I don't know what you mean by swing. Is there a general concept?
What I can tell is the the choro has its own "swing", which is different from other styles "swing" (like a vienense walz "swing", or a jazz "swing").
As a Brazilian who is used to listen to popular choro music, I would say, for example, that Julian Bream playing Villa-Lobos Choros no1 has nothing to do with a choro swing. It does not mean his interpretation is really bad, it is just "out of style".
Barrios lived in Brazil for a long time and I bet he would play it with the proper "choro-swing" as he demonstrated a lot of swing on all dances and popular styles he had recorded.
I think Yamandu performance in the schotisch is similar to what a choro player from Brazil's early 1900's would do in the rhythm, mixed up with some modern jazzy-style improvisation. Villa-Lobos composed it in his early years, so maybe this kind of swing is very close to the style intended by Villa-Lobos. The choro is a popular style, with a lot of improvisation and its own "swing" and it is not exactly the same nowaday that it was in early 1900's. So that is the reason Yamandu does not follow the score like a classical musician would do it.
Here you will find some nice explanation about choro-style improvisation with audio samples:
By the way, I've recently discovered from Fabio Zanon that Villa-Lobos schottish theme is from a piece by Ernest Shand.