North America’s love affair with the music of Brazil began 51 years ago, specifically with the Charlie Byrd-Stan Getz hit recording of “Desafinado,” the lilting jazz samba by Antonio Carlos Jobim. Ever since, Brazilian tunes and rhythms have been a regular part of jazz. Thus, we have flutist Mark Weinstein’s “Lua e Sol” (Jazzheads), a trip into the light and dark soul of the music.

“The flute just works perfectly with Brazilian music,” Weinstein says in the liner notes. And when his cohorts are the Brazilians Romero Lubambo (acoustic guitar), Nilson Matta (bass) and Cyro Baptista (percussion), it works even more authentically.

You can hear echoes of Byrd in Lubambo’s pulsing single-line approach and chording. Ensemble-wise, Matta’s bass is richer and more aggressive than in the early days of the bossa nova, and Baptista’s percussive interjections more colorful.

The performances include Matta’s “Floresta,” with Weinstein on alto flute, and a few Weinstein originals: the lovely “Estrelinha” and the avant-garde title track. The other tunes are by Brazilian composers. Weinstein, an often busy improviser, grows more impressive with each album.