Open The Door For Three: The Joyful Hour

Open the Door for Three is fiddle player Liz Knowles, uilleann piper Kieran O’Hare, and Dublin-born singer and bouzouki player Pat Broaders. Their music is a rare combination of unearthed tunes from centuries-old collections, newly composed melodies, fresh arrangements of songs old and new, homages to the musicians and bands they grew up listening to, and the unmatched energy of a trio of good friends playing great Irish music together.

"A road-tested, audience-approved, high-octane, fist-in-glove, laughing-out-loud trio of Irish musicians..." "Theirs is a big and brilliant sound!" — Sean Smith, Boston Irish Reporter

Liz, Kieran, and Pat have been mainstays of the Irish music scene around the world, having distinguished themselves over the last two decades as soloists with Riverdance, Cherish the Ladies, String Sisters, Secret Garden, Anúna, and The New York Pops. As a trio, they have played to a wide range of audiences in venues large and small, from Irish festivals, to concert halls, house concerts, and pubs. They have performed around the world: on Broadway and at Carnegie Hall, at L'Olympia and the Palais des Congrès in Paris, in Malaysian rainforest festivals, in theatres from Shanghai to São Paulo, and even in a bullring in Mallorca. Most recently, they have been featured at The Kennedy Center’s Ireland 100 festival, the Celtic Colours festival in Cape Breton, at The Milwaukee Irish Festival, and in The Masters of Tradition series in Bantry, County Cork, Ireland.

Irish music is a living, breathing part of Irish and Irish-American culture, and there is no single story that can sum up its history, its charm, grace, and drive. The soul of Open the Door for Three’s music is filled with connections: the connections to people and places, to teachers and heritage and audiences, and to the stories and humor that bring us all together. From these connections comes inspiration, which fills a bottomless well that keeps the trio coming back again and again – to refill, refuel, reinvent, and share.

"Every time Knowles laid into one of her foot-stomping reels, she’d set the auditorium ablaze.”– Channing Gray, Providence Journal-Bulletin Arts

"Most impressive was hell-for-leather fiddler Liz Knowles.” – Rick Pender, City Beat

Liz Knowles has brought her distinctive sound—the fire and finesse of Irish fiddle music combined with the tonal richness of the classical violin—to concert stages and festivals acrossthe world. Her auspicious beginnings as the fiddler for Riverdance and as soloist on the soundtrack for the film Michael Collins established her as a virtuosic and versatile performer, and she has since performed as soloist with such orchestras as the New York Pops, she was a member of the renowned Cherish the Ladies, played on Broadway with The Pirate Queen, traveled the world for over four years as Music Director and performer with Celtic Legends and, today she performs with another all-star female super-group, the highly acclaimed String Sisters and the newly formed Martin Hayes Quartet.Liz first distinguished herself as a violinist in New York City, performing in such prestigious venues as Carnegie Hall, the Kennedy Center and Broadway, with such artists such as Marcus

Roberts, the Bang-on-a-Can Orchestra, Bobby McFerrin, Paula Cole, Steve Reich, Eliot Goldenthal, Rachel Barton, Don Henley, and Tim O’Brien. It was in New York that she discovered her true passion for Irish traditional music. Today, she is well respected on both sides of the Atlantic. Liz is also established as a well-known and sought-after teacher of Irish music. She has taught at many tionols and workshops across the US and in Ireland. Her compositions and arrangements of tunes and songs have been recorded and performed by John Whelan, Flook, Chicago’s Metropolis Symphony Orchestra, Liz Carroll, Beolach, Bachue, J.P. Cormier, Michael Black, John Doyle, and Ensemble Galilei.

In 2016, Liz co-produced a cd and performance project alongside Liz Carroll with the Art Institute of Chicago as a part of their special exhibit, Ireland:Crossroads of Art and Design, 1690-1840. This project, OTD43, String Sisters, and the Martin Hayes Quartet are indicative of a maturity in her music, a conscious choice to incorporate the entirety of her musical life into the music she plays, writes and performs today.

