"Wonderfully harmonious Gaelic vocals, both Scots and Irish versions, and crisp instrumental sets. Lead singer Nancy Johnston has a velvety voice."

"...beautiful arrangements and sensitive interplay combine to create music that's as contemporary as it is timeless."

Celtic music, like the Celts themselves, has put down roots the wide world over.   Scholars may quibble and traditionalists argue about the finer points of lineage, but there's no better proof that the family tree is flourishing than the L.A.-based group Craicmore.   The name itself - an easy blend of "craic" -an Irish word for fun, and the anglicization of "mór" - Irish for big reflects the group's approach to its music.

"We're a contemporary traditional Celtic band," the group agrees.   Formed in 1992, they draw their words and music from the traditional music of Ireland and Scotland and claim influences as diverse as the Afro Celts, Chieftains and Pogues; rock, and Australian indigenous music.   It's an amazingly seductive marriage: one that never fails to turn new faces into fans, an audience that continues to grow with Craicmore's aggressive touring and the release of its second critically acclaimed CD, too bad for heaven, too good for hell.

Craicmore - Nancy Johnston (vocals, bodhran, hard shoe), John MacAdams (vocals, guitar, percussion, didj ), Sean FayeCullen (vocals, bass) and Dave Champagne (Irish flute, orchestral flute, whistles and pipes) originally came together through a series of chance meetings at Los Angeles' Celtic Arts Center's legendary Monday night seisiún.   As their musical interests and commitment deepened, Craicmore moved from performing at small local street fairs, museums and libraries in the mid '90s to main stage performances at prestigious Folk Festivals, Scottish and Irish cultural events and concert halls throughout the United States. Of note are five consecutive years of performances at the classic "Fremont Street Experience" Las Vegas, NV' huge St. Patrick's Day celebration, and a fourteen-concert appearance at the International Music Festival in Shanghai, China. Most recently Craicmore commisioned original and energetic orchestrations for work appearing as guest artist with Pops Orchestras.

In todays multi-cultural society, Craicmore's Arts in Education residency "Celtic Connections" brings a positive message of cultural diversity, demonstrating how Celtic music has accepted many global influences while retaining its fundamental traditions. Receiving accolades from educators and students, the standards based, 30 - 50 minute assembly style, interactive program reached over 11,500 K-12 students during 42 performances in the 2005 - 06 season.

Craicmore's approach to each and every song is framed by abiding respect for the material, but maybe more important is the musicians' sheer joy in the music and willingness to take chances, enriching the tradition with their own time and place. As Johnston says, "Celtic music is a living tradition that continues to influence and absorb other traditions. For example, I sing a waulking song in Gaelic backed a shruti box, an East Indian instrument. Its raspy drone is a perfect fit with the song."The three male voices blend with Johnston delivering sparkling four part harmonies, creating a sound that's as full as it is sophisticated.

Craicmore doesn't do rebel songs and it doesn't do drinking songs. What Craicmore does do is sing "Cunla" in Irish, in three-part harmony, deliver "Mairi's Wedding" complete with electric bass solo, and feature conga drum in their show-stopping jig and reel combination, "Cliffs of Moher"/"Sally gardens." With this group it is, indeed, all about the music, and the music can only be defined as Craicmore.