[4] Palmieri and his new ensemble (still similar to La Perfecta, with Barry Rogers being replaced by Lewis Kahn) recorded a series of four albums for Tico that have been said to contain his "best sounding" work.

Despite his experimental approach, most of his recordings remained largely based on the basic structures of son montuno, as exemplified by "(Se acabó) la malanga" and "(Dame un cachito) pa' huele" on Superimposition.

[8] A rendition of Guillermo Rodríguez Fiffe's "Bilongo" (a guaracha written in 1937) closes side A, and is considered together with "La malanga" as one of the "most representative [tracks] of the hard-core Palmieri salsa style".

Particularly important is the presence of Alfredo "Chocolate" Armenteros, who had also taken part in the recording of 1950s descarga sessions with artists such as Tojo and Chico O'Farrill's All-Stars Cubano.

[11] Unlike older descargas, Palmieri combines modal phrases and montuno patterns, and adds "harmonically advanced chord voicings, substitutions and alterations" to his guajeos.