Kieran O’Hare is a highly respected and sought-after performer of Irish traditional music on the uilleann pipes, concert flute, and tin whistle. In 1994, Kieran received the honor of being the first American-born player of Irish music invited to perform in the annual ‘Ace and Deuce of Piping’ concert, held in Ireland’s National Concert Hall. Since then, he has made countless appearances at festivals and concerts in North and South America, Japan, China, and Europe. Among the many artists with whom Kieran has performed, toured or recorded are Mick Moloney and The Greenfields of America; Cape Breton fiddlers Jerry Holland and JP Cormier; Nashville songwriter Gordie Sampson; Irish vocalist Danny Doyle; the Milwaukee Symphony Orchestra; the Cincinnati Pops Orchestra; Bonnie Raitt on VH1 Storytellers; The Paul Winter Consort; Josh Groban and Don Henley.

Kieran has worked extensively in designing music for the stage, and is in great demand as a session musician and as a teacher of Irish music. In 2002, Kieran appeared in a musical role in the Sam Mendes film Road to Perdition. In 2006-2007, Kieran was featured on Broadway in The Pirate Queen, written by Alain Boublil and Claude-Michel Schönberg, and produced by John

McColgan and Moya Doherty of Riverdance. In 2007-8, Kieran was a featured performer on the PBS special presentation “Celtic Origins” with the Irish choral group  ANÚNA.
He made his Carnegie Hall debut in 2010 as a soloist with the New York Pops Orchestra and most recently, with Liz Knowles, Kieran toured the world for over four years as musical director, contractor, and performer with the France-based show Celtic Legends. Kieran serves on the Board of Directors of Na Píobairí Uilleann in Dublin, Ireland, an organization dedicated to the preservation and promotion of uilleann piping worldwide.

Pat Broaders grew up in Dublin, the son of parents from Wexford. He began his journey in traditional music at the age of eight. He started out on the whistle, and later moved on to the

uilleann pipes under the tutelage of Leon Rowsome. He took up the bouzouki in 1988, inspired by the sounds he grew up hearing from bands like Planxty, and the popularity of the instrument

in Dublin’s vibrant traditional music scene. Pat’s singing began naturally enough. His father was a singer, and having grown up around Dublin’s singing tradition, it was a natural step for him.

Pat’s repertoire today reflects his interest in the great songs of the Irish tradition as well as songs and ballads from the English and Scottish traditions. In the early ’90s, moved to Chicago and on top of holding one of the longest running Irish music gigs in the history of Chicago at Kitty O’Shea’s, he has performed and recorded with Dennis Cahill, Liz Carroll, and Martin Hayes, John Doyle,

Paddy O’Brien, Mick O’Brien, Robbie O’Connell, and Danú. He has a long-standing relationship with the Norwegian new age musical group Secret Garden and Kongshavan Studios.

In another long-standing relationship, Pat has toured with Jimmy Keane and Bohola for over 15 years. Pat toured with Celtic Legends in an incredibly demanding role as the sole backer and singer in the show, an Irish music and dance show that has toured Europe, Asia and South America. When he is not performing, Pat teaches the pipes and operates Pipedream Studio.

He has engineered albums for Liz Knowles, Larry Nugent, and Celtic Legends, and tracks for Bohola and Liz Carroll.

Audio

Track 1: Carrig River

Track 2: Church Hill

Track 3:The Boy In The Tree

Track 3: Charming Mary

Track Listing

1. Boyne Waters
2. Carrig River
3. Church Hill
4. Heavy Is My Fate
5. The Boy In The Tree
6. Creeping Jane
7. The Joyful Hour
8. Ye Lovers All
9. An Bhean Dubh
10. Clyde Waters
11. Charming Mary

Click to watch Open The Door For Three in Concert via You Tube. [https://youtube.com=https://www.youtube.com/...]

Press Reviews

RnR Magazine May/June
For their third album, Irish Americans Liz Knowles (fiddle, Hardanger d’amore) and Kieran O’Hare (uilleann pipes, flute and whistles) and native born Dubliner Pat Broaders (bouzouki and vocals) prove once again that they are at the top of their game.

Taking their name from a tune in The Goodman Collection from which  they source most of their material. Open the Door for Three are considered to be one of finest traditional  Irish outfits currently performing; hardly surprising given their individual pedigrees.

Although their roots are in the Irish tradition, the trio also look further for material and here they include Creeping Jane, a  Lincolnshire song from the singing of Martin Carthy and Clyde Water from the songing of Nic Jones, each given a fresh perspective largely due to the inspired blending of songs with the traditional Irish hornpipes, jigs and reels.

