Paddy Moloney, the playful but disciplined frontman and bagpiper of the Chieftains, a band that was at the forefront of the worldwide revival of traditional Irish music played with traditional instruments, died on Monday in Dublin. He was 83.
His daughter Aedin Moloney confirmed the death, at a hospital.
For nearly 60 years the Chieftains toured extensively and released more than two dozen albums, six of which won Grammy Awards. They were particularly known for their collaborations with artists from other genres, including Van Morrison, Mick Jagger, Paul McCartney,and i.
“Over the Sea to Skye,” the Chieftains’ collaboration with the flutist James Galway, peaked at No. 20 on the Billboard classical album chart in 1996. “San Patricio,” a 2010 collaboration with the guitarist Ry Cooder that fused Celtic and Mexican influences, reached No. 37 on the Billboard 200 and topped the Latin album chart. “Irish Heartbeat,” the group’s collaboration with Mr. Morrison, charted in 1988.
“Our music is centuries old, but it is very much a living thing,” Mr. Moloney told The Philadelphia Inquirer in 1989. “We don’t use any flashing lights or smoke bombs or acrobats falling off the stage.” He added, “We try to communicate a party feeling, and that’s something that everybody understands.”
In 2012, when he was vice president, President Biden told People magazine that his desire was to sing “Shenandoah” with the Chieftains “if I had any musical talent.”but Covid-related restrictions kept them from traveling.
Mr. Moloney was a master of many instruments: He mainly played the uileann pipes (the national bagpipes of Ireland) and the tin whistle, but he also played the bodhran (a type of drum) and the button accordion. In addition, he was the band’s lead composer and arranger.
Asked in 2010 on the NPR quiz show “Wait, Wait … Don’t Tell Me” what he thought was the sexiest instrument, he chose the pipes.
“I often call it the octopus,” he said, “and so, I mean, that’s something that gets every part of you moving.”
The Chieftains performed at the Great Wall of China, in Nashville and in Berlin to celebrate the fall of the Berlin Wall in 1990, joining with Roger Waters of Pink Floyd to play “The Wall.”
Their best-known recordings included “Cotton Eyed Joe,”” and “ (with Mr. Jagger). Their 1992 album “Another Country,” a collaboration with country artists like Emmylou Harris, Willie Nelson and Chet Atkins, won the Grammy for best contemporary folk album.
Their other Grammys included one for best pop collaboration with vocals for “Have I Told You Lately That I Love You?,” a collaboration with Mr. Morrison from their album “The Long Black Veil,” released in 1995, and one for best world album, for “Santiago” (1996), which consisted of Spanish and Latin American music.
Mr. Moloney had an affinity for country music.
“I always considered Nashville like another part of Ireland, down to the south or something,” hein 2020. “When I’ve come over there and played with musical geniuses like Sam Bush or Jerry Douglas or Earl Scruggs, they pick everything up so easily. You don’t have to duck and dash.”
The last track on “Another Country” —Did You Ever Go A-Courtin’, Uncle Joe/Will the Circle Be Unbroken” — features Ms. Harris, Ricky Skaggs and the Nitty Gritty Dirt Band. , described it as “the closest you will come to an Irish hooley on record,” a reference to an Irish party with music. The track, the magazine said, sounded like “a few pints were quaffed and the boxty bread was passed around before the assembled greats of music decided to have a musical free-for-all.”
Patrick Moloney was born on Aug. 1, 1938, in Donnycarney, on the north side of Dublin. His father, John, worked in the accounting department of the Irish Glass Bottle Company. His mother, Catherine (Conroy) Moloney, was a homemaker.
Paddy came from a musical family: One of his grandfathers played the flute, and his Uncle Stephen played in the Ballyfin Pipe Band. Paddy began playing a plastic tin whistle at 6 and began studying the uileann pipes shortly afterward, under the tutelage of Leo Rowsome, a musician known as the “King of the Pipers.”
He took to the pipes easily, gave his first public concert when he was 9 and performed on local streets.
“There were five pipers around the Donnycarney area,”in 2019. “I’d go around the cul-de-sac playing like the pied piper, and my pals would be following behind me.”
After leaving school in the 1950s, he started working at Baxendale & Company, a building supplies company, where he met his future wife, Rita O’Reilly. He joined the traditional Irish band Ceoltoiri Chualann in 1960 and formed the Chieftains in 1962; the group’s name came froma short story by the Irish author John Montague.
In the 1960s and ’70s, Mr. Moloney was an executive of Claddagh Records, of which he was a founder, and produced or oversaw 45 folk, traditional, classical, poetry and spoken-word albums.
The Chieftains — who hit it big in the mid-1970s with sold-out concerts at the Royal Albert Hall in London — were strictly an instrumentalist ensemble at first. But in the 1980s the band pivoted from their early purism, and Mr. Moloney emerged as a composer, writing new music steeped in Irish tradition.
The group began to blend Irish music with styles from the Celtic diaspora in Spain and Canada as well as bluegrass and country from the United States. They collaborated with well-known rock and pop musicians and with an international assortment of musicians from places as far-flung as Norway, Bulgaria and China.
On his own, Mr. Moloney branched into writing and arranging music for films, including “Barry Lyndon” (1975), “Babe: Pig in the City” (1998) and “Gangs of New York” (2002).
In addition to his wife and daughter, he is survived by two sons, Aonghus and Padraig; four grandchildren; and a sister, Sheila.
In 2012, on the 50th anniversary of their founding, the Chieftains teamed up with 12 folk, country, bluegrass, rockabilly and indie rock artists — including Bon Iver, the Decembrists, the Low Anthem and Imelda May — to record the album “Voice of Ages.” They also embarked on a tour that endedon .
“What’s happening here with these young groups,” Mr. Moloney toldat the time, explaining the album’s concept, “is they’re coming back to the melody, back to the real stuff, the roots and the folk feeling of them all. I can hear any of them singing folk songs.”