"Strings of the Earth and Air," to quote Oscar Wilde, and adapted by Dr Strangely Strange seems an appropriate quote to begin this omnibus. What we have here is, music for strings played and written on stringed instruments. While traditional music may be the wellspring form which these musicians take their influence, their treatment of it twists and turns through some strange and fascinating alleyways to reach its destination on a silver platter. The instruments featured herein harp, dulcimer, fiddle, and guitar.

Washington, DC native LilyNeil has paced a lot into her impressive career from appearing with The Chieftains, playing before ex-president Bill Clinton and studying music at the Irish World Music Academy in the University of Limerick in Ireland. Adding to that she is a prodigious composer of tunes with an eclectic taste that crosses from Irish and Scottish musical forms into Classical, Jazz and World music styles. Her debut album Without Words manages to cover all bases impressively. Much of the material contained herein is original and, as befits her interest in classical composition, some border on the epic. 'Tantivy' is broken into two parts that are roughly eight minutes in length, while the six minute 'Nach Namshaolta' includes elements of classical, world, and Irish flavours mixing harmoniously, with the latter including the Chinese Jushigngen and Koto which blend eloquently with the harp. This, along with the pure folk-rock energy in 'The Silver Heart', complete with drums, bass and electric guitar from Zan McLeod, show her versatility. She can handle traditional music equally well as on 'The Sunflower" with Mr McLeod and bodhran player Jessie Winch adding solid support, or the gorgeous 'Mna na Heireann'. It is delightful to welcome a new talent and one that is brimming with ideas, creative energy and yet has a vice grips-like hold on traditional methods and methodology, while pushing the envelope stylistically. Without Words is a gorgeous, fascinating and wonderful debut album - it deserves your time.

With a picture of a smiling Asian-looking child on the front sleeve I initially thought Steve Eulberg's I Celebrate Life was an album of children's songs. More the fool me, as it is music that reaches across the divides in the real life celebration. It has a sense of wide-eyed fascination, as befits the cover photo, mixing various styles and idioms found in American folk music. 'O Virgin-ee-I-a' with clawhammer banjo and fiddle finds the how down behind a 'sad' song, while 'Seton Sands' reflects Eulberg's Scottish heritage in a melodic solo performance. He also possess a strong singing voice, as displayed in the title track, which is an adaptation of a Jean Ritchie poem. The rich sound of the multi-tracked dulcimers bring to mind Leo Kretzner and Jay Lebovitz' 1980's classic Pigtown Fling album.

Steve Eulberg plays original and traditional music on the mountain dulcimer or Appalachian Dulcimer-and hammered dulcimer this is a collection of sweetly' savoured tunes and moods. Ideal for fun or relaxing either way I Celebrate Life is a celebration of life.

Next, we're moving from America to England, briefly, for Southernmost of Dales, an album of fiddle music from Shropshire musician Jon Hayward. Singer and fiddler Hayward is a popular figure on the club singer around the area and his repertoire is both local and national, with a bent for Irish music. The title track written in his hotel room at the Sidmouth Festival opens the album an a capella evocation of the local area mentioning both singer Fred Jordan and those who enlisted and fight and died at Paschinchdale in Belgium and the coming of mechanisation to local farms. This is a solo recording in every sense, with either voice or fiddle featuring on a mix of songs and instrumentals. His fiddle playing is sweet in tone and light in texture, ideally suited for dance tunes such as 'Blarney Pilgrim' and 'The Mouth of the Tobique' as well as the nuances of 'Sonny's Mazurka' and O'Carolan's 'Fanny Power'. As a selection from his repertoire and souvenir of his live shows, this is an honest reflection of a hard working performer whose playing is both personalised and highly accomplished -- and he can sing very well too! To find a performer equally gifted in both is a pleasurable discovery.

Jim Tozier's Celtic Guitar and Solo Guitar find the Irish American guitarist visiting both sides of his musical heritage. American born though with relations in Roscommon, Jim Tozier's music is for the quiet hours of contemplation. He is not one to throw out blizzards of technical virtuosity, but rather someone that knows the space between the notes and their effectiveness. Celtic Guitar has him tackling a series of Irish and Scottish pieces, mostly airs, which he acquits well and by playing them in a simplified, laidback manor he achieves an atmosphere of quiet reverie. Highlights include 'Carolan's Welcome 'and 'Archibald McDonald of Keppoch' where the tunes breathe and enjoy the balm of a choice treatment. Solo Guitar features a series of original pieces -- again while this is a solo recording, the atmosphere is as different as is the palate of stylistic influences. 'Song for Shannon' is a melodic tribute to his youngest daughter and the John Renbourne-flavoured tones of 'The Water Crossers' lay in the memory long after the CD has been returned to its jewel case. Tozier has a lovely assured sense of touch and feel in his acoustic playing and these two releases are fine soul food after a hard day's work.

Finally, we have two releases from Al Petteway & Amy White -- Acoustic Journey a sort of retrospective compilation celebrating their 10th anniversary as a professional performing couple and Land of the Sky which features music inspired by the Southern Appalachians. By referring to Acoustic Journey as a sort of retrospective compilation I should also emphasise that it contains 8 new tracks and 7 previously released pieces - however all tracks feature Al Petteway and Amy White working as a duo. Their musical kinship is a well-endowed legacy and they pinprick accuracy with when they travail on their craft has been rewarded in their high regard with acoustic musicians and followers. There is energy at work and a spirit of devilment that makes Petteway and White stand out from the crowd. 'Desert Dance' has hypnotic guitar rhythms overlaid with floating, Jacqui McShee-like vocals that add an eerie yet mystical feel while 'Caledon Wood' mixes shifting rhythms provided by ashiko drums and a hypnotic acoustic guitar and an uilleann pipes duet. Taking highlights from their previous recordings but adding some rock solid new material, Acoustic Journey is a musical travelogue of a uniquely talented pair of innovative talents. Land of the Sky recalls the beauty of White and Pettway's home areas near the Appalachian foothills with White's Celtic Harp adding a pronounced Celtic feel introduces 'Black Bear's Picnic' and 'Shady Creek' develops from its pensive opening with a 'Mattie Groves' style melody. White and Petteway's performances are outstanding.

These albums offer some intriguing glances at the world of Celtic music played within the solo artist format. In many ways the air of experimentation is what attracts the listener and keeps the music in good condition. This is typical of the players whose ability to move and shape the music to their liking has become part of their unique approach to the music and how they will present it to their audiences.