There is an colourful interview on the Web carried out by Dale Wisley 'the Undisputed King of Internet Tin Whistle Journalism' at www.chiffandfipple.com/cormacinterview.htm

Irish Music Magazine carried an interview with Cormac in their September, 1999 issue.

Musical Journey is Cormac Juan Breatnach's debut solo CD that was released in July last, on his own label, Dioscaí Mandala. It is a personal journey exploring the musical and cultural colors which influence his performance style, repertory and characteristic swing which he brings to the music. A varied selection of pieces ranging from his favored polka form to songs carrying forth his Irish and Spanish identity, the pieces unite to portray an artist who is deeply rooted in his musical tradition but emotionally honest and willing to explore his own identity and to unselfconsciously allow it to emerge in its own inimitable form.

Musical Journey is a collection of tunes recorded with contributions from Máire Breathnach, Steve Cooney, Niall Ó Callanáin, Paul Mc Sherry, Garvan Gallagher, and Theo Dorgan amongst others. The arrangements are warm with careful and considered accompaniments, the tune versions adventurous taking one on an unexpected journey with sudden and spontaneous variation and improvisation.

The CD opens with the lively and rhythmically punctuated version of ‘Sporting Paddy’, blending seamlessly into the self-penned and charming composition ‘Adele’. The following selections of tunes portray a subtle use of tonal and rhythmic percussive effects as in ‘Tommy Whelan’s’, whilst in ‘Na Ceannabháin Bhána’ there is a very clever use of lilting with weaving lines of melody and countermelody on fiddle, whistle and accordion. There are times when I would, personally, have a preference for the bouzouki in some of the dance tune settings in particular as it has a more modal and deeper resonance than the guitar can sometimes offer. However, in other tunes such as ‘Port na bPúcaí’, Steve Cooney’s use of Spanish Guitar is gracious yet underlines the emotional intensity of the air. Cormac’s version of this piece is quite different from others I’ve heard and deserves special attention in particular. The phrasing, the variable lengthening of notes and sparse melodic contour of the tune does indeed evoke the tremulous whale sounds which Cormac suggests may have influenced its composition, yet without loosing the intensity for which this tune is famous.

The ‘Humors of Tullycrean’, a gentle set of hornpipes setting the tone of this album for further development of duo arrangements, a medium which works well for traditional albums, the light texture allowing for a primary focus on melodic and rhythmic ornamentation and variation.

‘Mujeres’, an early composition of Cormac’s and a tune I particularly like for its warmth and simplicity, quickly too it takes us off on another journey with Brian Dunning's flute improvisation.  The ‘Britches’ polka set (previously released on Meristem’s four track cassette in 1989) is a favored set of mine, which typically portrays Cormac’s potential to explore the hidden and funky elements which traditional tunes can so easily contain. Whilst this may be anathema to some, it would be exciting to hear some of our music played in clubs, as indeed Talita Mc Kenzie achieved, allowing it to weave its way in and out of the varied places where we live our lives today.

It’s refreshing to hear an accomplished musician take risks and play with his/her own musicality. Cormac’s first excursion into song is enjoyable, it would appear that while the technique required to sustain the melody and ornamentation in ‘Sean Nós’ (old-style) may defeat his technical ability at the moment, his version of ‘La Molinera’, is charming and works very well. In this era of recorded sound, I am particularly reassured that traditional musicians will use this medium for their exploration and experimentation and allow their creativity to grow unstinted, or at least not too much so, by the expectations of the final recorded package.  The marrying of poetry and music settings is welcomed too, with the sensitive ‘Song for Sadhbh’ and Theo Dorgan’s melancholic performance rich in feeling and in vocal resonance.

This recording is a mature, personal expose of one’s music and creative influence and impulse, with arrangements and contributions from some of our most innovative and experienced performers. There is much to be experienced from this recording and whilst I would recommend it to the listener, one should not take too much for granted. For within Cormac’s performance style and the creative and unexpected variations and improvisations which he brings to the music, there is much for the musician to experience, who will have great fun trying to finger out what’s actually happening and to play along and explore some of his style and rhythmic swing to the music.

Cormac has been playing timber flute and whistles since teenage years, now concentrating on low whistles and the US susato whistles. One of the most quietly innovative of our performers, he is a performer who, in the past ten years has participated in some of the key experimental groups in traditional music exploring new ways in which the music, through one’s own personal reworking process, can reemerge in new unexpected forms. Such is the impact of the music by Cormac Juan Breatnach who engages his music, creativity, and understanding of the tradition with gentleness, a spiritedness, and humor. Some of you will remember The Donal Lunny Band and their performance in the National Concert Hall, or Méristem and more recently Deiseal. The Irish Voice (USA) has referred to him as "The Fresh Prince of Jazzy Jigs"… not the first musician to add modern rhythms and jazz-style improvisations to Irish traditional music but he has taken the concept further than anybody else".

Look out too for Cormac’s expected release with Martin Dunlea as they have recently completed a demo recording. Cork-born guitarist, Martin Dunlea is a self-taught musician and now teaches on the Professional Musician Training Course in Newpark Music Center, Co. Dublin. Influenced by jazz, blues, classical and Irish traditional music, Martin is also a composer and has recently teamed-up with harmonica virtuosos Rick Epping, Mick Kinsella and Brendan Power.

The approach, which Martin and Cormac are currently working on, has the intimacy of other well-known duos such as Martin Hayes and Denis Cahill, and it offers some interesting possibilities for Cormac to explore the use of extemporization in his music with the sparseness, which this medium allows. I believe they also intend to develop their use of vocals in the recordings in addition to exploring some of their own compositions. They have recently recorded a six-track demo recording exploring their re-working of a number of political ballads such as ‘The Bold Fenian Men’, with versions highlighting the melodic beauty of these melodies.

There is much to look forward in the development of this musician, for his approach is not unlike a sculptor, like one who plays with the clay as is takes its form within his hand, to a form which is ever new, unexpected and surprising.

(Footnote)

Musical Journey is the first recording to be released on Mandala Records by Cormac and it is available for licensing or leasing. Cormac is currently talking to a U.S. based record company about the possibility of licensing Musical Journey worldwide and some of you will be glad to know he is dealing with an interested agent for the purpose of organizing a tour of the states with Martin Dunlea to promote Musical Journey. The New Year will also see Cormac & Martin touring France in March and England in April

Nollaig O Fionghaile is a musician, researcher and lecturer in Irish Traditional Music. Nollaig holds a Bachelor of Music degree from the National University of Ireland, Cork and is also a graduate from Goldsmiths College, University of London where she received a Masters of Music in Ethnomusicology. In the past, she has scripted and presented radio programs on traditional music and has co-ordinated the development of syllabi for new educational programs for traditional music.

She has also been working, in the past three years, on Traveller issues and is currently co-ordinating a research project on Traveller Nomadism and Culture. She is currently active in promoting development projects in Traditional Music; she is a member on the executive of the national organization, the Tradition Music and Dance Development Forum and of the European Network of Traditional Music and Dance.