NILS LANDGREN FUNK UNIT — Paint It Blue 'A Tribute To Cannonball Adderley (1996) FLAC (image+.cue), lossless

One of trombonist Nils Landgren's early inspirations was Cannonball Adderley's group. Paint It Blue is dedicated to Adderley with Landgren performing five songs associated with the altoist plus seven originals that pay tribute to Cannonball's bands. Some of the music is in the soul-jazz vein while other tunes (particularly the originals) are more modern, even incorporating a little bit of rap in a couple places. Landgren is a fine trombonist (sometimes a little reminiscent of Wayne Henderson) and he manages to keep up with Michael and Randy Brecker, who in this situation are superior supportive soloists. Without merely copying the past, Landgren expands on the legacy of Adderley quite successfully. Scott Yanow
Tracklist :
1    Walk Tall 5:17
Written-By – Nat Adderley
2    You Dig 6:13
Written-By – Janson, Price, Landgren
3    Why Am I Treated So Bad 5:24
Written-By – R. Staples
4    Brother Nat 4:18
Written-By – Nils Landgren
5    Inside Straight 3:55
Written-By – Nat Adderley
6    Cannonball 6:08
Written-By – Svensson, Landgren
7    Mercy Mercy Mercy 4:16
Written-By – Joe Zawinul
8    Mother Fonk 4:16
Written-By – Nils Landgren
9    Primitivo 7:06
Written-By – Julian Adderley
10    After The Party 4:53
Written-By – Nils Landgren
11    Love All, Serve All 4:08
Written-By – Price, Landgren
12    Julian 5:49
Written-By – Nils Landgren
Credits :
Guest [Plus], Bass Clarinet, Arranged By – Steffen Schorn
Guest [Plus], Drums, Arranged By – Bernard Purdie (tracks: 2)
Guest [Plus], Percussion, Arranged By – Airto Moreira (tracks: 6, 8, 9, 11), Marcio Doctor
Guest [Plus], Tenor Saxophone, Arranged By – Michael Brecker (tracks: 2)
Guest [Plus], Trumpet, Arranged By – Till Brönner (tracks: 9)
Guest [Plus], Trumpet, Flugelhorn, Arranged By – Randy Brecker (tracks: 2, 5)
Painting – Rolf Rose
Performer [The Funk Unit], Electric Bass [Fender Bass], Arranged By – Lars Danielsson
Performer [The Funk Unit], Guitar, Arranged By – Henrik Janson
Performer [The Funk Unit], Keyboards, Arranged By – Esbjörn Svensson
Performer [The Funk Unit], Saxophone [Saxophones], Arranged By – Per "Ruskträsk" Johansson
Performer [The Funk Unit], Trombone, Trumpet, Arranged By – Nils Landgren
Performer [The Funk Unit], Vocals, Synthesizer, Arranged By – Magnum Coltrane Price
Voice [Sample] – Rev. Jesse Jackson (tracks: 1)
Voice [Samples] – Cannonball Adderley (tracks: 3, 5, 7)

ANNETTE PEACOCK — I'm the One (1972-2012) RM | FLAC (tracks+.cue), lossless

Tracklist :
1    I'm The One    8:45
 Written-By – Annette Peacock / Bob Ringe
2    7 Days    3:54
 Written-By – Annette Peacock / Bob Ringe
3    Pony    6:15
 Written-By – Annette Peacock
4    Been & Gone    2:20
 Written-By – Annette Peacock / Bob Ringe
5    Blood    2:00
 Written-By – Annette Peacock / Bob Ringe
6    One Way    6:12
 Written-By – Annette Peacock / Bob Ringe
7    Love Me Tender    3:45
 Written-By – Elvis Presley / Vera Matson
8    Gesture Without Plot    3:29
 Written-By – Annette Peacock / Bob Ringe
9    Did You Hear Me Mommy?    1:44
 Written-By – Annette Peacock / Bob Ringe
Credits :
Performer [Players, "The Team"], Bass – Glen Moore (tracks: 5), Stu Woods
Performer [Players, "The Team"], Composed By [Music & Words], Arranged By [Arranger], Vocals [Singer, Electric Vocals], Piano, Electric Piano, Synthesizer [Synthesizers], Vibraphone [Electric], Directed By [Direction], Liner Notes – Annette Peacock
Performer [Players, "The Team"], Drums – Laurence Cook (tracks: 8), Rick Morotta
Performer [Players, "The Team"], Guitar – Tom Cosgrove
Performer [Players, "The Team"], Organ – Michael Garson (tracks: 1, 6)
Performer [Players, "The Team"], Percussion – Airto Moreira, Barry Altschul, Dom Um Romão, Orestes Vilato
Performer [Players, "The Team"], Piano – Apache Bley (tracks: 9), Michael Garson (tracks: 1)
Performer [Players, "The Team"], Synthesizer, Piano – Paul Bley (tracks: 5, 8)
Performer [Players, "The Team"], Tenor Saxophone [Tenor] – Michael Moss

