Egberto Gismonti's profound search for the universal departing from the particular is always an applauded approach. On this album, one can recognize references from several cultures, but that never resembles an opportunistic pastiche. The cello parts (played by Jaques Morelembaum) and some rhythmic motifs (such as the one in Bianca's theme) are reminiscent of Brazilian tradition, especially Heitor Villa Lobos' work (which although is taken with reserves by Gismonti in his spoken speeches, seems to transpire in his music unconsciously). His compositions can be meditative but also reflect the ingenuous happiness of folkloric dances. Tender lyricism again reveals a touch of na?veté balanced with an original perception of the universal patrimony of humankind. His music, even more challenging in the required sensibility for the folk element that is almost always missing in cultivated musicians, finds a proper channel in the passionate delivery of Jaques, Nando Carneiro, Zeca Assump??o, and Gismonti himself.