In the old times that are lost in the mists of oblivion, the Earth was sad, monotonous and quiet place. God Tezcatlipoca saw that people are humourless and in lack of entertainment, and he hurried to the Sun’s court to ask the Sun if it is willing to send several of its musicians to the Earth, but the Sun rejects it. Angry and disappointed in his heart, Tezcatlipoca took a few of them and quickly came down to Earth to surprise humanity with a new thing – music. And since that day mankind enjoys the world of sound.
Times passed slowly. The sound of various brass and percussion instruments accompanied the man at every stage of  life, from birth, through adolescence, marriage, until death. For every occasion there were different tunes and melodies.
Until one day furious Europeans came, destroyed the millennial culture in the name of their god and repressed all memory of the great civilization of old Mexico. Who knows how many Mesoamerican Homers, Shakespeare’s, Platos and Thomas Aquinas were lost forever in the abyss of oblivion. Tenochtitlan, Teotihuacan, Cholula, Tula…  today are only dead monuments, subdued with brutal conquistadores hands, that mutely testify of the glory of its inhabitants.
However, the village knew how to survive, keeping the age-old secrets in the heart, or put the ancient rituals in the mask of Christianity behind the back of the colonizers. So Quetzalcoatl disguised in St. Thomas, Tonantzin in María de Guadalupe, and Mictlantecuhtli  in Santa Muerte.
Original precolumbian music, although mixed with colonial influences, creating a whole range of styles from the Son Jarocho, Son Huasteco, Ranchera, Corrido, Norteño, survived in its authentic form, far from the ears of white invaders, and more and more foreign to the upcoming mestizo population.
After he returned from his travels in which he toured the whole world, Jorge Reyes directed his interest toward still unexplored music of the Mexican Indians. Listening to this mysterious music was the immersion in the dark essence of Mexico, unimpaired by colonial influences. Hypnotic sounds of flutes and percussion instruments were a vivid onomatopoeia of the untamed wilderness. Ocean waves that crash on the rocks, the wind whispering through the palm leaves, scream of the rainforest beasts … everything is so wonderfully shaped in the music.
The influences of this music are very evident on the album Nada en especial,  of Reyes’s then- group Chac Mool. Some of the songs are in the typical late symphonic rock style, while others, in whose creation participated directly Reyes himself, are showing a clear influence of pre-Columbian sounds.