Flora Purim -

Flora Purim (born March 6, 1942) is a Brazilian samba-jazz vocalist who debuted with an album on RCA in 1964. She is the wife of percussionist–vocalist Airto Moreira.

In 1972, the couple appeared on Chick Corea‘s album Return to Forever and stayed for the ensuing namesake band‘s Light as a Feather, recorded that same year. In 1973, Purim released her first of six albums on Milestone, which carried her through the 1970s save for three titles on Warner Bros.

Background

Flora Purim was born in Rio de Janeiro to violinist Naum Purim and pianist Rachel Vaisberg. Though her father was a strict classical player, Flora’s mother collected American jazz records. As a teenager, Purim listened to vocalists like Dinah Washington, Billie Holiday, and Frank Sinatra. She also grew fond of pianists like Bill Evans, Oscar Peterson, and Erroll Garner.

Early Musical Activity

Purim started singing professionally during the early 1960s and released her debut album, Flora é M.P.M., on RCA in 1964. It features renditions of 12 bossa nova standards, including compositions by Menescal–Ronaldo (“A Morte de Um Deus de Sal”), Waldir Gama (“Se Fosse Com Você”), Lyra–Moraes (“Samba do Carioca”), A.Z. Idelsohn (“Hava Nagila”), and Lobo–Guerra (“Boranda”).

Weary of her country’s political situation after the 1964 military coup, she wanted to leave Brazil. In 1967, she married vocalist–percussionist Airto Moreira, who played in the samba-jazz Quarteto Novo with multi-instrumentalist Hermeto Pascoal. After the group released its self-titled album on Odeon, the couple moved to New York City.

In 1969, Purim and Moreira performed on the albums Moondreams by Walter Wanderley (CTI) and How Insensitive by Duke Pearson (Blue Note). The following year, they reunited with Pascoal on his debut solo album Hermeto. Moreira signed to Buddah and released the 1970–71 albums Natural Feelings and Seeds On the Ground, both with Flora on vocals.

Return to Forever

In February 1972, the couple partook in sessions for Return to Forever, the fourth ECM album by keyboardist Chick Corea. Before its release that September, the same musicians — Corea, Moreira, Purim, bassist Stanley Clarke, and flutist Joe Farrell — gathered behind Moreira for his third solo album, Free, released on CTI. That fall, the lineup entered London’s I.B.C. Sound Recording Studios as an actual band, Return to Forever, and cut a second album, Light as a Feather, released in January 1973 on Polydor. All three albums wed electrified jazz sounds with Brazilian rhythmic elements.

Meanwhile, Purim and Moreira performed on the 1972 album The Happy People by the Cannonball Adderley Quintet ‎(Capitol). In early 1973, they (along with Farrell) left Return to Forever. Moreira recorded his second CTI album, Fingers, with Flora on vocals and percussion. Purim also sang on one track (“Yours Is the Light”) on the 1973 CBS release Welcome by Santana. That December, she recorded her second solo album (first in nine years) at Fantasy Studios in Berkeley, California.

Butterfly Dreams

Flora Purim released her second solo album, Butterfly Dreams, in early 1974 on Milestone.

The album blends Brazilian rhythms with electric jazz textures and marked Purim’s first major U.S. release following her tenure in Chick Corea’s Return to Forever. She fronted a band of leading fusion musicians, including keyboardist George Duke (electric piano, ARP synthesizer, clavinet), bassist Stanley Clarke (Fender electric, acoustic), saxophonist Joe Henderson (tenor, flute), guitarist David Amaro (electric, acoustic), percussionist Airto Moreira (drums, percussion), and zither player Ernie Hood.

Clarke composed or co-wrote four of the album’s eight tracks and arranged most of the material, while Purim co-wrote two numbers and contributed Portuguese lyrics and arrangements on select pieces. The set also features covers of Brazilian composer Antônio Carlos Jobim (“Dindi”) and American songwriter Harry Warren (“Summer Night”), alongside works by Duke (“Love Reborn”) and Egberto Gismonti (“Moon Dreams”).

