‘Secretos de la Guitarra’ is framed as almost a classical concerto with four movements, and Menendez’s guitar taking place of a string section. This piece sounds very cinematic. This is not surprising since Menendez has scored numerous films. But, it should not be taken as background or ambient music. It is too well crafted for that. It holds its own very well as it is, but the piece could conceptually work as a score for a silent film.
As the title suggests, ‘Un dia un gato’ moves a like a slinking orange cat hypnotically pursuing an imaginary mouse in a field of tall grass and then stops, blinks and perches herself strategically to carefully watching the world around her. It is a placid piece of music with a great deal of subtle beauty.
On ‘Como seran los Pirineos?,’ Menendez employs a trio with himself on guitar, Buono on bass, and Serale on vibes. This is played very delicately and persuasively and as such may be the most beautiful and memorable of the album. It is rooted in folk with a dash of the surreal.
The final piece is ‘Zam-jazz.’ It is dedicated to Oscar Aleman who was Menendez’s teacher and guitarist to Josephine Baker. This is the one piece that truly lends itself to the jazz idiom. ‘Zam-jazz’ is an elegant tribute to his maestro. As is the rest of the album, it is simple and wise, graceful and heartfelt.