Biography

Mike Schaeffer (Tin Whistles/Uilleann Pipes): “My entry into Irish traditional music started with picking up the pennywhistle in the late 1970s as traditional music experienced its rebirth on both sides of the ocean. Prior to that time, I was a most serious fan of modern jazz, particularly the Dave Brubeck Quartet. In addition to the unusual time signatures present in Irish music (why would I like that?), I was taken by the driving sounds and rhythms of the Bothy Band, Planxty and the Chieftains. It was no surprise that being influenced by the pipers, I also took up the Uilleann Pipes and the low whistles, later on. For many years, I played as an itinerant musician at pick-up sessions, Irish gatherings, and hoolies of all kinds, and sometimes have been known to fuse in a touch of modern jazz into tunes (thanks, Dave). I still take in sessions locally and when I travel.”

Kate Kane (Vocals/Bodhran): “When I was growing up, I began singing at home with my father and sister. I never stopped. I became enchanted with Irish tunes and rhythms. After attending the Glen Echo Irish Festival, I also joined in with the Ceili dancing – and never stopped dancing, either.”

Stuart Neel (Fiddle/Mandolin): “I began playing old time fiddle music as a teenager living in Utah. After hearing Irish music as played by the Chieftains, Planxty, and the Bothy Band, I was hooked and have been playing it ever since. I’ve played in Irish bands in Utah (Tenpenny), New York (Genessee River Band), Colorado (Jigs Up), and Virginia (Spudduggery). My main influences are the great Kevin Burke and Liz Carroll."

Ray Sheehan (Guitar/Vocals): “I grew up with this music in the “Hungry Hill” section of Springfield, Mass., but was too busy playing music by the Beatles, Byrds, and Crosby, Stills & Nash. It was after hearing the Bothy Band in 1978, and the energy of Michael O’Donnell’s guitar work, that I saw “the light.” In a world of melody instruments, a guitarist can have a field day painting emotional pictures through rhythms and chord selection. I decided that if ever I had the chance to play this music, I’d drop everything else. That chance came in 2000 and I’ve loved it ever since. As a guitarist, I tend to favor those groups with solid guitar rhythms, like the

Ireland

’s Bothy Band, Altan (Daithi Sproule), Lunasa (Donough Hennessey), Solas with John Doyle, and Cape Breton’s Beolach (Pat Gillis), though I still find some of my earlier heroes, such as Stephen Stills, very relevant. Aint that a hoot?”

Gina Faber (Mandolin/Guitar/Bodhran): "I was classically trained as a pianist in a musical family. As a teen I learned to play percussion instruments and taught myself folk guitar. I have been exploring a variety of music styles (classical and folk) ever since. Early influences include composer Bela Bartok, Led Zeppelin, Crosby Stills and Nash and fusion jazz artists. Besides Celtic, I enjoy performing as a percussionist in the Loudoun Symphony, and occasionally gig as a rhythm guitarist with singer-songwriters. A trip to Ireland from back in my college years sowed the seed of interest in Celtic--I was mesmerized particularly by the polyrhythms (3 against 2) played on the bodhran. 18 years later, I bought my first bodhran, to be followed by the mandolin the next year, and now I am hooked on Celtic! I hope that my great love for expressing the rhythmic possibilities of tunes comes through in our performances! Influences: the Bothy Band, John Doyle of Solas, and Jessie Winch."


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The origin of the "Celtic Marc" The group name draws from the Irish word "marc" meaning a sign or an impression, besides it being the letters of the founding band members' first names. Now it's time to take in the Celtic Marc experience.... Fancy the summer Irish sunset over the mountain in back of you, lasting as an ever present dusk into the late night. The rising moon casts faint shadows over the cross-shaped tombstones standing like faceless formless statues as you look out over the fields to the bay. Waves are slowly and rhythmically lapping onto the white strand. The cows are heard softly lowing as they rest for the night. Over the land hangs the low lying haze created by the sweet smelling turf burning in homes appearing as lighted dots over the landscape. Permeating and rising above it all, as if coming from every dot, are the sounds of music from timeless Celtic instruments of all kinds playing together a high spirited blend of driving tunes and gentle songs. Yes! Know that as a sign that the Celtic Marc is near....keeping the ambiance of the Irish traditional music alive and kicking.	Cliffs of Donegal
The Musicians Mike Schaeffer (Tin Whistles/Uilleann Pipes): “My entry into Irish traditional music started with picking up the pennywhistle in the late 1970s as traditional music experienced its rebirth on both sides of the ocean. Prior to that time, I was a most serious fan of modern jazz, particularly the Dave Brubeck Quartet. In addition to the unusual time signatures present in Irish music (why would I like that?), I was taken by the driving sounds and rhythms of the Bothy Band, Planxty and the Chieftains. It was no surprise that being influenced by the pipers, I also took up the Uilleann Pipes and the low whistles, later on. For many years, I played as an itinerant musician at pick-up sessions, Irish gatherings, and hoolies of all kinds, and sometimes have been known to fuse in a touch of modern jazz into tunes (thanks, Dave). I still take in sessions locally and when I travel.” Kate Kane (Vocals/Bodhran): “When I was growing up, I began singing at home with my father and sister. I never stopped. I became enchanted with Irish tunes and rhythms. After attending the Glen Echo Irish Festival, I also joined in with the Ceili dancing – and never stopped dancing, either.” Stuart Neel (Fiddle/Mandolin): “I began playing old time fiddle music as a teenager living in Utah. After hearing Irish music as played by the Chieftains, Planxty, and the Bothy Band, I was hooked and have been playing it ever since. I’ve played in Irish bands in Utah (Tenpenny), New York (Genessee River Band), Colorado (Jigs Up), and Virginia (Spudduggery). My main influences are the great Kevin Burke and Liz Carroll." Ray Sheehan (Guitar/Vocals): “I grew up with this music in the “Hungry Hill” section of Springfield, Mass., but was too busy playing music by the Beatles, Byrds, and Crosby, Stills & Nash. It was after hearing the Bothy Band in 1978, and the energy of Michael O’Donnell’s guitar work, that I saw “the light.” In a world of melody instruments, a guitarist can have a field day painting emotional pictures through rhythms and chord selection. I decided that if ever I had the chance to play this music, I’d drop everything else. That chance came in 2000 and I’ve loved it ever since. As a guitarist, I tend to favor those groups with solid guitar rhythms, like the Ireland’s Bothy Band, Altan (Daithi Sproule), Lunasa (Donough Hennessey), Solas with John Doyle, and Cape Breton’s Beolach (Pat Gillis), though I still find some of my earlier heroes, such as Stephen Stills, very relevant. Aint that a hoot?” Gina Faber (Mandolin/Guitar/Bodhran): "I was classically trained as a pianist in a musical family. As a teen I learned to play percussion instruments and taught myself folk guitar. I have been exploring a variety of music styles (classical and folk) ever since. Early influences include composer Bela Bartok, Led Zeppelin, Crosby Stills and Nash and fusion jazz artists. Besides Celtic, I enjoy performing as a percussionist in the Loudoun Symphony, and occasionally gig as a rhythm guitarist with singer-songwriters. A trip to Ireland from back in my college years sowed the seed of interest in Celtic--I was mesmerized particularly by the polyrhythms (3 against 2) played on the bodhran. 18 years later, I bought my first bodhran, to be followed by the mandolin the next year, and now I am hooked on Celtic! I hope that my great love for expressing the rhythmic possibilities of tunes comes through in our performances! Influences: the Bothy Band, John Doyle of Solas, and Jessie Winch."