The sequence alternates between flowing fusion pieces and introspective ballads. Clarke’s “Dr. Jive” opens and closes the album in two parts — the first marked by syncopated electric bass, the second by freer improvisation. The title track moves between ethereal vocal passages and intricate jazz-funk interplay. Purim’s rendition of “Dindi” highlights her controlled phrasing over subtle Fender bass and flute lines, while “Summer Night” is reimagined as a wordless vocal meditation.

“Love Reborn” carries a rising tempo over Duke’s chordal shifts and Henderson’s lyrical tenor phrasing, and Gismonti’s “Moon Dreams” unfolds with serene acoustic guitar and atmospheric zither. Clarke’s “Light as a Feather,” a reworking of his earlier Return to Forever composition, closes the album in bright, syncopated form.

A1. “Dr. Jive (Part I)” (2:15) — Clarke
A2. “Butterfly Dreams” (6:59) — Potter, Clarke
A3. “Dindi” (5:50) — originated as a 1959 single by Brazilian vocalist Sylvia Telles, written by Jobim and Aloísio de Oliveira
A4. “Summer Night” (6:23) — Warren, Al Dubin; originally featured in the 1936 film Sing, Baby, Sing

B1. “Love Reborn” (3:40) — Purim, Duke
B2. “Moon Dreams” (4:59) — Jay Livingston, Ray Evans, Egberto Gismonti
B3. “Dr. Jive (Part II)” (3:41)
B4. “Light as a Feather” (5:44) — Purim, Clarke; originated on the namesake RTF album.

Sessions occurred at Fantasy Studios in Berkeley, California, with Orrin Keepnews producing and Jim Stern engineering.

Butterfly Dreams features photography and design by Anthony Samuel Lane, who captured Purim against a pale-toned backdrop in an image emphasizing light and motion consistent with the album’s title.

Milestone issued Butterfly Dreams as Purim’s first full U.S. release, earning wide recognition for its integration of Latin rhythm and post-bop harmony. Its closing number, “Light as a Feather,” became one of her signature concert pieces throughout the decade.

Stories to Tell

Flora Purim released her third solo album, Stories to Tell, in late 1974 on Milestone.

The album sustains her fusion of Brazilian songcraft and jazz improvisation through wordless vocal phrasing, English- and Portuguese-language ballads, and percussion-driven instrumentals. It captures her Return to Forever-era energy in a more intimate, studio-centered format with contributions from an all-star ensemble.

Purim fronts a large supporting cast that includes keyboardist George Duke (electric piano, ARP synthesizer), guitarists Earl Klugh and Oscar Castro-Neves, bassists Miroslav Vitouš and Ron Carter, trombonist Raul de Souza, flugelhornist Oscar Brashear, flutist Hadley Caliman, percussionist King Errisson, and drummer Airto Moreira. Carlos Santana guests on one track, contributing lead guitar.

Vitouš supplied two compositions and co-wrote one with Purim and Mario Capolla. Purim co-composed two additional pieces, one with McCoy Tyner and one with Ernest Hood. The set also features covers of songs by Edu Lobo (“Casa Forte”), Antônio Carlos Jobim (“Insensatez”), Milton Nascimento (“Vera Cruz”), and Lobo again (“To Say Goodbye”).

The album alternates between rhythmic fusion and meditative balladry. “Stories to Tell” opens with flowing electric piano and Purim’s layered vocal phrasing. “Casa Forte” introduces brisk percussion and trombone accents over Latin rhythm patterns. “Insensatez” renders the Jobim–de Moraes standard as a subdued bossa nova. “Mountain Train” pairs zither and voice in a quiet, pastoral setting. “Silver Sword,” featuring Santana’s guitar, centers on a gradual intensification of pace and interplay. The suite-like closer, “O Cantador / I Just Want to Be Here,” unites Brazilian lyricism with shifting electric textures and ensemble interplay.

