The album's repertoire comprises original compositions by Enrico Bracco and Francesco Poeti, which blend beautifully in their melodic flair and expressiveness. Their compositions are characterized by a particular focus on unconventional harmonic and rhythmic experimentation, coupled with the unmistakable catchiness of their songs. Their music draws inspiration from various stylistic currents, ranging from the jazz flair of the New York scene to the more sublime moods of European influences and the songbook of the great tradition, with particular reference to the "cool" vibes of Tristano. It is no coincidence that, in addition to the standard "How Deep Is the Ocean" by Irving Berlin, they also chose to include tracks based on the melodic and harmonic inspiration of songs like "Stella by Starlight" and "All the Things You Are." The album is further enriched by the participation of the American saxophonist Matt Renzi, a musician with a highly personal style… This is how the album's description reads, written from the label's perspective! With the 1932 standard "How Deep Is the Ocean," the band makes a musical statement. Their own compositions follow in the footsteps of Irving's worldwide hit. The ensemble thrives on Matt Renzi's sonorous, sometimes softly nuanced saxophone playing. But now for the details. The album's opener is "Finestrelle": Sustained guitar sounds and a swinging drumbeat characterize the song. The saxophonist then takes up Enrico Bracco's thematic lines. His tenor saxophone sounds at times like an alto saxophone, seemingly modeled on the human voice. The guitarist and saxophonist play with a lyrical quality. A slightly dark timbre, but also playful lines, blend with the gentle string sound. There's room for the very understated electric bass playing. The melody takes precedence. There are no sonic embellishments. What we hear is straightforward and highly recognizable.

Anyone who thinks of "Stella by Starlight" when listening to the following "Stellar Variation" is on the right track. The fine interplay between the guitarist and the saxophonist continues in this piece. Matt Renzi makes the stars twinkle, one could say metaphorically. But isn't he more likely singing of the Milky Way? He is accompanied by Enrico Bracco. We also hear cymbal crashes and drumhead vibrations. But the sequences, rooted in the jazz guitar tradition, are particularly intense. Occasionally, these are "commented on" by a slightly warbling woodwind instrument. Bracco's solo is truly a treat for the ears, making one forget Metheny and Scofield, although one can certainly discern a sonic connection to both. Purring saxophone tones, lyrical and with a touch of romance, that's how Irving Berlin's "hit" from 1932 comes across. The focus is primarily on the saxophonist, accompanied by subtle, yet carefully placed percussion. Even without the lyrics "How can I tell you / What is in my heart? / How can I measure / Each and every part? / …" the style of music makes it clear that we are hearing a love song. However, unlike, for example, the version with vocalist Billie Holiday, the instrumental version also benefits from the guitarist's solo performance, which lends the piece a less lyrical and romantic feel. "Blue" and "Surf" follow on from the image of the deep ocean, one could say. The former opens up a view for us thanks to the saxophone playing, which is less dramatic and more dedicated to an unobstructed view of the landscape. One can easily imagine gentle waves lapping against the saxophone. The same applies to the precise guitar playing. After "Flow," we hear "All Intervals You Are." Upon reading the title, some listeners might recall the track "All The Things You Are" (1939). However, this doesn't mean the band is stuck in the style of the 1930s and 40s, especially swing. Instead, the musicians embrace post-bebop, a modern interpretation of classic bebop, very much in the spirit of Parker, Gillespie, Roach, and others, but with a fresh, modern twist. The album, well worth listening to, concludes with "Durante."