A pair of suites dominate here, although this lengthy album is closed out by three individual numbers. The ‘Ishtarum Suite’ is complete, whilst ‘Alchemy’ itself is represented by four selections. The writing utilises quite a conventionally jazzy palette, when set beside most of New Yorker ElSaffar's previous works, which have involved a deeper steeping in the maqam tradition of his Iraqi heritage. Here, there's a classic 1960s Blue Note foundation, subverted subtly by ancient Middle Eastern tonalities. The music is rich with what also tastes like a Turkish flavour, while the leader's solos recall the dusted hoverings of fellow modalist trumpeter Ibrahim Maalouf, from Beirut. The tightly configured band features a striking assemblage of players who don't usually inhabit the same scenes. Weiss is constantly accenting and detonating, with ElSaffar seemingly in no need of fresh breath intake as he scatters his limber and labyrinthine phrases. The Norwegian Mathisen takes a volatile tenor solo at the climax of ‘Ishtarum’, Englishman Escreet jabbing at his trail of honking gruffness, percussively dense on the keys, the leader then topping off with some combustion of his own. This is an outfit that exudes an aura of assured unity.