A1. “Stories to Tell” (3:42)
A2. “Search for Peace” (5:55)
A3. “Casa Forte” (3:54)
A4. “Insensatez” [How Insensitive] (2:46) — originated as a 1963 bossa nova standard by Antônio Carlos Jobim and Vinícius de Moraes, first popularized by Sylvia Telles and later covered by Frank Sinatra, Astrud Gilberto, and João Gilberto. The song expresses emotional detachment and the quiet sorrow of lost affection.
A5. “Mountain Train” (3:16)

B1. “To Say Goodbye” (4:05)
B2. “Silver Sword” (5:40)
B3. “Vera Cruz (Empty Faces)” (5:50)
B4. “O Cantador / I Just Want to Be Here” (6:42)

Sessions occurred at Fantasy Studios in Berkeley, California, with producer Orrin Keepnews and engineer Jim Stern.

Milestone issued Stories to Tell as the follow-up to 500 Miles High, reinforcing Purim’s stature within the U.S. Latin-jazz fusion scene of the mid-1970s.

500 Miles High at Montreux

In 1976, Flora Purim released the live album 500 Miles High at Montreux, recorded on July 6, 1974, at the Montreux Jazz Festival.

It captures Purim at the height of her popularity following her work with Chick Corea’s Return to Forever, presenting a Brazilian jazz and fusion-infused set with extended instrumental passages.

Purim performs vocals and percussion, backed by guitarists David Amaro (electric, acoustic) and Milton Nascimento (acoustic, track 4), keyboardists Pat Rebillot and Wagner Tiso (electric piano, organ), bassist Ron Carter, and drummers/percussionists Airto Moreira and Robertinho Silva. Special guest Milton Nascimento adds vocals on “Cravo e Canela.”

Purim wrote one track herself, while the remainder includes compositions by Chick Corea (“500 Miles High”), Milton Nascimento (“Cravo e Canela”), Hermeto Pascoal (“Uri”), Dori Caymmi (“O Cantador”), Ary Barroso (“Bahia”), and collaborative writing with Neville Potter, Ronaldo Bastos, and Googie Coppola.

The set alternates between fiery ensemble performances and Purim-focused vocals. The title track delivers a more electric and expansive take than the Return to Forever studio version. “Cravo e Canela” highlights rhythmic interplay with Nascimento’s vocals and guitar, while Airto’s percussion solos on tracks 4, 5, and 7 create energetic textures. The closer, “Jive Talk,” spotlights extended instrumental interaction, with Purim and Airto trading wordless vocal lines over layered percussion and improvisation.

A1. “O Cantador” (5:09) — Dori Caymmi, Nelson Motta composition; Purim overlays vocals atop vibrant Brazilian rhythms.
A2. “Bridge” (1:45) — Purim composition; brief instrumental interlude with subtle percussion and piano textures.
A3. “500 Miles High” (5:30) — Chick Corea, Neville Potter composition; energetic, electric live rendition emphasizing angular piano runs and vocal flourishes.
A4. “Cravo e Canela (Cinnamon and Cloves)” (6:46) — Milton Nascimento, Ronaldo Bastos composition; Nascimento leads on vocals and guitar with layered percussion.

B1. “Bahia” (4:20) — Ary Barroso composition; features driving rhythm section with interwoven keyboard and guitar lines.
B2. “Uri (The Wind)” (6:06) — Hermeto Pascoal, Googie Coppola composition; complex rhythmic shifts and inventive piano phrasing support Purim’s vocals.
B3. “Jive Talk” (9:13) — Pascoal composition; extended percussion and improvisation, showcasing interplay between Purim, Airto, and the ensemble.

Sessions occurred live at the Montreux Jazz Festival in Switzerland, produced by Orrin Keepnews.

500 Miles High documents Purim’s live strengths alongside a virtuosic ensemble, emphasizing Brazilian rhythms, jazz fusion, and electric improvisation, with vocal highlights punctuating dynamic instrumental explorations.

Open Your Eyes, You Can Fly

Flora Purim released her fourth solo studio album, Open Your Eyes, You Can Fly, on September 14, 1976, on Milestone.

The album blends Latin jazz, fusion, and Brazilian folk influences into a fluid sequence of rhythmically charged instrumentals and atmospheric vocal pieces. It captures Purim’s sense of liberation following her release from incarceration and reaffirms her stature among the foremost Brazilian voices in American jazz.

