“Movement within change/movement wonders and miracles/ it all happens without our noticing/leaving us only the mystery …”

1) Scotch Baião (5:05) — Exciting, up-tempo treatment of a classic Brazilian rhythm form, sung in vocalese. Transitioning from Baião to Samba and back again. The scat is evocative of Tania Maria.

2) Movimento (5:31) — Sung in Portuguese, a medium samba in 6/8 time. Opening with a folkloric nylon-stringed guitar duet and building to soaring vocals. Note the soprano sax and flugelhorn playing in two against three.

3) Exceto Nos (6 :11) — A sophisticated yet funky bossa sung in Portuguese. A good dance number.

4) Light’s Return (7:35) — Another Toninho-inspired tune, this up-tempo instrumental features vocalese and the distinctive cuica drum. The piece cascades from one solo to the next.

5) Remembrance (Para Freyda) (6 :51) — Sung in Spanish and English. A moving song of gratitude that stylistically bridges Brazilian and Venezuelan music.

6) O Bom Alvinho (5:53) — Pronounced oo Boon All veen yo. A rocking take on the lighter, original baião by Gerry Mulligan and Jane Duboc with parade-like, carnival percussion. A tribute to Brazilian musician Hermeto Pascoal, “the sweet albino.”

7) For T (5:32) — A samba canção with a spiritual quality, this moderately paced instrumental tribute to Brazilian guitarist Toninho Horta by Scott Sorkin gives us a mystical flight of fancy.

8) Tara (5:43) — Unlike anything else on the album, a classic medium swing instrumental inspired by Stanford women’s basketball coach Tara VanDeveer. Straight ahead jazz evoking strength and poise.

9) A, Felicidade (6:55) — Sung in Portuguese. The classic Jobim/De Moraes samba (from Black Orpheus) with an up tempo twist. Opening with a free form finger style nylon-string guitar solo and building to lush vocal harmonies that mirror the horn figures.

10) Silent Heart (6:01) — A languid jazz ballad sung in English with a bossa beat.