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Smooth bossa nova this is not. Victor Assis Brasil, a Brazilian saxophone prodigy who studied at Berklee College of Music, was clearly soaking up a ton of American and international music when he recorded Esperanto with a slate of gifted Brazilian players in 1970, a week before his 25th birthday. From the opening cymbal crash of Jimmy Heath’s “Gingerbread Boy,” the album’s sole cover, it’s clear we’re in for a wild ride. This is blistering, inventive jazz that feels more influenced by Coltrane’s pioneering work a decade earlier—and perhaps by 1960s psychedelic rock—than it does by Jobim’s uber-cool and mellow CTI output of the same era. There’s a dose of rock-ish fury on “Quarenta Graus A Sombra,” where Brasil’s runs take on a chaotic edge, a la Eric Dolphy (who, like Brasil, died unexpectedly in his mid-30s)