Purim’s supporting players include RTF drummer Lenny White’s peer Leon “Ndugu” Chancler, percussionist–vocalist Airto Moreira, keyboardists George Duke (electric piano, ARP synthesizer, clavinet) and Hermeto Pascoal (flute, electric piano), guitarists David Amaro and Egberto Gismonti, bassists Alphonso Johnson and Ron Carter, percussionist Laudir de Oliveira, and drummer Robertinho Silva.

Three of the eight songs were composed by Chick Corea with lyrics by Neville Potter, whose partnership produced “Open Your Eyes, You Can Fly,” “Time’s Lie,” and “Sometime Ago.” Pascoal contributed two compositions (“Andei,” “Conversation”) and co-wrote “White Wing / Blank Wing” with Purim. She co-wrote “San Francisco River” with Potter and wrote “Ina’s Song (Trip to Bahia)” herself. The title track and “Sometime Ago” both originated on earlier Corea projects with Purim and Airto.

The music alternates between high-energy fusion and reflective, acoustic-centered songs. “Open Your Eyes, You Can Fly” opens with a syncopated bassline and soaring wordless phrases over Duke’s electric piano textures. “Sometime Ago” updates the Return to Forever number with brisk rhythmic turns and layered harmony vocals. “San Francisco River” merges lyrical imagery of the Brazilian landscape with a restrained electric rhythm section. “Andei (I Walked)” and “White Wing / Blank Wing” balance Brazilian folk melody with the spacious electronics of Duke and Pascoal. “Ina’s Song (Trip to Bahia)” features Portuguese lyrics and fluctuates between slow, emotive verses and passages of percussive acceleration.

A1. “Open Your Eyes, You Can Fly” (4:29) — originated as a 1973 track by vibraphonist Gary Burton on The New Quartet, written by Chick Corea and Neville Potter. Its lyrics evoke spiritual awareness and the transcendence of confinement.
A2. “Time’s Lie” (5:09)
A3. “Sometime Ago” (4:44) — adapted from the 1972 Return to Forever piece by Chick Corea and Neville Potter, first recorded with Purim and Airto. The lyric reflects fleeting encounters and self-renewal through movement.
A4. “San Francisco River” (4:06)

B1. “Andei (I Walked)” (6:11) — composed by Hermeto Pascoal, sung in Portuguese, and built around alternating rhythmic and free passages with flute and synthesizer exchanges.
B2. “Ina’s Song (Trip to Bahia)” (3:40)
B3. “Conversation” (2:34)
B4. “White Wing / Blank Wing” (5:50)

Sessions occurred at Paramount Recording Studios in Los Angeles with producer Orrin Keepnews and engineer Kerry McNabb.

Milestone promoted the album with the single “Open Your Eyes, You Can Fly,” which entered the Billboard 200 and R&B charts in late 1976, marking Purim’s broadest U.S. exposure to date.

Bomb the Bass later sampled Alphonso Johnson’s opening bassline from the title track on their 1994 single “Bug Powder Dust.”

Encounter

Flora Purim released her fifth solo studio album, Encounter, in mid-1977 on Milestone.

The album fuses Latin jazz and advanced fusion in shifting acoustic and electric settings that highlight Purim’s wordless phrasing and tonal range. It unites her established circle of Brazilian and American players in a sequence of compositions by major jazz contemporaries, balancing angular ensemble interplay with atmospheric improvisation.

Purim fronts a high-level cast that includes tenor saxophonist Joe Henderson, trombonist Raul de Souza, pianists McCoy Tyner (acoustic) and George Duke (electric piano, synthesizer), keyboardist Hermeto Pascoal (electric piano, clavinet), and bassist Ron Carter (acoustic) alongside RTF bassist Alphonso Johnson and former Motown bassist Byron Miller (both electric). Percussionist Airto Moreira and drummer Leon “Ndugu” Chancler supply rhythmic drive, joined by singers Urszula Dudziak and Googie Coppola on one track.

