Eliza Carthy and Nancy Kerr are two fine representatives of the new generation of British folk music, both with firm roots in English traditional music. As this compilation show they are both outstanding fiddlers and more than adequate singers.

Of the two, Eliza Carthy has almost risen to mega-star status since the duo's first joint recording in 1993. One might argue that this is partly because she is the daughter of Martin Carthy and Norma Waterson, but I would say that, while that may have helped, she has secured her status on her own merits. In Waterson:Carthy she is no passenger; on stage and on record she carries the same weight as her parents.

Nancy Kerr is well respected on the folk circuit even though she is not the household name Carthy has become. Nowadays Kerr mostly works as a duo with James Fagan, recording for Fellside Records.

On Reflection is released in the duo´s name, and most of the tracks are taken from their two joint albums, Eliza Carthy & Nancy Kerr and Shape of Scrape, but this compilation also includes previously unreleased tracks from two Kerr and Fagan albums.

About half of the 15 tracks are songs. "Whittington Fair" is a charming waltz with lyrics similar to those of "Scarborough Fair". "Bushes & Briars" gives the two a chance to show off their harmony singing. "The Keek in the Creel" shows Carthy in fine form. With the accompanying fiddles, the two hand us the heavy rhythm so typical of Carthy Sr.

On "Dance to Your Daddy" Kerr has teamed up with Fagan in a live recording that provides a very rhythmic bouzouki backing. It is intertwined with "The Flaming Drones," a lively fiddle tune composed by Kerr herself. "Port'n'Brandy" is once again Kerr and Fagan, from Scalene, the latter on guitar this time. The song is written by Kerr and is a soft personal reflection on life.

"I Know My Love" has both fiddle and vocal harmonies. As with many of the tracks it shows how well a fiddle or two can be used for accompanying song. "Growing" is a version of "The Trees They Do Grow High." Eliza sings it solo a capella. "Bonnie Light Horsemen" is long at seven-minutes-plus, with Eliza on her own on the verses and Nancy joining in on the choruses. More than halfway through they turn from a capella singing to fiddle playing.

The instrumentals range from traditional tunes to originals, from the traditional treatments to the more modern. One of my favourites is Eliza's "Prague," a slow tune from their first album. I will not comment more on this side of the album, just acknowledge that the tunes are impeccable, both in the selection and in the way they are performed.

On Reflection is fine album for those who missed the duo's albums the first time around. I do have one slight remark of discontent though: More extensive sleeve notes would have been most welcome. This packaging does not even list the names of all featured musicians.

More information about this album and a chance to order it can be found on their Web site.