his choice of title for his own recording label (Upros) and his very fine, honest and earthy playing. Armed with a wealth of experience, John manages to merge a range of his influences on this his first solo outing. Deep at the heart, all the time is the North Connaught flavour, with the bulk of the material emanating from Roscommon, Sligo, Mayo and Galway, however John’s sources stretch to Kerry, Dublin and beyond as he cites those he counts as inspiration and as friends and fellow music makers.
It opens with some solid session tunes on flute and guitar and proceeds through a series of solo and more “group” style tunes when several friends join him on a variety of instruments, Paul Doyle, Tom Morrow, Al Cowan, Seamus O’Kane and Noel Ryan.
Planxty Brabazon is beautifully paced and measured before breaking into a lively hornpipe. The tin whistle comes in high and clear on Josie McDermott’s Reels, and the following march tempo opening to The Kerry Cow adds just the right change. John picks up the low whistle for the Gan Ainm waltz and fiddler, Terry Crehan joins his old pal for the Martin Wynne set of reels. Brian McGrath’s piano introduces the only self composition of the album, Robbie’s Choice, a lively jig co written with Alan Kelly and named one night at a session in Galway. His slow version of Pachabel’s Frolics is beautifully followed by Paddy Fahy’s. A special set is The Coolinerne/The Lisagun/The Dark Haired Lass, when sister, Liz and Orla McAtavie (now his wife) join John and the three flutes sound together.
Altogether an album full of heart, John’s own easy going straightforward persona comes through in his playing and arrangements. He is very much at home with his music; it is relaxed yet quite precise as are the accurate and informative sleeve notes, A breath well taken. Ita Kelly

Songlines
Continuing the regional tradition he inherited from his two main teachers Paddy Ryan and Patsy Hanley and his idol Matt Molloy, this young Roscommon flute and whistle player builds on his native legacy with a grasp of other localised Irish idioms and tunes, together with an unerring yet relaxed command of his instruments.
A member of up and coming traditional group, Providence, Winner’s makes his solo debut in assured fashion; his own playing firmly foregrounded amidst expertly sparse accompaniment from variety of friends and colleagues on guitar, bouzouki, fiddles, piano, percussion and more flutes.
The opening set of reels, Garrett Barry’s/The Eel In The Sink/Tom Sullivan’s, immediately reveals his immersion in the music, its spirited flow adding layers of drive and drama; while the following trio of jigs further highlight his delivery’s lift and sure, strong tone. A graceful rendering of George Brabazon is paired with a beautifully unhurried yet exactly measured hornpipe, Jim Coleman’s. A couple of tracks later we’re off to Kerry/Sliabh Luachra territory, with a set of three polkas, (Wynne duetting here with Dervish fiddler, Tom Morrow), illustrating the spark of the region’s music.
From Donegal, Wynne offers a meditative slow air leading into a lilting Highland (Meilti Cheann Dubhrann/John Doherty’s), and there’s a nod to the East Galway/East Clare style in Paddy Fahy’s Reel coupled with a playful but melodious folk/classical hybrid, Pachebel’s Frolics. Altogether, a nicely unflashy but striking accomplished debut.   Sue Wilson

The Irish Voice
Flute player John Wynne’s, With Every Breath is one CD that surely would have made this column’s best-of-the-year list, if it had arrived in time.
John hails from Roscommon, a county well known for great flute players, including such legends as Matt Molloy, Patsy Hanley and the late Josie McDermott. You can add John Wynne’s name to that honour roll. The liner notes to With Every Breath include a glowing endorsement of John’s music from flute star, Catherine McEvoy, arguably Ireland’s greatest exponent of the old Sligo/Roscommon style, and this columnist is not about to argue with her.
John Wynne has it all – beautiful tone, perfect rhythmic sense and the ability to pour out a seamless flow of highly ornamented melody. He’s also got great taste in repertoire. His solo debut features a wealth of gorgeous reels, jigs, hornpipes and other tunes, including obscure local gems and some very tasteful compositions from Josie McDermott and Offaly great, John Brady. Wynne’s rendition of the slow air Meilti Cheann Dubhrann is superb, and as interesting contrast to the harder edged version recorded last year by Belfast flute player Harry Bradley.    Don Meade

The Cork Examiner
" MUSIC FOR FLUTE THAT SIMPLY TAKES YOUR BREATH AWAY".

