Cutting Through features virtuosic violin lines inspired by Lalo’s Symphonie Espagnol and symbolizing anguish and pain. It has call and response lines: a call for help and a comforting, danceable Latin groove in the end picturing happy victory over obstacles. The idea is to create a musical image expressing the struggles we go through, breaking down the obstacles and walls in our lives. It relates to my life in particular, but to all humanity as well.

Reflections: Improvised variations on the theme from the album's title piece “Cutting Through” for two violins and tuba. A connective tissue improvised by Elektra Kurtis, Curtis Stewart and Bob Stewart.  

Café In Old Square follows the rhythmic 9/4 pattern of the Greek dance, Zeibekiko. It pictures scenes of street life, old town squares and gatherings in cafes where every day life revolves around small cafes and people getting together to eat, drink and chat, and glimpses of  existential life of old European cities and towns such as Warsaw, Athens, Paris and Rome,  Traditionally, Zebeikiko is a dance for men, very popular in the Rembetiko subculture of Greece. Dancing most often takes place in a café-bar on the  spur of the moment.  The movements can be physically challenging and dramatic.  The man dances solely to express his emotions.  He does not want attention, applause or to be interrupted.

American Concerto In Ajam Bb follows the western European classical concerto form where an orchestra accompanies the solo instrument.  In American Concerto in Ajam Bb a jazz rhythm section, one violin and one clarinet replace the orchestra.  It has three movements.

First Movement named named Rhythm Changes features an Arabic modulation ( taxim ) on modes related to Ajam Bb, but the basic chord structure follows the jazz form of rhythm changes. Simultaneously the accompanying rhythms for the soloing violin reflect this duality of character and aims to connect the different worlds of Western Classical, American and Arabic music forms. This movement is dedicated to Simon Shaheen, a master of Arabic violin and oud improvisation, a composer and my teacher of Arabic music.

Second Movement named Blues is a 12 bar blues. It is constructed on 4 counterpoint melody lines layered on top of each other that are interchangeable as each musician chooses which one to play. The theme is based on the blues scale and chord progression but also showcases compatibility with the Greek mode Hijaz in G, heard in the movement’s last violin solo. The art of improvised expression is the bonding block between the music of American and Mediterranean worlds.  This is the Greek Blues.

Third Movement is named "Now" to signify the music that is being created in our time, based on all previous traditions of composing and improvisation. It is dedicated to Steve Coleman in thanks for his inspiration and sharing of his thoughts and experiences. In moments when my own internal resources were depleted, his playing and innovative outlook on improvisation restored my creative motivation.

Echoes is the second interlude - a connective tissue. It’s based on the theme of the album's title piece "Cutting Through", improvised by Elektra Kurtis, Curtis Stewart and Bob Stewart.  

Karotseris, an old folk dance of the Greek Gypsies features an added funk groove for the improvised section.

Between Dreaming is a tango. Its title refers to the semiconscious state of the mind when we are not quite awake or asleep. For most people this time is the most tender and creative. A great deal of mental composing, ideas and revelations happen for me in this state.

In Between Dreaming  I used some composing tools that I learned from Henry Threadgill and Steve Coleman, for example: the use of counterpoint, selected series of intervals, and “negative movement” of intervals, instead of chords.

Chrom, by Curtis Stewart begins with a tuba intro by Bob Stewart. It is harmonically based in the work of John Coltrane, utilizing third relations and some melodic quotations form his work on the album "Giant Steps."  It is comprised of three sections, the first being a groove in 7 revolving in thirds around C. The grounded ostinato of the rhythm section is surrounded by the abstract improvisations of the clarinet and violin. The second section arrives at the climax of the previous groove, swingin' hard and fast.  The solo pushes passed the time and harmony into the third section, another groove in 7. The clarinet rhapsodizes on this section and is interrupted by the original groove. The violin carries the tune to a strong end.

Conclusion is the third interlude - a connective tissue. It’s based on the theme of the album's title piece "Cutting Through", improvised by Elektra Kurtis, Curtis Stewart and Bob Stewart.