Much more experimental than the project they were promoting, also live, En vivo en Lisboa reflects the harmony that the three musicians have. It is an unaligned alignment because it does not have a specific cadence. They improvise following a flow that is sometimes murky, and sometimes smoother. Or that starts calmly and goes into a frenzy, reaches ecstasy and becomes smooth again. At certain moments, the instruments seem to enter into an organized discussion in which none of the voices overpowers the other.

We can hear these conversations in the four songs. They all have an initial theme, but they evolve as they develop. The style, cadence and expertise of each one contribute to the construction of something that is not straightforward. To the most sensitive ears it may sound like a mess, but with a little more attention and listening time it is possible to understand the message they share.

It is light, even in the periods of furor, with the bass acting as a mediator between the saxophone and the piano. It is balanced, spontaneous, free and enigmatic. It also portrays the power that music has to connect an exceptional Latin American pianist with two magnificent veterans of North American jazz in Europe.