For almost sixty years, Conlon Nancarrow worked diligently in a secluded studio in Mexico City. Amidst his antique player pianos, massive library, and growing collection of piano rolls, this brilliant expat composer never faltered in his ongoing experiment with a music of such complexity it thwarted the skill level of most musicians. By the late 1970s, when Nancarrow's remarkable music began to find acclaim, a small number of critics, composers, and patrons did regularly visit his studio, but none recorded the maestro in situ until Uli Aumüller. Along with Yoko Nancarrow and Charles Amirkhanian, and additional commentary by Gyorgy Ligeti, this crisp portrait shows us Conlon Nancarrow in his well-worn space of vigorous creativity.