The wooden flute used in most of this programme is English, from the first half of the nineteenth century, two of whose eight keys make audible clicks when pressed into service. After its displacement by the Boehm-system flute it flooded the pawnshops of the Emerald Isle, where its consequent popularity earned it the description of the ''Irish flute''. Some years ago, introducing a wooden flute to a Purcell Room audience in London, Atarah Ben Tovim, patting her abdomen, explained that it required more air than a metal one—''You need a good set of belly muscles''.
Well, Norman obviously has them and he uses them to excellent effect in delivering an apparently effortless flow of warm-toned music, with some expressive pitch-bending. Most of it is traditional, as the album title declares, but six items are by known composers of whom O'Carolan is inevitably one. The tunes span the Atlantic—all quarters of the British Isles, Canada and the USA. No matter how well played the flute may be, it is not the strongest magnet to one's undivided attention for an hour and a quarter, but such devotion is not called for; as the heading informs.
Norman's two companions muster a fair array of other instruments and these are variously used, solo and in ensemble, to secure maximum contrast amongst the sets into which the programme is divided. If folk-music isn't anathema to you, sit back, turn down the lights, pour a libation and prepare to be charmed in the nicest way. The recording per se brings the players into the room with you.'