JOHN WYNNE'S mission statement on his album With Every Breath is clear, this is flute music. Despite a battery of expert accompanists, the flute holds centre stage. The light touch of the whistle takes over on Darby's Farewell/ Fr. O'Grady's Trip to Bocca, but the track is spoiled some-what by the intrusion of piano, keyboards and bones on the closing reel of the set, The Lansdowne Lasses.

The Kerry Cow is a polka, but not as we know it; John Walsh's and Sean Hennigan's both of which feature the bright fiddle playing of Leitrim's Tom Morrow, hit the spot more accurately. Meilti Cheann Dubhrann is a moody Donegal air, and is set against the sprightly John Doherty's Highland. Tim O'Leary's waltz provides a perfect partner for the jig Up and About in the Morning, this time played on low whistle. Pachelbel's Frolics is given leisurely treatment . Wynne's sister Liz, and his fiancee, Orla line up for an imaginative flute trio on The Coolinerne/The Lisagun/The Dark-Haired Lass. With every Breath is a worthy addition to the growing corpus of flute collections.  Pat Aherne

Traditional Music Maker Review March 2001
A highly competent debut solo album by up and coming young flautist with the band Providence, currently gaining a good reputation on the Irish traditional/folk circuit.
A Roscommon man, John represents a new generation of fine flautists from the area, playing in the celebrated North Connaught style. It is evident that his playing has been strongly influenced by local musicians of the previous generation; Matt Molloy, Seamus Tansey, Peter Horan and his tutor, Patsy Hanley.

The album launches with Garrett Barry’s/ The Eel In The Sink/Tom Sullivan’s; some fine reels, deftly executed, with guitar, bouzouki and bodhran backing. Through the next few tunes, the album meanders thoughtfully and perhaps a little ponderously at times through a series of standard jigs and reels, augmented by the odd hornpipe and polka, giving it more breath than the average traditional play list.

It isn’t until track 6 that John’s interpretation really begins to grab my attention. He performs a haunting Donegal air, Meilti Cheann Dubhrann, that is handled so delicately and with such care and attention to texture, that it seems almost a pity to couple it, as he does, with a highland, John Doherty’s. The next two tunes are similarly impressive. There’s a lovely waltz by Tim O’Leary, Gan Ainm and in Martin Wynne’s No’s 1,2 & 3 Reels we are treated to a perfectly balanced duet with
John’s good musical companion, Terry Crehan.

The second half of the album is fine enough; the Robbie’s Choice/ McIntyre’s Fancy/Gan Ainm set begins with a tune co-written by John himself, and in The Coolinerne/The Lisagun/The Dark Haired Lass set features members of his immensely family. However, excepting those tracks that I have mentioned, there is nothing particularly innovative about With Every Breath, though for those hell bent on tradition, John’s playing has more that enough skill and respect to handle the old tunes. But it is in those moments of flair that I detect John’s genuine talent. Expect to hear great things from this promising flautist. Kate Fletcher.

The Living Tradition March/April 2001
John Wynne is a member of “Providence”, perhaps that’s a good omen. I don’t know why most left handed flute players are so good, but this guy’s outstanding. This is all good stuff; fine driving flute music from Co Roscommon. Wynne’s fluent style is typical of North Connaught; he plays E flat and D flutes, low F and standard whistles; and there’s a great balance of tunes, tempo and pace.

Track 8 is a cracker of a reel set: “Martin Wynne’s #1,2 and 3”.This duet with his friend, Terry Crehan on fiddle shows the empathy that grows from playing together. Track 11 is a fine flute duet that turns into a trio; Wynne, his sister, and his financee. Apart from the jigs and reels, there’s a neat version of “George Brabazon”, and a reel arrangement of “Pachelbel’s Frolics” that stands comparison with Eileen Iver’s version. There’s a fine slow air that I’ve not heard before, but will hear a lot more of in the future.

Wynne pays grateful tribute to great musicians like Paddy Ryan and the late Josie McDermott; some day someone will do the same to himself. Accompaniment, on various stringed and skinned things, is tasteful and never overpowering. Special praise must be given to Seamus O’Kane for his sensitivity on bodhran. This is the it is supposed to be played; so you’re aware of it without noticing it.

I could rave about this, so I’d better stop now. Just buy it; all in all this could be a classic flute album. Definitely a “Best Buy”. Mick Furey.

The Irish Music Magazine Feb 2001
John Wynne is from Roscommon and steeped in its tradition. It shows in playing that is strong, fresh and breathy, with great verve and musical intelligence. It has his own two prized qualities of drive and heart. You’ll find great confidence at the tune changes, lovely liner notes and a characteristic cutting off the last note of a phrase in an urgency to keep the movement going.