Each musician shines but no one claims the limelight on the Joyful Hour, an album where the sum of the parts is far greater even though each of those parts is already pretty great. Listen to the interplay on sets such as  “The Boy In The Tree” or “Charming Mary”, where the layers of music are intricately interwoven to perfection, or as near to it as is possible, and you’ll also probably detect the sound of your jaw hitting the floor. Dave Haslam

Irish Music Magazine 4.18
This is the third album from a US-based trio who have impeccable pedigree in global trad circles. Liz Knowles is an acknowledged fiddle maestro, Kieran O’Hare an uilleann piper of distinction and Dublin-born Pat Broaders on bouzouki and vocals, whose deep understanding of the song tradition, combined with an innate empathy for accompaniment, permeates the recording.

From the opening bars of the first set Boyne Water, there is an assurance and confidence in the ensemble playing which enthuses the listener. Their reading of The Monaghan Jig in the Church Hill set  breathes fresh life into this most elegant of jigs, and a beautiful reading of the air Heavy Is My Fate is a testament to their instinctive sense of musical space. Overall, a wide variety of sources are explored to deliver a balanced range of material, carefully constructed, arranged and played to perfection – the title track is another great example along with the emphatic closing set of reels, Charming Mary.

The song choices reflect Pat Broaders’ wide interest in material drawnfrom all avenues of his musical journeys, including rare English folk songs like Creeping Jane, and Carrig River from his cherished family roots in Co. wexford. Perhaps the standout song is Clyde Water, learned from the singing of the great Nic Jones. recorded mainly in Dublin with engineering support from Trevor Hutchinson, this CD showcases the combined talents of all three players as a wonderful ensemble, always greater than the sum of its parts, which reflects huge credit on all those involved.  Mark Lysaght

www.folking.com

The Joyful Hour is the third album by Irish-American trio Open The Door For Three. They are fiddler Liz Knowles, already known to us a member of String Sisters; American-born piper, flautist and whistle-player KieraPreview Changesn O’Hare and singer/bouzouki player Pat Broaders who is Irish but now lives in Chicago. All three are much-travelled and well-respected and there is probably a very long and involved story about how they met.

Their repertoire is mostly Irish although they stray to Cape Breton, Scotland and England, and mostly old although one tune is of more modern origin. The opening set goes under the umbrella title ‘Boyne Water’ comprising ‘Boyne Water’, ‘Let Us Leave That As It Is’ and ‘Happy To Meet, Sorry To Part’. The band are meticulous in crediting the sources of their repertoire so you’ll find the names of Micho Russell, Len Graham and Liam O’Flynn as well as Martin Carthy and Nic Jones. ‘Boyne Water’ opens simply on tin whistle with bouzouki gradually joining in followed by fiddle. At the first change, the fiddle takes over the lead with uilleann pipes added to the mix

The second track is also the first song, ‘Carrig Water’ sung by Pat. His voice is unaffected and untreated in the manner of traditional recordings. The song is a nostalgic “song of place” and pretty if a little unsubstantial although much enlivened by the pipe and fiddle outro. The ‘Church Hill’ begins with the pipes celebrating a 17^th century battle before the complex ‘The Monaghan Jig’ with Kieran and Liz battling for supremacy and this pattern of interchanging leads is typical of the trio’s style. Pat’s bouzouki opens the beautiful ‘Heavy Is My Fate’ with Liz and Kieran taking over.

Of the other songs, ‘Creeping Jane’ is the outsider but… an Irish band with a song about horse-racing; it could have been written for them and they Irish it up still further by interleaving a couple of traditional tunes. ‘Ye Lovers All’ is a gentle love song and ‘Clyde Water’ brings us the band’s take on Nic Jones’ classic with the addition of ‘The Morning Star’ from the playing of Joe Bane.

It has only taken a couple of plays to get into The Joyful Hour and you can indeed spend a joyful hour in its company. Dai Jeffries

Irish Music Magazine 4.18

This is the third album from a US-based trio who have impeccable pedigree in global trad circles. Liz Knowles is an acknowledged fiddle maestro, Kieran O’Hare an uilleann piper of distinction and Dublin-born Pat Broaders on bouzouki and vocals, whose deep understanding of the song tradition, combined with an innate empathy for accompaniment, permeates the recording.

