The temptation to call it a pastiche is too easy to drape over this mammoth construction of color and texture in sound.

Before the vibes and trumpets go into a dance of intricate counterpoint, the band plays "fliessend," smoothly and evenly, and the movement becomes almost contemplative, with the exception of the two contrapuntal instruments now playing in restrained tones.

As the bop horn lines state the theme for the rest of the suite, short, choppy interludes of dissonance and even sets of quiet tone rows are inserted into the melody!

Rüegg's harmonic sensibility is so developed that he has no difficulties in traversing isorhythms to get to his desired place.

By the time the last movement is reached, one would swear that all elegiac notions have been left behind in order to join Buddy Rich and Count Basie in a Kansas City block party.