On his sixth album to date, this New York-based trumpeter-composer, who hails from Jaffa in Israel, stays close to his roots, mixing acoustic quartet jazz with music from his Jewish Sephardic and Mizrahi heritage - he was a founder member of the explosive Yemen Blues ensemble – and a melting pot of other Semitic cultures that stirred his spirit in his formative years.

Borochov draws primarily from the ‘Maqam’, which is a microtonal modal system from the Middle east, and he investigates its possibilities on a Monette four-valve quarter-tone trumpet while maintaining a highly melodic approach. While this isn’t anything new and you might hear echoes of Ibrahim Maalouf and standout British trumpeter Yazz Ahmed for example in his playing, Borochov has a warmly expressive, ambient yet conversational tone and prefers intimate jazz ensemble dialogues to the aforementioned artists’ more widescreen approaches.

Towards the album's latter half Borochov demonstrates his natural versatility as a new gen. jazzman, as bustling free-bop bursts from the hypnotic theme to ‘Bayat Blues and a more pastoral folk/singer-songwriter idiom on closing tracks ‘Truth’ and ‘Farewell’.

In a quartet featuring upcoming Chicagoan pianist Rob Clearfield, Borochov sings too, wordless as well as in his native tongue, sometimes in falsetto, on a few tracks but they don’t have the impact they should considering Borochov's trumpet playing has such a natural affinity with the human voice. Arba has its moments and the ensemble bond well, but you end up feeling there's still a lot more to come from this gifted young trumpeter.