I first heard Mark Weinstein play with Cal Tjader and Eddie Palmieri on the 1966 recording El Sonido Nuevo. That recording represented the hotter side of his music. This CD, O Nosso Amor, includes – almost exclusively – the sweeter side of his music. The twelve selections on this CD include three compositions by Antonio Carlos Jobim, three by highly respected writers of the past, one by Donato/Gilberto/Gil, and five by members of the ensemble. The recording quality is excellent, and I want to make special note that they achieved a “Goldilocks” use of percussion: not too little, not too much, just right.

Classical guitarist Lubambo is outstanding throughout the CD. He is a strong and capable musician who demonstrates the influence of Charlie Byrd and for a few moments, Baden Powell. The great Ary Baroso’s lovely “Bahia” is the lead off selection of the CD. It is the closing piece on the 1961 Getz-Byrd Jazz Samba. The two versions are very different, but Lubambo is the glue that provides some relationship between the two versions. This version is much looser than that earlier one. The earlier one had two bass players, which provided a gravity that this one does not have or need or want. It is free and happy. The guitarist’s ability in single string and chordal soloing is very audible on this track. Weinstein demonstrates beautiful use of the lower register of his instrument on the middle section of the song. The other composer of the past, Alfredo de Rocha Vianna Jr., “Pixinguinha” is represented by “Naquele Tempo”, and “Um a Zero”, two of the most compact pieces. The former is especially noteworthy for Weinstein’s use of the bass flute, which I haven’t heard used to any great extents since Paul Horn’s performances of the early 1960’s. The moderate tempo is for all intents and purposes a duet between flute and guitar. The later piece is up-tempo with great use of modulation.

The five selections composed by the members of the group have great variety. The brief “Batucada” is a samba percussion parade. Bassist-co-producer Matta’s contribution, “Sampa.67”, is an up-tempo piece with a great flute-guitar-bass-unison sections and ascending, although minimal, harmonies. The beautiful guitar interlude once again shows Lubambo’s excellent single string and chordal styles. Lubambo’s Frevo Camarada’ is up-tempo as well, demonstrating a Byrd-like include, with a few flashes of Baden Powell. There is a great percussion display with the section using different instruments. Leader Weinstein’s “Marka Som” is a positive and optimistic melody played by the flute, bass and guitar. There is a lovely descending chord figure played on the guitar immediately before the flute starts the final melody. Percussionist Franco’s “Capoeira” closes the CD and is unquestionably the freest in form. There is one chord used, and the soloists are almost ‘avant garde’ on the selection. The bowed bass solo is reminiscent of Paul Chambers’ great work.

“Lugar Comum” by Joao Donato, Joao Gilbeto and Gilberto Gil features the leader on alto flute. There is wonderful interplay between the bass and guitar. The guitar accompaniment is superb and more readily appreciated in this piece. Finally congratulations to Weinstein for choosing three of Antonio Carlos Jobim’s lesser-know pieces. “O Nosso Amor'”(by Jobim and Moraes) is one of the earlier of Jobim’s pieces to reach public acclaim as it was part of the score of Black Orpheus. The use of percussion and bass solo is especially noteworthy. “Falando de Amor is moderately slow in a minor key. Matta’s bass solo, which takes place early in the piece, is outstanding both technically and emotionally. “Por Causa de Voce” (by Jobim and Duran) is a lovely ballad. I hear no use of percussion on this piece.

The musical form explored on the CD has proved itself highly enduring after close to a half century. May in long endure, and may we hear much more from Weinstein and his associates.