Starting in the decade of the 90ies – after launching his first records, “Trombone”, and “Sem compromisso” -, maestro Vittor Santos has become a member of the selected group of great names of trombone players in Brazil, that include also Raul de Barros, Raul de Souza and Zé da Velha. The smooth phraseology, which incorporates samba, jazz and gafieira elements, have secured him an outstanding place among the wind instrument interpreters of all times, whether playing with his quintet or leading the orchestra which bears his name. In his latest record, “Renovando as considerações” (Biscoito Fino), Vittor resumes the sonority of his earliest times (under a quintet formation) in eight themes composed by Moacir Santos, Ian Guest, Joyce, Idriss Boudrioua, Mario Adnet and Fernando Clark, closing the album with one of his own compositions. In the opening of this CD, Vittor interprets "Luanne", written by maestro Moacir Santos and issued (through the American label “Blue Note”) in the album "The maestro", in the beginning of the 70ies. Later on, this song received lyrics by sambista Nei Lopes for the album “Ouro Negro”, launched in 2001 as a tribute to Moacir. The present version recycles the samba-jazz of both Santos – the composer and the trombonist –, supported by Fernando Clark’s guitar, Rodrigo Villa’s bass, Cristina Bhering’s piano and the battery of Marcio Bahia. “An American no samba", by Mario Adnet, is influenced by the most jazz biased strain of Bossa-Nova. The same occurs with “London Samba”, written by Joyce, and that counts with Phillipe Baden Powell at the piano. Composer, pianist, and music teacher Ian Guest – born in Hungary and living in Brazil more than 30 years, where he composed inclusive with Vinicius de Moraes, – contributes with two of his themes: the title-song, “Renovando as considerações”, resembling more jazz than samba, with Hamilton de Holanda’s mandolim imparting the “choro” elements; and “Um trombone na rua Tereza”, accompanied by Phillipe Baden’s piano. “Lembrei de tudo”, composed by Fernando Clark, proposes a cadenced dialogue between the guitar (played by the author) and the trombone. “Ettiene et Margot”, written by saxophonist Idriss Boudrioua, excels in melodic gentleness, opening space to improvisations by Clark's guitar and Vitor Gonçalves' piano. “O mover das águas”, Vittor’s only composition in this álbum, closes it in great style, merging samba, jazz, choro, gafieira and Hamilton de Holanda’s mandolin. With “Renovando as considerações”, Vittor Santos appraises the components that exist in the mixture of sonorities and styles in our music. Such mixture, permanently recycling, is the main generative element of Brazilian music.