From the opening bars of the first set Boyne Water, there is an assurance and confidence in the ensemble playing which enthuses the listener. Their reading of The Monaghan Jig in the Church Hill set  breathes fresh life into this most elegant of jigs, and a beautiful reading of the air Heavy Is My Fate is a testament to their instinctive sense of musical space. Overall, a wide variety of sources are explored to deliver a balanced range of material, carefully constructed, arranged and played to perfection – the title track is another great example along with the emphatic closing set of reels, Charming Mary.

The song choices reflect Pat Broaders’ wide interest in material drawn from all avenues of his musical journeys, including rare English folk songs like Creeping Jane, and Carrig River from his cherished family roots in Co. wexford. Perhaps the standout song is Clyde Water, learned from the singing of the great Nic Jones. recorded mainly in Dublin with engineering support from Trevor Hutchinson, this CD showcases the combined talents of all three players as a wonderful ensemble, always greater than the  sum of its parts, which reflects huge credit on all those involved.  Mark Lysaght

www.folkradio.co.uk 26/03/18    http://www.folkradio.co.uk/2018/03/open-the-door-for-three-the-joyful-hour/

Rarely has an album been given a more appropriate title, my only reservation, this thoroughly joyful music doesn’t last for a full hour. But when they’ve given us 47 minutes of such quality, I forgive them. From the first few seconds, when Kieran O’Hare’s tin whistle starts Boyne Water, quickly joined by Pat Broaders on bouzouki, and then by Liz Knowles’ fiddle, this is clearly music to lift the spirits. As the set progresses through Let Us Leave That As It Is and finally to Happy to Meet, Sorry to Part, Keiran’s uilleann pipes take over the lead, and more than just spirits are lifted, it’s likely you’ll be out of your seat and dancing around the kitchen.

The second track, a late nineteenth-century song, Carrig River, changes but doesn’t break this uplifting mood. The lyrics may reference those that died in uprisings past and evoke the sadness and regret of emigration, but the overriding sentiment extols the beauty and serenity of that part of County Wexford. With the lightness and clarity of Pat’s voice, a haunting, repeating phrase from Liz on the Hardanger fiddle and the interplay of fiddle, pipes and whistle, the song becomes an invitation to pause and let memories of your own favourite places wash over you.

Despite being the third album release from a band with a pretty unforgettable name, I must admit this is the first time I’ve come across them. That’s less surprising on discovering the first two albums are only available in the UK as imports, obtainable through Amazon at silly prices. Although US based, individual band members may be more familiar, Liz Knowles in particular. She’s a member of the String Sisters who played 3 dates in England, Scotland and Ireland back in January, including Celtic Connections and will be touring in May.

Kieran and Pat have outstanding track records in ensemble work, being much in demand to play with many of the finest Irish, Irish-American and Canadian musicians. All three came together as performers and members of the production team of the French-based Irish music and dance show, Celtic Legends. Having toured this production for several years, the close rapport and enthusiasm for each other’s music developed and they seem to have found a natural outlet in Open The Door For Three.

The remaining nine tracks are split into three songs and six tune sets. The songs, with Pat taking all the vocals, provide some interesting contrasts. One, Ye Lovers All, was learnt, indirectly, from a singer in Co. Monaghan, Marie McEntee, via Co. Antrim singer and song collector, Lee Graham. With a pedigree like that it’s as Irish as can be, a gentle tale of courtship that threatens to go wrong but ends happily. The song could stand on its own but bouzouki and whistle give it an equally gentle accompaniment with fiddles joining just for the middle break. Creeping Jane and Clyde Water could hardly be more different. The lyrics come unchanged from recordings acknowledged in the liner notes, Martin Carthy for Creeping Jane and Nic Jones for Clyde Water, both singers with their own unmistakable styles. But give those lyrics to a fine Irish voice and whilst the words and, to a significant degree, the phrasing, may be the same, the songs take on a new life. Not content, the trio have weaved traditional tunes between the verses, stamping an unmistakably Irish imprint onto the songs. If, despite the efforts of today’s archivists, 200 years in the future modern records prove to be as fragmentary and contradictory as those of the past, I can imagine 23^rd Century Mudcat debates as to just where these songs originated. Was it in England, Scotland or Ireland?

