Natalie MacMaster & Donnell Leahy
Album: One
Label: Linus Entertainment
Tracks: 13
Website: http://www.natalieanddonnell.com

Everyone knows the globally-acclaimed Cape Breton fiddler Natalie MacMaster, but her husband Donnell Leahy is less of a household name, at least in this country, although he too happens to be a master fiddler and leads the headlining Celtic family group Leahy.

It's unbelievable that this album One is the two musicians' first record together, but it more than makes up for the wait with its dynamism and excitement. It's a big-production effort, with astute rock producer Bob Ezrin at the helm, and it drives the two fiddles along with a punchy, heavy-duty rhythm section within a tight band including Mark Kelso (drums), Elmer Ferrer (electric guitar), Tim Edey (guitar, accordion), Mac Morin, Betty Beaton and Rachel Aucoin (pianos), Jamie Gatti (bass) and Sabin Jacques (accordion) - and no less than four extra fiddle players!

The 13 tracks really motor along, delivering full-on rocked-up traditional Cape Breton dance tunes most of the way except for a couple of more restrained-paced interludes (Scott Skinner's slow air Hector The Hero, and a rare vocal performance by Natalie on the lovely lullaby Cagaran Gaolach almost at the end of the disc). There's also the Joyous Waltz, which serves as a prelude to the frenetic American Polka. Textures, while predominantly acoustic-based, are full yet clearly defined, and the whole affair has much of the sprightly feel of a let-your-hair-down Friday night at your local village hall, with plenty of irresistible foot-tapping at the very least and good times firmly there on the menu (indeed, bonus cut The Balkan Hills and the homespun Tribute To Buddy, dedicated to Natalie's uncle, might both well have been recorded at one such gathering!).

The transparency of parts on the animated Pastiche For Anne set may come as a bit of a relief sandwiched in between the breakneck high-velocity workouts (though Fiddler's Despair is stunning by any standards).

It's hard to find fault with any of the music on this well-filled disc, and the interplay between the two fiddles is invariably miraculous to behold, but there are times when it all feels a touch relentless despite its undeniable show stopping pizzazz. The curious thing is that, unlike many rocked-up-dance albums, it's hugely enjoyable and actually bears repetition.

David Kidman