Brahem began this project before the horrors of Gaza unfolded. But it remains a powerful response to the tragedy of the Middle East – or indeed Ukraine, or anywhere where you may look up and see your last sky as a drone or bomber appears above you.

The ensemble is that of Brahem’s sublime Blue Maquams but now with Lechner’s cello recruited. Brahem always strives to bring together different cultures, not to homogenise them but to celebrate what he describes a ‘collective inspiration’.

It’s hard to imagine a more poignant sound than an oud with its yawing bass bends as on ‘Never Forget’, with Bates, sparingly, bluesily, singing around Brahem’s lament. ‘The Sweet Oranges of Jaffa’ is a fantastical yet melancholic remembrance of an Eden that probably never existed, yet somehow the oud and cello yearn to conjure it into existence. ‘Endlessly Wandering’ by contrast summons the tumultuous to and fro of displaced peoples, be they Palestinian, Jewish or whoever has their home, school, hospital, playground ripped from them.

The spirit of the American-Palestinian Edward Said, co-founder of the West Eastern Divan Orchestra, underwrites much of this music which refuses to yield truth and beauty, to horror and brutality. Name checked in ‘Edward Said’s Reverie’, oh, that such voices of reason could be heard now. Significantly, Brahem doesn’t appear on the last track, ‘Vague’. It’s as though nothing more can be said. But the cello sings out.