Recorded in Tel Aviv you won't hear anything like Documentaries this year. Not just a very fine harmonica player and composer but also here finding a musical situation that defies easy categorisation, Ariel Bart harnesses a new melodic, chamber jazz and occasionally Sephardic ('Nine Souls') feel. Surrounding the Israeli's compositions are a rhythm section enhanced by cello. Trumpet is the brassy element on top. That horn player Itamar Borochov adds a lot of life to the sound but does not take over at all. In fact the ensemble sound wins. Given the unusual resonances of harmonica the centrality of the sound is significant whether trickling down or rising up from Mayu Shviro's cello on 'Time Is Blind' which leads to a wonderful concoction that could be the soundtrack of a long lost arthouse movie. Borochov eventually conveys on this piece an atmosphere that you might find even on an Avishai Cohen Big Vicious album although he can be more Mathias Eick-like on the ballad 'Alison, Pray Away' and shows the panorama of musical voice that he can provide in these two passages. Extraordinary harmonies in the arrangement almost casually strung together on 'Between Light and Shadow' where Bart proves if she were a saxophone player would be a Joshua Redman-type player melodically. Meditational and mindful it's a fantastic world class record (the best Bart improvisation is on the magisterial 'Teardrop').