In the words of Rui Eduardo Paes for jazz.pt:

"Right in the first two themes,“ Box Jelly Fish ”and“ Puffer Fish ”, what we find could not be more conventionally“ musical ”: harmonies by one of the horns (Santos Silva on trumpet, Gibson on tenor or soprano saxophone) of what the other plays or the establishment of counterpoints, always on the parsimonious cloak of the rarely rhythmic textures provided by the percussionist (Trilla). Which means that if the luso-catalan drummer puts himself outside of the frame chosen by his peers for this recording, on their part the option goes to the tone, and hence the melody, however fragmentary and distorted it may appear.

At this level, what Yedo Gibson's tenor sax does in "Piranha" could not be more meaningful: it goes from a direct allusion to the street marches played by Albert Ayler to equally explicit referents to samba, something unusual for the musician of Brazilian origin. The work of the trumpet (with a Susana Santos Silva as meditative as… ruminant) and that of the saxophones evolves by motives: faded one, another comes, and often with short breaks and not in transition. What might seem derivative, without an apparent course, is resolved in the form of "statements". The purpose is well perceived: to make the trio's spontaneous, improvised music inhabited by the ghosts of other songs, in a synchronous articulation (with songs of our time - such as the electronic mimicry in “Bull Shark”) and diachronous (by through the re-articulation of elements of the history of music, especially - as might be expected - jazz). There is a combination of “nonsense” and logic in this strategy, which gives continuity and unity (more than that: identity) to this record. And what identity is this that is at stake? Something very similar to the processes of cell growth, through synthesis, degradation and recycling, which science calls autophagy. "

in https://jazz.pt/ponto-escuta/2019/11/07/fish-wool-fish-wool-jacc-records/