Ryo Kawasaki had been in New York a decade by 1982, playing with Gil Evans and Elvin Jones and building his own guitar synthesizers when nobody else was. This record is him almost alone: he plays the Aranjuez adagio on nylon string guitar and builds the entire orchestration around it on synthesizer, then follows it with Jobim's A Felicidade and four originals. Gil Evans is credited with supervision. It is a strange, patient record, closer to ambient fusion than to the Latin jazz the title suggests, and it has aged unusually well.