Transits: Minimal to Mayhem, his fifth full Navona Records release, is an abridged sequence of five works from a set time and concrete place that maps composer Sergio Cervetti’s creative progression over four decades of composing. The Concertino for piano, woodwinds and timpani (2013) is a rowdy and raucous array of South American rhythms tempered by a tender quote from Gustav Mahler’s Kindertotenlieder. One of Cervetti’s last minimalist works, Exiles (1980) begins with a slow piano rendition of a melodic theme from the Uruguayan patriotic song Mi Bandera, which is soon overwhelmed by electronic textures. In contrast, 1975’s Guitar Music, (the bottom of the iceberg) is an early minimalist work for solo guitar that experiments with “restricted pitch-classes”. The two works completing the album are based on the history and culture of the Río de la Plata where Cervetti was born and raised. El Río de los Pájaros Pintados (1979) seamlessly integrates the bandoneón with electronics. Candombe for Orchestra is the 1996 orchestration of Candombe for Harpsichord (1984), both works indebted to a Uruguayan national dance of African origin.