First movement: ominous, suggests a presence, a gloomy atmosphere, reveals a tortuous journey that the trumpet is responsible for announcing and whose outcome is untimely when the sax, with a grunt, opens the scene and leads us into a vortex, which truly, smell and sound like jazz, recharged and impregnated with rock features of what was entitled like opposition, a landslide carried on a carpet lying on the keyboard.
Second movement: decidedly rocker and guided by a piano solo that opens into a wall of breaths which will lead us to the next stage.
Third movement: now under, but not necessarily, more conventional jazz framework.
Fourth movement: a brief interlude in which remains the mysterious side, grim, marked by a booming bass that links to the next stop.
Fifth movement: equally disturbing with hints of experimentation, in which murmurs from the underworld overlook.
Sixth movement: the descent into an unknown universe, that strange and unreal atmosphere is accentuated by a poem which is unintelligible at the beginning and gains sharpness as it goes lining on a bed of jazz with music closer to a contemporaneous accents.
Seventh movement: we arrive to its conclusion and here were the initial theme is recovered, and right before the end we can see the light, but not necessary in peace.
By David Cortes / Nexos Magazine