Pascoal contributes three compositions and co-writes two others, including one with Purim. Additional pieces come from Chick Corea, McCoy Tyner, Joe Henderson, and Brazilian songwriter Novelli. The album also includes a version of Corea’s “Windows,” first recorded by the composer’s 1966 trio with Joe Farrell.

The set opens with Corea’s “Windows,” pairing Henderson’s tenor with Purim’s extended phrasing over Duke’s layered electric textures. Pascoal’s “Latinas” and “Uri (The Wind)” emphasize rhythmic momentum through multi-voiced ensemble passages. “Above the Rainbow,” with Tyner on piano, follows a meditative contour, while “Tomara (I Wish)” reflects lyrical Brazilian phrasing. The closing “Black Narcissus” reinterprets Henderson’s 1969 modal theme with expanded vocal lines and textural keyboard interplay.

A1. “Windows” (5:37) — originated as a 1966 composition by pianist Chick Corea, introduced on Now He Sings, Now He Sobs and later reprised by his Return to Forever ensemble.
A2. “Latinas” (3:42)
A3. “Uri (The Wind)” (8:05)
A4. “Dedicated to Bruce” (4:12)

B1. “Above the Rainbow” (3:29)
B2. “Tomara [I Wish]” (4:06)
B3. “Encounter” (7:19)
B4. “Black Narcissus” (6:34) — originated as a 1969 composition by tenor saxophonist Joe Henderson, first appearing on his Power to the People album with Herbie Hancock and Ron Carter.

Sessions occurred between August 1975 and September 1976 at Paramount Recording Studios in Los Angeles, Fantasy Studios in Berkeley, and A&R Recording Studios in New York City with producer Orrin Keepnews.

Milestone issued Encounter as the follow-up to Open Your Eyes You Can Fly, marking Purim’s artistic summit of the 1970s with collaborators from both Return to Forever and Brazil’s fusion vanguard.

Nothing Will Be as It Was…Tomorrow

Flora Purim released her sixth solo studio album, Nothing Will Be as It Was…Tomorrow, in late 1977 on Milestone and Warner Bros.

The album continues Purim’s transition from exploratory jazz fusion toward a more structured, rhythm-focused sound rooted in late–1970s crossover jazz and funk. She recorded with a large ensemble of American and Brazilian players that includes RTF drummer and producer Leon “Ndugu” Chancler, percussionist Airto Moreira, trombonist Raul de Souza, keyboardists Patrice Rushen, Larry Nash, and George Duke (credited under his Dawili Gonga alias), guitarist Jay Graydon, and reedist Ernie Watts, along with members of Earth, Wind & Fire and the Uruguayan group Opa.

Chancler produced the sessions and co-arranged most tracks with Rushen, Al McKay, and Jerry Peters. Purim co-wrote select material but draws mainly from outside composers. Nascimento’s work anchors the set with three songs (“Nothing Will Be as It Was,” “Bridges,” and “Fairy Tale Song”), while Rushen contributes the opener “You Love Me Only.” McKay and Phillip Bailey wrote “Angels,” and Opa’s Hugo and George Fattoruso penned “Corre Niña.”

The sequence alternates between atmospheric jazz-fusion pieces and funk-driven vocal numbers. Rushen’s “You Love Me Only” opens with an airy Fender Rhodes motif over layered percussion. Nascimento’s title track and “Bridges” reflect Purim’s Brazilian roots through their wistful tone and Portuguese phrasing. “Angels” and its reprise feature EWF-style rhythm guitar and choral layers from Josie James, while “Fairy Tale Song” recasts Nascimento’s folk tune as a syncopated dance piece.

A1. “You Love Me Only” (5:36) — written by Patrice Rushen.
A2. “Nothing Will Be as It Was (Nada Será Como Antes)” (5:02) — written by Milton Nascimento, Ronaldo Bastos, Rènne Vince.
A3. “I’m Coming for Your Love” (6:22) — written by Byron Miller, David Miles, Victor Hall.

