Michael Buckley & Hugh Buckley At Magy's Farm

Michael Buckley & Hugh Buckley
Magy's Farm
Dromara, N. Ireland
March 22, 2025

If the flapping of a butterfly's wings on one side of the world can cause a tornado on the other side—or so the theory goes—then surely the ripple effects from one flight cancellation would be no less significant. For the small band of jazz fans making their way to Magy's Farm, a unique concert venue in hilly Dromara, the only ripple effect that mattered from an aviation blip was the news Jerry Bergonzi was stuck in Amsterdam and would not be entertaining them.

For Bergonzi, there may have been consolation in knowing that there are certainly worse places in the world to be stuck than Amsterdam. Consolation for the forty or so souls gathered at Magy's Farm this Saturday night took the form of tenor saxophonist Michael Buckley and guitarist Hugh Buckley, the Dublin duo gamely stepping up to salvage the evening.

As any Irish jazz fan will tell you, the Buckley name represents jazz royalty on these shores. The dynasty began in the '60 with saxophonist Dick Buckley. He passed his musical genes onto sons Richie and Michael—outstanding saxophonists both. They have used the gift wisely.

Richie Buckley, the eldest sibling, has played with Freddie Hubbard, Bob Dylan and Carlos Santana, spending nearly a decade on the road with Van Morrison to boot. Michael has collaborated with George Coleman, John Abercrombie, Jason Moran and Kenny Wheeler. Cousin Hugh Buckley has shared stages with Brad Mehldau, Peter Bernstein, Sheryl Bailey, Larry Coryell and Buena Vista Club's Rubén González. And with all three this is only to scratch at the surface. So, flight cancellations be damned, a brace of Buckleys would do nicely.

Though this duo has a long history, this was their first get together for a handful of years, not that you would have known from the simpatico way they breezed and romped through a set of mostly standards.

"Alone Together," the Arthur Schwarz/Howard Dietz song from the 1932 Broadway musical "Flying Colors," set the tone and template, with Michael improvising melodiously over Hugh's springboard-rhythmic accompaniment. When Hugh soloed in turn Michael laid out, content to appreciate his cousin's artful juggling of fleet melodic lines and bouncing rhythmic chords.

Hugh Buckley is by no means the only Irish jazz guitarist to have followed in the slipstream of Louis Stewart. Throughout the set he displayed the masterly balance between lyricism and technical virtuosity that was such a Stewart trademark. This duality was especially notable on Hugh's self-penned "Bright Eyes," where the lilting romance in both musicians' delivery was a reminder than music is above all an emotional experience. The song is from Hugh's solo outing Only Hugh (Self Produced, 2021), a fine example of fingerstyle guitar.

Bewitching, Michael Buckley's extended saxophone intro to "Body and Soul," a brilliant weave of mellifluous flow, tumbling cadenzas and scurrying bop, bound by unwavering rhythmic drive. Solos of gossamer finnesse built around the famous melody followed. It was a gorgeous rendition, though Hugh was not far off the mark when he quipped that Michael's intro was better than the song itself.

In the pantheon of great singer-songwriters, few stand staller than the figure of Antonio Carlos Jobim, the sweet melancholy of the Brazilian's lyricism an inspiration to countless jazz musicians. Two Jobim songs graced this set; For "Stoneflower" and "Wave" Michael turned to flute, the first instrument on which he was weaned as a nipper. It is a bit of a rare treat these days to hear him on this instrument, so in demand is he as a saxophonist, but his playing, as tirelessly inventive as the most enamored blackbird at sundown, was captivating. "I got away with it," Michael deadpanned once the applause and cheers had died.

Gene de Paul and Don Raye's "Star Eyes"—given standard status principally due to Charlie Parker—drew suitably luminescent solos from guitarist and saxophonist alike, with Hugh's interweaving of melody and rhythm making plate spinning look easy by comparison. Edgar Sampson's "Stompin at the Savoy" provided the perfect swinging finale, with wonderful closing statements from both musicians.

Any disappointment at Jerry Bergonzi's unfortunate no-show was swept away by the warmth and dazzle of this performance by Michael Buckley and Hugh Buckley. The good vibes and positive energy carried home by the appreciative attendees will no doubt cause their own ripples... when there is no pebble tossed, nor wind to blow.