Is the story half talked, half sound, half written essay of a musical composed by Martin Loyato.

When I walked into the rehearsal space in Scat had the feeling invading the privacy of a moment, a discovery, a meeting between a groups of people trying to establish the parameters of a universal language, music. They almost indifferent to my presence dotted the instruments, as they read, exchanged impressions and studied the notes that would interpret. It's a lesson that has not already been learn in every single way, it was necessary to be understand, memorize and internalize so then they could be able to express through a melody of flavors of the middle-east. At the signal of 1, 2.3, 4 begin to echo in the room the first chords of "for free minds" of Martín Loyato, from Argentina, considered one of the twenty composers of the century, and this is one of the first rehearsals with the musicians from Madera who he coordinates Duarte Nuno, on the piano, Ricardo Dias on the bass and Jorge Maggiore, on drums and repercussion. Its set to hit a compass, an intimacy of sonorities that are gaining strength and consistency as time goes by. The melody follows a rhythm of its own, which must be respected, according to Martín Loyato this composition, "can be translated freely as open minds, but also I use the preposition in English that for is four, so we're four musicians. In this theme I play the flute of Egypt and it is very difficult and even more to get a person who would built one was very complicated. It's also a composition where I am using computers. "

The dynamics of the remaining compositions requires a more complex mental exercise by the musicians; it's almost too much information for two shows in just three days of rehearsals. This is the second, a sort of adjust the needles which is translated into notes, in this context the composer clarifies, "I have chosen compositions that we could do together and enjoy playing. It is something that I share in another place; the opportunity is very good because I share my music with other musicians. In New York I have my own quintet and we know each other, I like the challenge of playing with people who I do not know, then they, the musicians, contribute always with something. The music I write music is not just for play what I wrote, has many parts open to improvise, for play as they like and give me their artistic voices".

The conversation continues in a distinct musical rhythm, inspired by the jungle, I am transported to the motherland, piano, bass and drums mimic the sounds of the deeper womb of Gaia, I hear the purr of the forest, the waters rushing by the streams, wings beating in flight and suddenly the sound of a indigenous flute packs the senses, "the healing of mother earth", moves from a almost tribal sound to a more sophisticated one that is diluted in distance, allowing each musician to find his own voice, one of them is Jorge Maggiore, who says, "I liked the music, I identify with it, I had some technical difficulties on two issues in terms of uneven bars, but I'm quite enjoying this experience ". When confronted with the guidelines, the drummer says, "is not really the question of originality, it is more of a spirit that is captivating." Hence the challenge of this unusual musical project, "there are parts that are quite certain, we must respect the writing and some very open when we have to use more intuition, it takes a lot of communication between us. The challenge here was to keep the interest in the right proportion at times very open, in which everything can be possible. You can follow an interesting story line, for those who hear and touch, if a theme has twenty minutes to be interesting during this period of time, if not it is not worth continuing. "Duarte Nuno, the pianist also stresses, "is more of an experience, I only agreed to do it because I found it interesting."

New stop, between a coffee and a cigarette, another disquieting composition gains new life, the "seaside tango." It's one more musical barrier that dissolves itself through small personal notes, short conversations between certain passages that are repeated over and over again until exhaustion, to satisfy the ears and soothe the more demanding spirits. Each of the musicians tries to tame notes to their liking, Taka, tiki, tiki taka, taka, taka, repeat to themselves, mnemonics that transform sound into improvised music that arises unexpectedly, is a melody that follows a particular alignment, but after a while gets a distinct personality, the musicians interact with each other through each musical notes and their voice echoes through the instrument they play. This is a warmer sound, Latin, Ricardo Dias, the bass, explains, "Is music that has an identity, I think the Argentine roots are very much present. Nowadays it is much more important than the music itself. In the background is rooted as traditional, or world music, difficulties arise because it is necessary to enter this kind of language. With globalization barriers are shorter, just see, we're on an island with a few square meters and we have a man who lives in New York and came to play in an islet. The world is a T0, this closeness, this contrast with other musicians to live right next to you and come to show their music which we are not used is wonderful. "The experience in jazz also helps, he continues, "is a process and when it is done well we have an extreme communication extreme and this is what is meant to be. Not in the radical sense, but proximity and jazz is that. All this is present in his music, despite those that feature traditional Latin rhythms, there is room for improvisation. "It is in this almost impromptu way that this musical conversation ends until the next rehearsal.