TRADITIONAL music survived for centuries and generations because of the quality of the music and the artistry that touched the very soul of the Irish people. As necessary as both the musician and listener are, it is also important to acknowledge those whose houses, halls or pubs encouraged that cultural exchange and made everyone feel welcome and at home.

Those thoughts came to me as I looked back on the tour of the outstanding Irish fiddler Maeve Donnelly and guitarist Tony McManus, two virtuosos on their respective instruments, and reflecting on a great night out in Rockaway, New Jersey where the tour began.

The tour depended on those reliable sleeper cells for traditional music like Coatesville, Pennsylvania, Woodstock, Fairfield County, Cumberland, Rhode Island, and the Glucksman Ireland House which opened their doors to the pair of musicians whose paths crossed only briefly last year, but inspired a promising tour together this year organized by a mutual friend, Shelly Romalis.

In these days when the commercial interest in Irish music has waned considerably and venues are harder to come by, it is so important to have places like the Irish American Association of Northwest Jersey. They embrace musicians like this who have worked so hard to keep the culture alive, and invite them into their friendly clubhouse which takes on the festive air of a house party on these occasions, thanks mostly to local organizer Iris Nevins and some devoted members.

Reports from all the informal concerts were very encouraging with good turnouts, and that is a win-win-win situation for the musicians, organizers and audience.

In Rockaway, New Jersey the formula of workshop-concert and session seems to be working like a charm so far, and this is the first that I attended out there. The chance to experience artists like Donnelly and McManus up close all night long makes for a memorable experience, especially for those younger musicians in the audience some who were talented enough to take the spotlight for their own solo set (Maeve and Bernadette Flanagan, Dylan Foley and Gene Bender Junior).

Donnelly displayed a master’s touch all evening, giving us tunes from her native Galway, Clare, Donegal, Kerry and elsewhere. She even reached down to Texas for some spot-on versatility, rendering Tommy Doucet’s ‘Panhandle Swing.”

Her personal stamp and style was all over the hornpipe “The Banks” played in a more staccato bowing style than we would be familiar with the playing of our Sligo masters Andy McGann or Brian Conway, who was in the audience.

It also offered a challenge to her duet partner McManus, who flat-picked in the key of E flat which to fellow pickers was indicative of his exceptional fingering and skill. He also provided a moving tribute to the late Micheal O’Dhomnaill, who died last July, but not before inspiring a generation of guitar players in the traditional music scene.

As flashy as the performance was, the pair settled easily into the musicians’ circle afterwards to share a few tunes with their fellow musicians. In a setting like this it is easy to feel at home even when you are on the road.