B1. “Angels” (3:35) — written by Al McKay, Phillip Bailey.
B2. “Corre Niña” [Run, Girl] (6:30) — written by Hugo Fattoruso, George Fattoruso.
B3. “Bridges” (5:16) — written by Milton Nascimento, Fernando Brant, Gene Lees.
B4. “Fairy Tale Song” (4:06) — written by Milton Nascimento, Ruy Guerra, Matthew Moore.
B5. “Angels (Reprise)” (1:25) — written by Al McKay, Phillip Bailey.

Sessions occurred at Paramount Recording Studios in Los Angeles with producer Leon “Ndugu” Chancler and engineer Kerry McNabb. Jerry Peters arranged horns and strings with Charles Veal conducting the latter. The album was mastered by John Golden at Kendun Recorders.

Nothing Will Be as It Was…Tomorrow features cover art by painter Cliff McReynolds, whose image presents a surreal, dreamlike tableau consistent with Purim’s otherworldly themes.

Warner Bros. promoted the album with “Angels,” an FM favorite during late 1977.

That’s What She Said

Flora Purim released her seventh solo studio album, That’s What She Said, in late 1978 on Milestone.

The album emphasizes her voice as a central instrument, blending Brazilian jazz sensibilities with funk-inflected fusion, featuring pared-down arrangements that foreground rhythm and improvisation over strings or heavy orchestration.

Purim performs vocals and occasional backing vocals, accompanied by drummer Leon “Ndugu” Chancler, bassists Byron Miller and Alphonso Johnson, percussionist Airto Moreira, guitarists Jay Graydon and David T. Walker, keyboardist/arranger George Duke (Moog synthesizer, ARP Odyssey and String Ensemble, Rhodes electric piano, Yamaha electric grand), and horn players Joe Henderson (tenor saxophone), Ernie Watts (flute), Oscar Brashear (trumpet), and George Bohanon (trombone). Duke arranged all horn parts and conducted the sessions, with Airto contributing additional vocals and percussion.

George Duke wrote four of the eight tracks and shaped the arrangements with his signature fusion/funk style. Airto Moreira composed “You on My Mind,” Leon “Ndugu” Chancler contributed “Hidden Within” and “You Are My Heart,” and Alphonso Johnson wrote “Bahama Mama.” Purim interprets compositions by Duke, Chancler, Johnson, and Moreira, while contributing her distinctive vocal textures rather than original compositions.

The album divides between rhythm-driven, funk-tinged tracks and more ethereal, Brazilian-inflected pieces. “Look Into His Eyes” features sharp, spiraling Moog lines over a propulsive drum-and-bass pulse. “Juicy” emphasizes syncopated Rhodes chords and layered percussion. Horn-accented numbers like “What Can I Say?” showcase Joe Henderson’s agile tenor solo, while “That’s What She Said” blends ARP string textures, Moog lines, and multi-tracked vocalizations. On ballads such as “You Are My Heart,” Purim’s voice floats over subtle percussion and expressive Arp Odyssey flourishes.

A1. “Look Into His Eyes” (George Duke) (4:32) — sharp Moog solos, Rhodes comping, wordless vocalizations highlight vocal-instrumental interplay.
A2. “Juicy” (George Duke) (4:31) — syncopated Rhodes and layered percussion create funk-driven rhythmic movement.
A3. “Hidden Within” (Leon “Ndugu” Chancler) (5:08) — turbulent, rhythmically active composition featuring Fender Rhodes and guitar textures.
A4. “You on My Mind” (Airto Moreira) (3:30) — lightly Brazilianized ballad with percussion accents and multi-tracked vocals.

B1. “What Can I Say” (George Duke) (5:03) — horn arrangements by Duke, tenor sax solo by Joe Henderson; Brazilian/funk fusion underpins reflective lyrics.
B2. “Bahama Mama” (Alphonso Johnson) (4:44) — spacious funk rhythms, layered synth and Rhodes textures.
B3. “That’s What She Said” (George Duke) (3:52) — ARP string ensemble and Moog solos, vocalizations serve as rhythmic and melodic instrument.
B4. “You Are My Heart” (Leon “Ndugu” Chancler) (4:06) — Latin-tinged percussion, expressive synth solos, ethereal vocal layering.

