Those who took Tunisian oudist Brahem's beautiful 1998 album Thimar to their hearts might show some love for this release that reunites him with that session's featured bassist Dave Holland. While there is no sign of saxophonist John Surman, drummer Jack DeJohnette steps in to the breach alongside pianist Django Bates. All of which makes for an interesting blend of both sounds and CVs. Over the years Brahem's musical world has been intimate, if not hushed, and largely devoid of the presence of snare and cymbal. So DeJohnette's appearance is noteworthy, as is the decisive but unforced authority he brings to proceedings. Making very focused use of the kit, his astute prodding of the bass drum and skipping tom patterns create a groove that is airy rather than weighty. That said, the whole session has a tremulous, simmering intensity. The title refers to Arabic modes, the richness of which is grist to the mill of an imaginative composer-improviser such as Brahem, and he draws on them extensively, presenting compositions in which curled, careening melody enhances the strong ensemble voice. However, in the moments when the group breaks down to leave him unaccompanied he excels by way of phrasing that is majestically doleful, conveying moods that are then heightened by the gently brushed, mandolin-like yearnings of Bates' right hand. For both the poise and restraint of the band as well as the beauty of the tonal palette and material this is a strong entry in Brahem's discography.