The trio have worked hard to produce lively, imaginative tune sets, providing liner notes that identify the various components. Pat, Liz and Kieran seem to delight in providing as much information as they can. Two of the classic Irish collections, Canon Goodman’s manuscripts held at Trinity College Dublin and Francis O’Neill’s Waifs and Strays of Gaelic Melody have provided the majority of the traditional tunes. Band members have learned others from players in Ireland and elsewhere, Cape Breton notably adding a Scottish voice to some of Liz’s fiddle pieces. Liz herself has composed additional elements, principally counter melodies and harmonies. This amalgam of traditional and contemporary compositions from Liz and others has delivered a canon of instrumental music that honours the tradition yet preserves a personal imprint from each of the three players, a truly winning combination.

The album closes with a particularly rousing set of reels, led by Kieran’s pipes. Charming Mary Kelly leads on to The Cat That Ate the Candle, the set finishing with The Achonry Lasses, Liz’s fiddle sharing a hectic duet with Kieran’s pipes. The band acknowledges their inspiration for this last tune was the Planxty version with Liam O’Flynn and James Kelly, so it was a bittersweet experience listening to this in the week we heard of Liam O’Flynn’s death. But in Kieran O’Hare we have a piper who quickens the pulse and stimulates the brain, reason enough to be optimistic for the future. It’s unfair to single out any one band to carry forward the torch that Planxty lit all those years ago, but the music Pat, Liz and Kieran are making can certainly hold its head high in such exalted company. The Joyful Hour gives out its joy in abundance and deserves a place in anyone’s collection. Johnny Whalley

FATEA Website Open the Door For Three CD Review 3.18

Open The Door For Three (OTD43) is a triumvirate of performers each having their own separate careers in music, film and theatre. They bring together experiences from all around the world and express it in their love for Irish Music. You may well have seen their individual performances before and not realised it.

Liz Knowles for example played in the "Riverdance" band for years. she is also a well-known and sought-after teacher of Irish music. As well OTD43 she regularly plays in the all female String Sisters and the Martin Hayes Quartet. Her compositions and arrangements of tunes and songs have been recorded and performed by a myriad of other world wide known performers.

Kieran O'Hare received the honour of being the first American-born player of Irish music invited to perform in the annual ‘Ace and Deuce of Piping’ concert, held in Ireland’s National Concert Hall. He has worked extensively in designing music for the stage, and is in great demand as a session musician and as a teacher of Irish music. Did you spot him in his musical role  in the Sam Mendes film "Road To Perdition?" Kieran also serves on the Board of Directors of Na Píobairí Uilleann in Dublin, an organization dedicated to the preservation and promotion of uilleann piping worldwide.

Pat Broaders grew up in Dublin, the son of parents from Wexford. He began his journey in traditional music at the age of eight. He started out on the whistle, and later moved on to the uilleann pipes. He took up the bouzouki in 1988, inspired by the sounds and the popularity of the instrument in Dublin’s vibrant traditional music scene. In the early ’90s, moved to Chicago and held one of the longest running Irish music gigs in the history of Chicago at Kitty O’Shea’s. He has performed, recorded and has a long-standing relationship with the Norwegian new age musical group Secret Garden and Kongshavan Studios. His father was a singer, and having grown up around Dublin’s singing tradition, it was a natural step for him. Pat’s repertoire today reflects his interest in the great songs of the Irish tradition as well as songs and ballads from the English and Scottish traditions.

"Boyne Water"

The whistle played by Kieran O'Hare starts off this lively track soon to be joined by the Hardanger, the resonating backing strings adding their offering to the intricate tune. Kieran learned this tune like so many of us by listening and playing along with a CD. It seems that it survives in many forms following Irish, Scottish and American Traditions. As is the custom of most traditional music we are then taken into an afterdance in this case "Let Us Leave That As It Is" although here too it has been heard being played under an alternative title of "Lord Elcho's Favourite," which of course might well have been. "Hey band, play my favourite" being called out by the sponsor. Whatever you might call it, this tune is an almost irresistible invitation to dance. In the minds eye a village hall full of twirling dancers comes to mind and there is no finer track to accompany them.

"Carrig River"

Pat Broaders  relates this lilting narrative tale which he learned from his father about the beauty of the Carrig River. The abounding wildlife lives alongside the remains of  ninety eight Wexford men. The song was written in 1890 so I assume it relates to the "Land War" troubles of around that time, which sought to improve the lot of tenant farmers and agricultural workers.  This tune required a set of uilleann pipes in the key of C. Not having such a thing, the band borrowed a set from Emmett Gill for Kieran to play. The song's soft melodic structure and rhythm defies it's chilling story.