Sessions occurred at Paramount Recording Studios with George Duke producing, Orrin Keepnews overseeing, Kerry McNabb engineering, and Larry Hirsch assisting. Mastering completed by John Golden at Kendun Recorders.

Phil Carroll directed the album’s art, Jamie Putnam designed the packaging, and Phil Bray handled photography.

That’s What She Said presents Flora Purim’s voice as a fully instrumentalized lead, layered atop tightly interwoven funk, jazz, and Brazilian rhythms. Multi-tracked vocals, inventive percussive textures, and Duke’s fusion-oriented keyboards create a lively, dynamic environment, allowing her phrasing, scatting, and wordless improvisations to occupy the center of the ensemble.

Everyday, Everynight

Flora Purim released her eighth solo studio album, Everyday, Everynight, in 1978 on Milestone and Warner Bros.

The album blends jazz, Brazilian rhythms, and orchestral arrangements, with Purim’s vocals layered over complex but meticulously arranged instrumental backdrops.

Purim performs lead vocals with occasional backing from George Duke. She is accompanied by drummer Airto Moreira, Chester Thompson, and Harvey Mason; bassists Alphonso Johnson, Byron Miller, and Jaco Pastorius; guitarists Jay Graydon, Lee Ritenour, George Sopuch, Al Ciner, and Oscar Neves; keyboardists George Duke, Herbie Hancock, Michel Colombier, and David Foster; horn players Randy Brecker (trumpet), Raul de Souza (trombone), Michael Brecker (saxophone), and David Sanborn (saxophone); and percussionists Airto Moreira and Laudir de Oliveira. A large string orchestra arranged and orchestrated by Michel Colombier supports several tracks.

Michel Colombier composed eight of the eleven tracks and arranged the full ensemble. Airto Moreira co-wrote select tracks, while Alphonso Johnson, Byron Miller, Jaco Pastorius, and Herbie Hancock contributed individual compositions.

The music alternates between rhythmically driven Brazilian and jazz-inflected pieces and sweeping orchestrated passages. Tracks like “Everyday, Everynight” and “Samba Michel” feature layered percussion and tight horn punctuations. “The Hope” and “Walking Away” highlight Pastorius’ fluid bass lines, while “In Brasil” and “Las Olas” rely on the orchestra to frame Purim’s vocal improvisations. “Blues Ballad” and “Overture” provide shorter, atmospheric interludes emphasizing orchestral textures.

A1. “Everyday, Everynight” (4:55) — Purim’s vocals ride over layered percussion, horns, and synth textures.
A2. “Samba Michel” (4:08) — acoustic guitar and Rhodes electric piano interlock with a samba-based rhythmic structure.
A3. “The Hope” (3:39) — features Jaco Pastorius’ fretless bass and David Sanborn’s alto sax; contemplative mood.
A4. “Five-Four” (3:32) — David Foster piano-driven composition in irregular meter, supported by Pastorius and percussion.
A5. “Walking Away” (4:55) — orchestral arrangements frame Pastorius’ bass lines and Purim’s layered vocals.

B1. “I Just Don’t Know” (3:56) — duet vocals from Purim and George Duke over lush instrumentation.
B2. “In Brasil” (3:50) — acoustic guitar and percussion foreground Brazilian rhythmic patterns.
B3. “Las Olas” (4:23) — Pastorius and Hancock anchor the rhythm with orchestral swells.
B4. “Blues Ballad” (1:54) — concise, reflective instrumental with orchestral coloration.
B5. “Overture” (2:56) — orchestral passage highlighting Colombier’s arrangements.
B6. “Why I’m Alone” (4:39) — atmospheric composition blending Purim’s vocal layering with Hancock’s electric piano.

Sessions occurred at Paramount Recording Studios with Airto Moreira and Bob Monaco producing. Michel Colombier orchestrated and arranged the ensemble, with engineering handled by studio personnel.

