Ecuadorian, Cuban, and Hip-Hop vocalists exchange brief commentaries before Sosa goes into one of his percussive piano solos. Although there is use of vocal chants and phrases, rather than dominate the music, these only add to the rhythmic pulse. It begins as a standard Afro-American folkloric song. Sosa transforms it. By adding the subtle and delicate touches of his piano and a sax solo, he reminds us that this is also jazz.
Several cuts are dedications to musicians.
A strange sounding but pulsing percussion is the only stable element. There are some intermittent riffs by the horn section but the highlight is Sosa's Monkish phrases and freedom. Like Monk, Sosa questions musical boundaries and makes dissonance something consonant. An arsenal of percussion instruments is in the capable hands of Jesus Diaz, Pancho Quinto and Orestes Vilato. You also hear the bat , cajon, tabla, and Ecuadorian percussion.