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John McKenna was quite fond of putting slip jigs after jigs on his recordings. Unfortunately, the change in phrasing from double jig to slip jig on this track completely throws an already struggling piano accompanist. The piano's ham-fisted sonic and rhythmic brutality renders the melody quite hard to follow, which is a pity, because it's a nice tune with some unusual features... and this from someone who is very used to 'unhearing' ropey accompaniment on old recordings.

McKenna plays this on an F flute with a remarkably clear and focused tone. He gets a great pace and emphasis going despite the piano's best efforts to rugby tackle him to the floor of the studio and jump on his ear.

He's doing some interesting things on the low G 'rolls' of the second part: Sometimes he sounds like he's playing a short roll, then it sounds like he's articulating the G notes with his breath and tapping out a grace note or two for a different effect.

In the clip below I play a bit of the rhythmic pulse of slip jig rhythm and phrasing as it might be used in the first part of this tune,then I play 

the melody slowly and up to speed.

The double jig on this track is a very nice setting of the common tune 'Behind the Haystack' but with only 2 parts and in G. He has some great turns in it.

The slip jig is one of the lesser know McKenna tunes however. I've never met anyone else who plays it.

 

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