"Heavy Is My Fate"

This is a contemplative piece which has a haunting air to which the band has added their own touches. The emotion generated is one of melancholy. It provides a moment for the listener to reflect on things past. The musicianship of the trio displays respect and care for the originators of the tune. which is also known in other circles as "This casts gloom upon my soul." That said, I was thoroughly involved as the piece played, - I loved it.

"The Boy In the Tree"

In contrast to the previous track this is lively and playful, a bit like the little imp in the title. As the second tune starts you can almost see the boys misbehaving at "Jenny's Wedding". The bride can be imagined raising her skirts to dance around the hall in sheer joy, a feeling broadcast to all there.

"Creeping Jane"

Pat sings tale about a young filly thought not to be worth "half a pin."  She is taken to the races and all the pundits laughed at her saying she had no chance. As the race progressed, they seem to be confirmed in their view as she trailed behind. At the third mile post her jockey applied the whip and she "fleered past them like a dart" and won the race. However all is not well at the end as she drops down dead.  The lively tune belies the way that men treat their animals and take advantage of them until they are done.

"The Joyful Hour"

This set has three tunes The Rose Garden, The Joyful Hour and a more recent composition but still in the same genre by accordionist Tom Fleming from Kerry. The whole melding into a delightful jig. Quite how the musicians manipulate their instruments at such a tempo as is used here to actually voice every note is a wonder.

"Ye Lovers all"

This song is an illustration how music is passed around over the generations and remains charming and melodic. Via Mary McEntee on County Monahan, through Len Graham to Pat Broaders and no doubt other singers too. In the process the tune may alter a bit and the words will almost certainly also change. The thrust of the song remains however, a gentle love song is always a gentle love song. None is better delivered than this example. The voice of Pat Broaders is well supported by the strings of Liz Knowles and the pipes of Kieran O'Hare.

"An Bhean Bubh"

A timeless melody which has been around for decades and serves to illustrate the mastery of the instruments possessed by Liz, Pat and Keiran.

"Clyde Water"

We move to Scotland for this tale of a suitor who leaves the warmth of his mother's house to go to a maid who lives on the other side of a raging river (The Clyde). He has faith in his coal black steed. "Oh the good steed I ride upon, Cost me thrice thirty pounds, I'll put trust in his swift feet, To take me safe and sound." When he arrives, she won't let him in and sends him away. On the way back across the river he loses his cane and in bending to retrieve it, he falls in. The maid dreams of this and goes down to the river to try to save him and they drown together. The musical arrangement is wondrous and contains a cameo appearance of "The Morning Star" influenced by the playing of the late Joe Bane.

"Charming Mary"

Is a bright reel of three tunes "Charming Mary Kelly" and "The Cat That Ate The Candle" together with "Achonry Lasses". This last tune the band play two variations, one of their own and the other as Liam O'Flynn and James Kelly did it nearly forty years ago. Which do you prefer? You'll have to make your own choice.

"The Joyful Hour" is an apt title for this CD. Time spent listening to this album is indeed well spent. To anyone with an interest in Irish Music played impeccably, the purchase of this CD is a more than worthwhile investment. Each of the trio bring their own skills to the party and the result is truly extraordinary. Tony Collins

The Living Tradition. April 18
Fiddler Liz Knowles is one of North America's finest exponents of Irish music: here she has teamed up with the multi-talented piper and fluter Kieran O'Hare and Dublin exile Pat Broaders who graced many sessions with his bouzouki and Liffey banks baritone before relocating to Chicago and completing this Irish American trio. The Joyful Hour is their third album, and while it falls well short of an hour it is joyful enough to compensate. Roughly split between two thirds tunes and one third songs, it's the fiddle and pipes which define the trio's sound for me: they are artfully exposed on the great Monaghan Jig, a favourite of mine of course, in a slightly unusual version here but flawless as a duet and even better when supported by the bouzouki.

