Art historians will preach that the creative heyday of Impressionism is long gone, but its popularity continues as many like their art pretty. Likewise, the quiet explosion of bossa nova was 40 years back, but a new generation keeps the spirit alive. Marcio Faraco does not create bossa technically (he doesn’t use the requisite samba rhythm), but he certainly takes cue from bossa godfather João Gilberto, who experimented to see if softness would make more people listen. As talented a songwriter as Faraco is, he was overlooked in Brazil and went into self-imposed exile in Paris, languishing in music’s minor leagues. Landing his majors contract in his late 30s, this second album continues Faraco’s successful exploration of various styles, even using a chamber orchestra. Interior shows his auspicious debut marked the overdue arrival of a performer who is hard to pigeonhole, but easy to like.