Everyone in Brazil loves Heitor Villa-Lobos, that 20th century composer who once said that his first harmony teacher was a map of his country, and whose tunes combined the sprightly sensuality of Brazilian rhythms with the street-corner chorus bands he played in as a youth, the semi-classical European traditions he learned as a cello player and the modern attitudes he absorbed in Paris. This synthesis was held to sum up Brazil in music; little wonder, then, that all the latter's best composers – Jobim, Nascimento, Gil – borrowed from Villa-Lobos, or why these jazz-fusion greats, Pau Brasil, have taken on his considerable legacy. The evergreen ‘Bachianas Brasileiras No. 4’ and ‘No. 5’ are here, deftly arranged by main man, pianist Nelson Ayres, and replete with space and possibility, melody and counterpoint, with ‘No.4’ lifted to realms of folklore by the calm tenor of São Paolo's Renato Braz. Highlights are many: ‘Sexteto Mistico’ sees string and wind cascade and soar; ‘Choro Tipico’ is all swaying charm. Improvisations are threaded throughout, refreshing each piece with respect and a palpable love.