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Patrick A. 'Patsy' Brown ([[1872]] in [[Ireland]] – [[1958]] in [[Boston]], [[Massachusetts]], [[USA]]) was an Irish-American maker of the [[Uilleann | uilleann pipes]]. Originally from [[Killorglin]], [[County_Kerry | Co. Kerry]], [[Ireland]], he emigrated to the United States in 1892, and made his home in [[Chicago]] and the [[ |
Patrick A. 'Patsy' Brown ([[1872]] in [[Ireland]] – [[1958]] in [[Boston]], [[Massachusetts]], [[USA]]) was an Irish-American maker of the [[Uilleann | uilleann pipes]]. Originally from [[Killorglin]], [[County_Kerry | Co. Kerry]], [[Ireland]], he emigrated to the United States in 1892, and made his home in [[Chicago]] and the [[Dorchester,_Massachusetts | Dorchester]] neighborhood of [[Boston]], [[Massachusetts]], and may have made a living as a bricklayer and/or electrician. He made uilleann pipes on a part-time basis, out of his cellar, so his output was not huge, but his style is very distinctive. He may have made sets from about 1910 until his death in 1958. It is believed that, like many Irish musicians of his time, he played for dancers in the clubs around Dudley Square, Dorchester. |
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His earlier work was styled after that of the [[Taylor_brothers]]. The regulator keys at first resembled the Taylors' design, though Brown mounted them in wooden blocks, rather than between metal plates, as the Taylors did. In later years his style changed to a more hybrid style, with [[Theobald_B%C3%B6hm | Böhm]]-style keywork on all the holes at the front of the chanter, but broad, flat, Taylor-style keys on the holes at the back of the chanter. There is some speculation that he may have repaired classical flutes on a part-time basis too, which might have led him to experiment. On some chanters, the keys are applied in the same manner as one would find on a flute: all of them pivot about a common rod that runs parallel to the chanter. On others, the style is really unique: each key pivots about its own rod, held in place by its own two posts, mounted above the tone hole, but '''transverse''' to the chanter. A number of his chanters are known, and not all of them share this distinctive style. |
His earlier work was styled after that of the [[Taylor_brothers]]. The regulator keys at first resembled the Taylors' design, though Brown mounted them in wooden blocks, rather than between metal plates, as the Taylors did. In later years his style changed to a more hybrid style, with [[Theobald_B%C3%B6hm | Böhm]]-style keywork on all the holes at the front of the chanter, but broad, flat, Taylor-style keys on the holes at the back of the chanter. There is some speculation that he may have repaired classical flutes on a part-time basis too, which might have led him to experiment. On some chanters, the keys are applied in the same manner as one would find on a flute: all of them pivot about a common rod that runs parallel to the chanter. On others, the style is really unique: each key pivots about its own rod, held in place by its own two posts, mounted above the tone hole, but '''transverse''' to the chanter. A number of his chanters are known, and not all of them share this distinctive style. |
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Revision as of 14:08, 4 January 2007
Patrick A. 'Patsy' Brown (1872 in Ireland – 1958 in Boston, Massachusetts, USA) was an Irish-American maker of the uilleann pipes. Originally from Killorglin, Co. Kerry, Ireland, he emigrated to the United States in 1892, and made his home in Chicago and the Dorchester neighborhood of Boston, Massachusetts, and may have made a living as a bricklayer and/or electrician. He made uilleann pipes on a part-time basis, out of his cellar, so his output was not huge, but his style is very distinctive. He may have made sets from about 1910 until his death in 1958. It is believed that, like many Irish musicians of his time, he played for dancers in the clubs around Dudley Square, Dorchester.
His earlier work was styled after that of the Taylor_brothers. The regulator keys at first resembled the Taylors' design, though Brown mounted them in wooden blocks, rather than between metal plates, as the Taylors did. In later years his style changed to a more hybrid style, with Böhm-style keywork on all the holes at the front of the chanter, but broad, flat, Taylor-style keys on the holes at the back of the chanter. There is some speculation that he may have repaired classical flutes on a part-time basis too, which might have led him to experiment. On some chanters, the keys are applied in the same manner as one would find on a flute: all of them pivot about a common rod that runs parallel to the chanter. On others, the style is really unique: each key pivots about its own rod, held in place by its own two posts, mounted above the tone hole, but transverse to the chanter. A number of his chanters are known, and not all of them share this distinctive style.
He is believed to have made only concert-pitch sets. It appears that he always used a popping valve on his chanters.
Other makers in the Boston area, contemporaneous with Brown were White, and Green. White's style was even closer than Brown's to that of the Taylor brothers, which may indicate that he was older and had personal contact with them. He is mentioned in O'Neill's Irish Minstrels. Some of his sets are still extant.
It is reported that Patsy Brown taught Seán McAloon to make reeds, by correspondence.[1]
References
Pictures
http://www.uilleannobsession.com/diary_2005.html (search for 'Patsy Brown')