My first exposure to the talent of Belfast-born uilleann piper John McSherry, winner of Oireachtas and All-Ireland senior titles, was in 1990 when he and three siblings--singer and flutist Tina, fiddler Joanne, and guitarist Paul--formed Tamalin. Teenagers belying their age, they were a highly promising and justly touted band, and Paul and Joanne were also members back then of another fine Ulster group, Commonalty, featuring Davy Maguire on flute and Milo Crossan on mandolin. Since the heyday of Tamalin, John McSherry, who's also a skilled whistle player, has distinguished himself in two more bands, Lunasa and Donal Lunny's Coolfin, and in 2001 McSherry and another ex-Lunasa colleague, Michael McGoldrick, released "At First Light," on which Paul McSherry was a guest guitarist. The title of that duet album has now become the title of a relatively new Ulster band, anchored by John McSherry and fiddler-keyboardist Donal O'Connor, son of former Skylark, Kinvara, and La Lugh fiddler Gerry O'Connor and La Lugh singer-flutist Eithne Ni Uallachain (1957-1999). At First Light can flesh out to as many as six members, including Tony Byrne on guitar and vocal, Ruben Bada on bouzouki, guitar, and fiddle, Francis McIlduff on bodhran, whistle, and uilleann pipes, and Alan Burke on guitar and vocal. Byrne, McIlduff, Bada, and Paul McSherry are all guests on "Tripswitch," a comparatively short (just under 41 minutes) but absolutely splendid duo debut by John McSherry and Donal O'Connor on Glasgow 's Vertical label that also features former Kornog guitarist Gilles Le Bigot and sound engineer Shaun "Mudd" Wallace on shakers, tambourine, and cymbals. With six other musicians in tow, it's hard to think of this CD by John McSherry and Donal O'Connor as a strict duet, but their playing stands out on each track, and the way the pair unpack a melody together is spellbinding. The medley of "Johnny Going to Ceili/Sean Maguire's/John Doherty's/The First Month of Summer" reels begins with just pipes and fiddle in a tight, thrilling weave that never relents. The musical communication between John McSherry and O'Connor, who are eventually joined by guitarist Paul McSherry, borders on clairvoyance. That is also powerfully evident in the medley of a slow reel followed by three reels, "Charlie Mulvihill's/The Pullet and Cock/Commonalty Reel/Iniscealtra." The track starts with a sensuous whistle, fiddle, and guitar collaboration on the slow reel, then bolts in tempo and energy with pipes, fiddle, and guitar on the first fast-paced reel. The next reel, named for the Commonalty band who used to perform it, spotlights whistle, fiddle, and bodhran, and the playing by John McSherry and Donal O'Connor is so seamless that when McSherry takes an intentional breath pause at one point, O'Connor matches him with a quick bow lift. "Iniscealtra" lashes up pipes, fiddle, guitars, bouzouki, and bodhran into a heady finale for this brilliant medley. Close listening to another medley, "Rose in the Gap/Old Dudeen/First Month of Spring," reveals how John McSherry bends and slurs select notes for a sly, subtle effect, and O'Connor has the chops to stick with his partner during this imaginative ornamentation. The playing of "Charrada De Bercimuelle/Corrido De Encina," two Castilian 5/8 dance tunes, and "Muneira d'Anton," an Asturian jig, gives expressive vent to the rhythmically infectious native music of Ruben Bada, whose expert bouzouki playing on the former track and guitar playing on the latter track bolster the impact. Nimbly seguing into the track of Castilian tunes is "Both Ghe," a slow air composed by John McSherry and Donal O'Connor and performed by them on pipes and fiddle, with Gilles Le Bigot lending a light Breton flavor on guitar. It's a lovely melody that O'Connor dedicates to his late mother. The title track, "Tripswitch," is another tune written by McSherry and O'Connor, and this slow reel has a Lunasa-like progression with an intriguing bridge in the middle and a jazzlike, trail-off coda on guitar from Paul McSherry. Brooding and beautiful, it's almost hypnotic in the way it envelops the listener, with each note tendered like ripe, savory fruit from the vine. "Aille's Arabesque" is a slip jig composed by John McSherry for his daughter, and its undulating movement no doubts mimics her own. Paired with that slip jig is the double jig "Tell Her I Am," ending the album with a relaxed, fluid blend of whistle, pipes, fiddle, guitar, and bodhran..... Dull packaging and dumbfounding liner note aside, "Tripswitch" is eight tracks of compelling playing from John McSherry and Donal O'Connor, a tandem as gifted as any now active. Throughout this engrossing album, they leave the switch emphatically on.

CEOL By Earle Hitchner - The IRISH ECHO, New York City, USA (June 14, 2006)

In a nutshell: an album of fantastic tunes, brilliantly played! You could analyse the time signatures and tempo changes of these exciting tunes (many co-composed by McSherry and O'Connor, others traditional arrangements) till the cows come home, but whatÕs the point? This is a glorious forty minutesÕ listen from start to finish, overflowing with crisp, clear guitars, very fine percussion, expressive fiddle and keyboard playing from Donal O'Connor (son of Gerry), and the masterly flute, whistle and uilleann pipe playing of John McSherry. Last time I heard McSherry was on his excellent 'At First Light' venture with Michael McGoldrick. This album has equally strong impact, and if anything, it's all the more enjoyable for its varied instrumentation, which brims with energy. Paul McSherry, Tony Byrne, Ruben Bada, and Gilles le Bigot play an array of guitars and bouzoukis, and create a rhythmic, 'pulsing' acoustic sound Ð so satisfying and enjoyable at times that you feel you could 'strip away' the lead instruments and just enjoy the strings! Shaun 'Mudd' Wallace makes a real impact on percussion too. It's very rewarding to chance upon albums that introduce the best Celtic musicians from other countries to a new audience Ð as here, with Breton guitarist LeBigot, and Asturian bouzouki player Bada. There are just 8 tracks here, but there isn't a single tune that fails to engage my attention and interest, or reveal the empathy between all the musicians. Title track 'Tripswitch' is an ambient slow reel that showcases the talents of every performer, and reveals the intuitive playing of both lead musicians as pipes and fiddle meld seamlessly. 'Spanish 5's' is a beautiful, sensual set of 5/8 dance tunes from Salamanca and Segovia Ð the time signatures are supposed to make you Ôdance like a lame personÕ! The low whistles of 'Ant—n' somehow convey an ethereal feel, and 'Aille's Arabesque', John's celebration of his daughter, effortlessly combines slip jig and double jig and features fine harmonium playing by Donal. The reel sets are simply outstanding Ð 'Rose in the Gap', 'Sean Maguire's, and the 'Commonalty Set'. 'Tripswitch' succeeds in sounding fresh, exciting and innovative where rival contemporary Celtic instrumental albums fail to turn you on. Consummate musicianship, outstanding tunes Ð acoustic perfection.

Debbie Koritsas - Living Tradition (May 2006)

**** Tight as a drum and as louche as a bordello queen, Tripswitch is a collection for the wide open road, fuelling the miles long after the tank runs dry. John McSherry set the bar high on his 2001 album, At First Light, and his pairing with Donal O'Connor while touring that album led to this collaboration. Tripswitch is a fire-breathing delight, gathering a melee of local and distant tunes within its generous ambit. O'Connor's bold borrowing of Old Dudeen from his father, Gerry, ably counters McSherry's visceral piping on Rose in the Gap. Aille's Arabesque is a standout, McSherry's composition casting light and shade on the pipes with the subtlety of a grand master in the making. A supremely confident collaboration.

Siobh‡n Long - The Irish Times (5 May 2006)