But I'm getting ahead of myself. The CD opens with a medley of a march and jig, starting on Kieran's lonely tin whistle and adding Pat's accompaniment before Liz joins in the second time through The Boyne Water. Kieran switches to the pipe chanter, and fires up the drones to kick us into Happy To Meet, Sorry To Part in a version from East Clare piper and fiddler Martin Rochford. Then comes the first of Pat's four songs, the lyrical Carrig River in praise of Wexford's pastoral bliss. This recording has most of the ballad themes: sporting contests in Creeping Jane, happy couples in Ye Lovers All, and the tragically gormless lover theme of the window-tapping song, Clyde Water. Broaders delivers all four with aplomb.

There's no escaping the fact that this trio is accustomed to an American audience. First, there are no reels until track five - very few Irish bands would contemplate that at home. Second, in addition to the songs there are two slow instrumental tracks, the gorgeous Heavy Is My Heart and the simpler An Bhean Dubh, suggestive of audiences who take the time to listen between trips to the bar and side conversations. Although there is a rush of reels toward the end of the album, the variety earlier on and particularly the ability to mix rhythms in a single track clearly show this to be an album which considers the listener and does not simply transfer a session to the CD format. Presentation and running order can be just as important as individual skill or cohesive arrangements. Open The Door For Three scores highly in all these areas, making this recording a comprehensive success. Alex Monaghan

The Irish Echo 10.01.18
Open the Door for Three sure knows how to make great albums.  Their first two, “Open the Door for Three” and “The Penny Wager” were both fabulous, well-balanced recordings that featured high-level playing and tasteful musical choices.  Their newest effort, “The Joyful Hour,” is a similarly fabulous album and it may even exceed the standard set by the other two.  It’s not that the group’s playing has changed.  They’re still the lovable trio of top players they’ve always been.  Nor have they become markedly bolder in how they approach their arrangements – their “sound” hasn’t changed any.  But something rare is clicking on this release that makes the whole thing seem special. Regardless of what that thing might be, the results are brilliant.

Open the Door for Three is Pat Broaders (bouzouki/vocals), Liz Knowles (fiddle/hardanger d’amore), and Kieran O’Hare (uilleann pipes, flute, tin whistles).  Top musicians all, each has serious and well established musical pedigrees individually and a strong track record together.  (BTW, anyone remember “Ireland: Crossroads Of Art And Design, 1690-1840,” THE sleeper album of 2015?  O’Hare and Knowles were a major reason…just saying.)

The album opens with the fabulous “Boyne Water,” a trio of tunes that starts simply with a reel on tin whistle and then escalates into a much fuller, layered arrangement as the rhythms changes over to a jig.  The track’s drive sets an auspicious tone because although it shows the hard edge in the band’s playing, it also reveals the nuance and dynamic sensitivity in the group’s approach.  It’s what’s explored in the rest of the album.

By the time we reach “Church Hill,” the album’s third track, things are simmering.  It features two jigs, the titular “Church Hill” comes from the now-popular Goodman Collection, and the second is the well loved classic “Monaghan Jig.”  The tunes are very nice selections, but again, what stands out is the drive.  These tunes hop along at a nice, brisk pace, and the way the group’s players locked in withe each other, coupled with the fabulous arrangement makes this impressive track stand apart.

The group also stands out on “The Joyful Hour,” a track that just flows along and features a lovely countermelody in the final tune, and “The Boy in the Tree,” which features some fierce piping from O’Hare.  Contrast these with the almost pastoral quality of “An Bhean Dubh,” a slow tune on which Knowles’s fiddle playing absolutely shines, and the album’s sense of “bigger picture” begins to develop.Broaders takes the vocal lead on several tracks.  His clear, piercing voice is in fine form throughout and I love the songs he’s singing here – as one might suspect, they’re supported by excellent arrangements.  “Carrig Water” is one of the standouts.  Broader does the song great justice, and his work is complemented by some terrific interplay between the pipes and the fiddle.

Another lovely song is “Creeping Jane.”  There, Broader’s voice floats over the song’s galloping rhythm and is complemented by instrumental interludes, including a nice bit of drone towards song’s end that leads into a fine take on the reel “The Morning Star.”  It’s a lovely one.

Ultimately, “The Joyful Hour” is a thrilling collection and arguably the finest of the group’s three albums.  A brilliant mix of neatly chosen songs and tunes, the music is brought to life by great arrangements and brilliant musicianship.  Its variety in tempo and intensity makes it an engaging collection to listen to as a whole, but each track has plenty to enjoy individually as well. It’s hard to imagine lovers of traditional music not enjoying this album – a must have, really. Dan Neely