This album is surprising because, starting from a common language like jazz, it manages to offer something new thanks to ingenious and sensitive orchestrations, as well as timbral innovations. It's not just about how it's played, but mainly about the sound it creates. Pablo Mourelle's compositions provide a broad framework in which soloists, like Mourelle's guitar, Rodrigo Núñez's piano, and in the two tracks where he's invited, Enrique Norris and his cornet, can express themselves freely and without restrictions. The tracks, varying in duration (from 6 minutes and 20 seconds to 15 minutes and 5 seconds), envelop the listener and demand attention. The album spans from reminiscences of bebop to a blues like "Trece," experimenting with noises and distortions, and even a bit of trance. Although this work has a more classical approach compared to other jazz musicians who completely deviate from common structures and language, there is no shortage of surprises and a constant feeling of freshness. The technical audio quality is excellent. Beware, because this "Polnography" can be addictive!