The variety of tunes is excellent, including one of Carolan’s, (isn’t he buried in the county) and a set from the great whistle master, Josie Mac Dermott. John’s whistle playing has both elegance and authority with a full round tone. He also has one of his own compositions and a thing called Pachabel’s Frolics which is clever, a version of the canon that the classical buskers of Grafton Street would not know (does it come from Eileen Iver’s imagination one wonders?)

Altogether, there are nine other musicians listed in the credits, but it is a solo album and a very fine one too. For me the two best tracks are duos, the first with Terry Crehan, and the second with his sister Liz, and his fiancée, Orla.

This is a pure fluting delight, two minds in the incarnation of a single tune. If you want an album, which proves the value of tradition, a musical apprenticeship, and the dividends of an investment in learning, here it is. John Brophy.

 The Irish World
John Wynne has a good reputation both as a group player with the powerful new group, Providence and as a solo performer. From this release it is not difficult to see why.
With Every Breath, a clever pun coming from a flute player, is a collection of Irish music, which harks back to the good old days of traditional music.
No doubt you would agree from listening to John’s new release, that these good days are still present today.
John skilfully plays a selection of reels, jigs, airs with other musicians coming to join him on some tracks. John has clearly been inspired by other accomplished musicians and is certainly aware of the musical history, which precedes him.
This CD gives the listener a mix of lively tracks including the opening groups of reels – Garrett Barry’s, The Eel in the Sink and Tom Sullivan’s, which with its strong tune and fine playing give the listener much encouragement to listen on.
John also adeptly plays on some thoughtful airs, such as track six entitled, Méiltí Cheann Dubhrann/ John Doherty’s. An outstanding addition to this CD is included on track five – Sean Hennigan’s, which has a strong beat and rhythm. A good addition to any traditional music fan’s collection. Maureen O’Donnell,

 Sunday Tribune.  A debut of Roscommon flute legacy and new tunes, this is thoroughly good music with significant peaks. Introductory tracks suffer the existence of Matt Molloy, being somewhat lacking in dynamic in first parts, but rising to superb lashing brightness in the turns. Some dreaminess in "Pachelbels Frolics" with syrupy synth is his dip of the wick in modernity, but all is pushed aside by the power of the native. His Martin Wynne's pieces are not only a great tribute, but wonderful, relaxed playing that shows a matchless strength in duet with Terry Crehan's fiddle. Fintan Vallely

The Irish Times.  A gentle pleasant album from the Roscommon flautist. Apart from whistling some Josie McDermott tunes, he lip-squeeses great expressive tone from his flutes, purling away in the light-fingered, flowy, Roscommon style; never galloping the life out of tunes, just coaxing them out with lilt and curricular exactitude, with sedated synth, steel guitar and bouzouki way down un the mix. He also duets with fiddlers Terry Crehan and Leitrim man, Tom Morrow, and sits into a flute trio with his sister, Liz, and Orla McAtavie. Again, it's like the man's own music: very sweet and familiar. Mic Moroney

RevolutionsUK Internet Music Magazine
There are many nimble fingers in this world, such as those belonging to the Tories who used to run (a word missing an “i” perhaps) this country and pickpocketed things belonging to us all before selling it back to us.  Even more nimble, but on the side of the angels, is John Wynne, a flautist of scarcely credible dexterity and warm expressiveness.  He brought to mind Danu’s Tom Doorley, another superb exponent of the art of the flute.  Creating from the basic raw materials – a carved tube of metal with holes, a reed and breath – the intimate presence of a songbird is a gift I can only dream of.  Wynne conjures up just such a bird – a nightingale at least – as, with some very talented fellow musicians, he turns out a fine array of jigs, reels, polkas and waltzes.  On one occasion he pairs the delicately beautiful air Melti Cheann Dubhrann with the Highland tune John Doherty’s to great effect.  Another highlight is The Coolinerne/ The Lisagun/ The Dark-Haired Lass, a rousing pair of jigs finished off by a cracking reel on which John is joined by fellow flautists Liz Wynne and Órla McAtavie.  Unlike those poor sods at the Ambassador’s party, we really are being spoilt!  Finishing with a medley that includes the gorgeous and exciting Lady Anne Montgomery, this is another example of fine traditional Irish music and a further testament to the value of the Copperplate label.   David May
 
 

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