This is an engaging, infectious recording of music sharing common origins ultimately in the modal and rhythmically enlivened music of South-Eastern Europe, the Middle East and West Asia. Most tracks feature compositions by Cogan, and others by her previous mentor and colleague, Ross Daly. They are so thoroughly grounded in traditional styles that it would be surprising, though perhaps unfortunate given the care taken over documentation in this recording, to at some time find the billed as ‘traditional’ pieces. As arrangements, the individual tracks have been developed to a high level of polish and scope. Kalamatianos captures the subtle ornamentation of South-East European wind playing (what one writer mischievously called “Le Mystere des Doigts Bulgares”), within a framework of glowing intensity. The subtle pitch inflections of the Turkish makam Hüseyni are a moving reminder of the pointlessness of locating style and appropriateness of expression in a named instrument. The vehicle is transcended, perhaps appropriate for a Sufi influenced piece. Skopianos allows scope for Lewis’rhythmic inventiveness, and the colouristic equivalent features on Nanourisma, the album’s most unusual track. Cogan’s recorder playing, frequently on two instruments, is poised and at times passionate, and Lewis’ percussion inventive and never overpowering.