In the opener, “Eleggua,” Weinstein plays as though traveling through a wilderness, accompanied by two observant journey mates. Jean-Paul Bourelly’s guitar lays a serene melody over Milton Cardona’s walking percussion. It is a cross between a hypnotic safari sound and soft folk rock. This track and “Babalu Aye” utilize various rhythm techniques that were used in worship and calling the two named orishas to solicit safe travels and healing. Weinstein travels to Northern Brazil for the Luis Gonzaga composition, “Baiao Granfino.” Romero Lubambo joins him on classical guitar along with Cyro Baptista’s Brazilian percussion. The tempos change from mild to lively back to mellow again. Lubambo performs a stunning solo just short of the close. Santi Debriano exemplary string bass opens the quiet “LKC Blues” with great style for Weinstein to tell his story. Don’t expect big-city grandeur; the rural influence shapes this track.

Cindy Blackman expertly handles rum duty and one would expect no less from her immense talent. Perhaps this is intellectual blues as it prompts one to think rather than lament. This trio also performs the last track, “Pero Como El Amor,” which is probably the most hypnotic and thoughtful of the entire disc. Lubambo’s guitar solo sends a romantic touch throughout the lovely bossa nova, “Nos E O Mar,” composed by Roberto Menescal and Ronaldo Boscoli. Baptista gently supports his band mates but builds a stronger more pronounced rhythm right before the track’s close.Weinstein beautifully interprets this musical form quite differently from most, utilizing the gentler side. These lengthy tracks exhibit versatility from Mark Weinstein and the other musicians. Consistent is the quiet depth in each composition, which is rewarding to listeners who focus on what they hear.