A defining characteristic of this very pleasing debut album is that the 14 tracks have an impressive unity. Mairead Nesbitt's dazzling fiddle playing provides a satisfying continuity from tune to tune through the album as she explores various links and echoes.

Another feature is the large number of composers and musicians involved in the album. There are no less than eight composers (including Nesbitt herself) and four additional arrangers. There are more than 20 musicians, and surely few roots albums can boast such an array of talent. Some well-known names include Michael McGoldrick, Manus Lunny (whose brother Donal plays the bodhran on one track), Donald Shaw, Ewen Vernal and James Mackintosh. This strong Capercaillie contingent is heavily involved in the eight tracks recorded at Secret Music in Glasgow (produced by Manus Lunny) while the other six tracks were recorded at Solitaire Studios, Dublin (five produced by Colm O'Foghlu and one by Manus again).

The album opens in upbeat style with "Skidoo," which includes typically virtuoso playing by Nesbitt and introduces us to the didjeridoo that is also played on two other tracks. Some of the ambient sounds on this number strongly suggest the sea to me. The sea theme continues in "Finan's Isle Suite" (made up of four linked tracks), which starts with a lyrical slow tempo and ends with a lively pace in which three trumpets feature. In between the island is evoked through folk dance tunes (with a strong percussion input), which makes me imagine a solitary dancer on a beach in the light of "The Setting Sun" (a title of one of the four tracks).

Indeed, the album probes and inspires the imagination throughout. This is nowhere more apparent than in the traditional "An Raibh Tu Ag An gCarraig," which is the only track in which Nesbitt sings, too. On the evidence of this beautiful song I would like to hear more of her vocals. Another traditional tune is "Tri Fhidili," and it is a real treat in which Nesbitt is accompanied by Kathleen and Frances Nesbitt.

The highlight of the album for me is "Bluelights," written by Nesbitt and Stephen Cooney, and arranged by them with assistance from Mackintosh, Vernal and Shaw. This is a mellow and serene number with a distinctive contemporary atmosphere reminiscent of Karen Matheson's solo albums. As in those albums, Mackintosh provides some sensitive drumming. It is a laidback tune to calm the mind. The album concludes with the three-tracked "Within the Blue Suite" that develops the contemporary feel of the previous track.

Many people interested in roots will find this album of great appeal to them. Mairead Nesbitt has made a brilliant transition from playing lead fiddle in Lord of the Dance to this assured solo debut. Her next album is really something to look forward to.