Everyday, Everynight features Flora Purim’s voice as the principal instrument, floating above meticulous orchestral and jazz-fusion textures. The album emphasizes pre-composed arrangements and polished ensemble interplay, with moments of bass and percussion improvisation, but largely prioritizes structural clarity over spontaneous interaction.

Carry On

Flora Purim released her ninth solo studio album, Carry On, in 1979 on Warner Bros.

The record merges Brazilian jazz with elements of R&B, funk, and pop, with Purim’s voice floating above a rich palette of rhythmic and harmonic textures shaped by producer and keyboardist George Duke.

Purim performs lead vocals alongside Al Jarreau on select tracks, backed by drummers Ricky Lawson, Leon “Ndugu” Chancler, and Airto Moreira; bassists Byron Miller and Keith Jones; guitarists David Myles, Mike Sembello, and David Amaro; keyboardists George Duke, Bobby Lyle, Ronnie Foster, and Hugo Fattoruso; horn players Larry Williams (alto sax, flute, piccolo), Joe Farrell (soprano sax, flute), Raul de Souza (trombone), William Reichenbach (trombone), and Jerry Hey (trumpet); percussionists Airto Moreira, Sheila Escovedo, Laudir de Oliveira, Mike Azevedo, Fred Fleck, and additional auxiliary percussion; with backing vocals from Josie James and Lynn Davis.

George Duke composed and arranged the majority of the tracks, while Airto Moreira, Yana Purim, Milton Nascimento, Gilberto Gil, Toninho Horta, David Batteau, Mike Sembello, and Max Middleton contributed individual compositions.

The album divides between rhythmic Brazilian-infused pieces, funk-driven tracks, and intimate ballads. “Sarara” and the title track feature Duke’s signature funk sensibility with layered percussion and complex synth textures. Milton Nascimento’s “From the Lonely Afternoon” receives an accelerated, energetic treatment. Toninho Horta’s “Beijo Partido” emphasizes nuanced harmonies with Rhodes and synth, while tracks like “Island in the Sun Interlude” and “Once I Ran Away” highlight Purim’s vocal agility over multi-layered instrumentation.

A1. “Sarara” (4:04) — Brazilian-flavored composition by Gilberto Gil; Purim layers vocal phrases over brisk percussion and electric piano.
A2. “From the Lonely Afternoon” (3:23) — Milton Nascimento composition; Purim’s interpretation accelerates the Native Dancer-associated tune.
A3. “Niura Is Coming Back” (2:53) — composed by Yana Purim; features acoustic guitar and subtle percussion.
A4. “Once I Ran Away” (3:37) — co-arranged by Purim and Duke; flute and Rhodes complement a driving rhythm section.
A5. “Carry On” (5:14) — George Duke composition; Al Jarreau and Purim share lead vocals over funk-inflected textures with layered percussion and synth.

B1. “Love Lock” (3:30) — James Mtume and Reggie Lucas composition; fingers snaps and electric piano anchor the rhythm.
B2. “Corine” (4:51) — George Duke composition; percussion and Rhodes underpin Purim’s vocal lines.
B3. “Island in the Sun Interlude” (1:28) — David Batteau and Mike Sembello composition; brief interlude with backing vocals and percussive accents.
B4. “Beijo Partido (Broken Kiss)” (4:37) — Toninho Horta composition; Rhodes, synth, and percussion textures accompany Brazilian-infused harmonies.
B5. “Freeway Jam” (4:34) — Max Middleton composition; layered electric piano, guitars, and horns drive a funk-jazz fusion.

Sessions occurred at [studio unspecified] with George Duke and Stanley Clarke producing. Engineers included Dave Leonard, Peter Chaikin, and assistants Brian Reeves, Erik Zobler, Mitch Gibson, Paul Ray, and Phil Moores, with remixing by Chaikin and Tommy Vicari.

Carry On showcases Purim’s vocal versatility against Duke’s funk-tinged arrangements, blending Brazilian rhythms, jazz improvisation, and R&B/funk textures. The ensemble’s tight interplay emphasizes precision and layered instrumentation, allowing Purim’s voice to act as a lead instrument and a textural element throughout.

Discography: