This album presents six suites in three parts, each bringing together three works that have relationships.

The "Be-Bop suite" is composed of three pieces imbued with a style inspired by Charlie Parker’s playing :

1- Senti, a bitonal theme, used as an indication to the orchestra, which follows a harmonic sequence of 12 measures, different from that of the blues.

2- Shouīlaba poumpida, a rather fast piece of 32 measures, AABA structure, which is based on chromatic descents frequently used in bebop.

3- Snickering blues, piece in the spirit of Thelonius Monk, which exploits the minor seconds and diminished fifths.

The "Binary suite" consists of three themes with "rock" accents :

4- Symptom, Soul piece, which is based on the pentatonic scale.

5- Henrisque vital, with folk harmonies, which evokes the crucial choices, the courage and the tenacity that are necessary to build and to succeed in one's life

6- Thirteen black friends, modal theme, in the spirit of the Miles Davis of the early 70s, which uses the Lydian mode and the tonal scale.

The "Latin Suite" is, above all, dancing. It includes :

7- Don’t take a chance on nothing, a biguine-like afro-caribbean rhythm that develops a Lester Young melody on the changes of Vernon Duke's "Do not take a chance on love".

8- The streets of Buenos Ayres, jazz tango with a lancing melody, which Pierre Lem dedicates to his wife.

9- Un sourire c’est triste (A smile is always sad), afro-Cuban AABA, inspired by the rhythms that Dizzy Gillespie used,… which invites not to exhibit his own feelings, in case of misfortune.

The "Traning suite", refers to the passion of Pierre Lem for the playing of John Coltrane, in the early 60's. It brings together :

10- Promenade sous une pluie tiède (Walking in a warm rain), a minor blues in 6/4, which evokes a melancholic walk under the drizzle of Brittany.

11- Antephraseo, a piece sounding like an incantation, inspired by Indian spirituality, which repeats a simple phrase, by shifting it, following a series of modulations linking, in a very Coltranian way, the most distant tones.

12- Le jour H, jazz fast modal waltz, which evokes all the seductions of life and our past friendships, developing an energy in Mac Coy Tyner’s style.

The "Basic roots suite" takes three of the outstanding references in Pierre Lem's passion for jazz :

13- Calvitie (Baldness), stride following the changes of George Gershwin’s "Lady be good", which is a little parodic, in the spirit of Willie "The lion" Smith, an indirect tribute to Duke Ellington.

14- C & 0, a slow-moving, gospel-like tune, inspired by the solemn engagement in marriage of a young couple, a choice that involves accepting to give up multiple possibilities.

15- Abbesses de Montmartre, a sort of deconstruction of a waltz, whose melody came to Pierre Lem’s mind, with the evil of the country, after a year and a half spent in Canada. This tune evokes the musical beginnings of Pierre Lem, playing among gypsies such as the Ferret brothers, who accompanied Django Reinhardt, and several of their more modern descendants.

The "Continuity or breaking suite » (Suite continuité ou rupture) includes:

16- My nephews' homes, a melody based on a rebus, which represents the visit of the house of a nephew, a kind of neo-classical movement chained with a swing commentary, like what often played John Lewis' Modern Jazz Quartet.

17- Elle est singulière (She is singular), a free jazz delirious, based on a theme all in shifts, evoking mental confusion, that Pierre Lem wrote when learning the suicide attempt of one of his colleagues.

18- O.K., fine, piece in homage to those who have consciously given their lives to protect and save the others’ lives, clenching their teeth to maintain morale. The colors of this tune evoke sometimes the playing of Bill Evans.