Creating a stirring and enriching blend of Spanish and Latin American flavors in his music, jazz guitar legend Charlie Byrd put Brazilian bossa nova on the map in the States with this follow-up, More Brazilian Byrd.

With finesse and dexterity, the passion and lively soul of his melodies and lyricisms flow from Byrd's classical guitar like a river of musical heaven.

From the charging and percussion-laden opening track, Antonio Carlos Jobim's "One Note Samba," to the mellowness and gentle innocence of "Pretty Butterfly," Byrd tackles a wide variety of dynamic textures, beats, and color tones with honesty and zest.

Throughout the record, both its driving, uplifting side and its peaceful, ethereal tones (as on "Felicidade" and the quite sorrowful "How Insensitive"), Byrd demonstrates his ability to capture the heart and soul of the pieces with vintage style, grace, and a touch of romance.

His backing band also deserves much credit for presenting such compelling and richly textured percussion and melodies.

Joe Byrd takes the music to a higher level with richly textured, crisp basslines.

Bill Reichenbach assumes the duties of percussion and drums, bringing them to the center with dazzling and soaring bossa riffs.

The strings are orchestrated and arranged by the genius of Tom Newsom, creating a brilliant portrait, both shadowy and haunting at times.

Hal Posey puts a charge into the trumpet and flügelhorn, with producer Teo Macero sharing time on saxophone.

The string arrangements sound quite eerily like Miles Davis' work with Gil Evans.

The reason may lie in the identification of the sheer sound of '60s jazz, this record especially being used as a key model of the decade's most defining works.

Wonderfully arranged and lavishly produced, this record is a perfect fit into the collection of any avid jazz fan.

Filled with marvelous guitar phrasing, radiant horn and flute leads, and crackling percussion, More Brazilian Byrd is just plain "more Brazilian.".