At the age of 15, Dubliner Johnny B. Connolly was already attending sessions and drawing attention to his accordion playing. At 17, he joined Anam, and four years later found himself touring the U.S. with fiddler Patrick Ourseau. He then teamed up with guitarist Aidan Brennan. Now, after this series of excellent collaborations, he releases his first solo album -- and an impressive debut it makes, too.

He shows a tremendous ability on his instruments -- both accordion and melodeon -- together with a wonderful understanding of the tunes. Taking material from Irish and French repertoires, he pieces together a strong 10-track collection. On all but one, he's accompanied by guest musicians including Brennan on six sets, fiddler Kevin Burke on three, bouzouki player Jim Chapman on five and multi-instrumentalist Skip Parente on one.

The album opens with a jig played by Connolly and Burke in unison, creating the mood for the album. Chapman then adds accompaniment on the second tune, and is joined by Brennan on the third. While the sound is typical Kevin Burke, there is an extra element that takes it a stage further: Connolly's ability to match the master note for note in his own style. Basically, this is two masters at work.

Connolly is able to take even chestnuts such as "Off To California" and inject a new spark which makes you feel you are listening to the tune for the first time.

Perhaps the most fascinating piece is the set dance and reels "Down the Hill/Boys of Ballisodare/Maids of Mount Cisco," which begins with a short guitar introduction, followed by the melody on accordion. At this point, Skip Parente moves the tune in a fascinating and unexpected direction with a fiddle, viola and cello accompaniment. The dark neo-classical approach on the first tune gives way to a lighter, breezier, driving "Boys of Ballisodare," featuring rhythm guitar and a fiddle/accordion duet -- a contrast which brings out the best in all the tunes and the playing.

For his interpretation of "Seanamhac Tube Station/The Robin's Nest," Connolly uses melodeon with its bouncier growl to great effect, making me wish he had played this instrument a little more. The accordion comes into its own on a French tune, "Marcelle and Marcel," a delightful waltz with great Gallic charm.

And for a climax, the melodeon and guitar duet on a dark interpretation of "Wheels of the World," leading into Connolly, Brennan and Chapman bubbling through "Trip To Durrow," leaves you breathless. And the unorthodox ending leaves you wondering what they played next -- because magic likes this never ends.

Connolly seems at home with both the rolling flow and the push-and-pull styles of playing, in his own distinctive manner. Even when a musician such as Kevin Burke stamps his mark on a track, you are left with the feeling that it is more a meeting of like talents. Both Chapman and Brennan are sensitive accompanists, developing sympathetic, interesting ideas to build up the tracks. Producer Billy Oskay has captured the warm atmosphere of the performances, making this one of the best accordion albums I've heard in quite a while.