STEVE KUHN — The Early 70's (1971-2007) FLAC (tracks+.cue), lossless

This is the almost more about the other Jazz side of Steve Khun the vocalist, not the Pianist. When he plays piano, it is within the language of avant garde classical, and the presence of a string quartet affirms that soundscape, yet the Jeckyll to the Hyde of that is the singing is mellifluous, accompanied by gentle Electric piano. It is in the spirit of Michael Franks, and a delight in being so. In a long and distinguished career with some of jazz' s greats, this is his oddity. Yet for the most part, the unusual experiment works, I think for the most part that there is a nostalgia for early fusion, and this is the sleeper in that format. The best instrumental tracks on the lp are comparable with the Return to Forever tracks with no guitarist on them. The later Kuhn ECM albums embrace that early hard to post bop language and have him back in the piano seat without the vocal mike. Mark Harrington
Tracklist :
1    The Zoo (a.k.a. Pearlie's Swine)    5:29
Written-By – Steve Kuhn
2    Silver    4:38
Written-By – Steve Kuhn
3    Tomorrow's Son (a.k.a. Time To Go)    3:23
Written-By – Steve Kuhn
4    The Heat Of The Moment    1:56
Written-By – Steve Kuhn
5    Saharan (a.k.a. The Baby)    4:46
Written-By – Steve Kuhn
6    The Drinking Song (a.k.a. Hold Out Your Hand)    3:12
Written-By – Steve Kuhn
7    The Meaning Of Love    2:54
Written-By – Steve Kuhn
8    Remembering Tomorrow (a.k.a. Ulla)    4:22
Written-By – Steve Kuhn
9    A Change Of Face    3:34
Written-By – Steve Kuhn
10    Day Dreaming 2:59
Written-By – Aretha Franklin
11    Something Everywhere    4:47
Written-By – Steve Kuhn
12    Trance    4:41
Written-By – Steve Kuhn
13    Last Tango In Paris 2:37
Written-By – Gato Barbieri
14    Life's Backward Glance    3:06
Written-By – Steve Kuhn
Credits :
Acoustic Bass, Electric Bass – Ron Carter (tracks: 1 to 8)
Arranged By – Gary McFarland (tracks: 1 to 8), Steve Kuhn (tracks: 1 to 8)
Conductor – Gary McFarland (tracks: 1 to 8)
Drums – Billy Cobham (tracks: 1 to 8), Bruce Ditmas (tracks: 9 to 14)
Electric Bass – Steve Swallow (tracks: 9 to 14)
Electric Piano – Steve Kuhn
Percussion – Susan Evans (tracks: 9 to 14)
Percussion [Latin] – Airto Moreira (tracks: 1 to 8)
Piano – Steve Kuhn (tracks: 1 to 8)
Vocals – Steve Kuhn (tracks: 1 to 8, 14)

GROVER WASHINGTON , Jr. — All the King's Horses (1972) Two Version (1993, MCA Records – MCD 10930) + (2008, RM | Serie Verve Originals) FLAC (tracks+image+.cue), lossless

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well -- especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous -- and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk -- is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist
1 No Tears, In The End 3:50
Ralph MacDonald / William Salter
2 All The King's Horses 3:49
Aretha Franklin
3 Where Is The Love 5:07
Ralph MacDonald / William Salter
4 Body And Soul (Montage) 3:05
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5 Lean On Me 4:25
Bill Withers
6 Lover Man 7:03
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7 Love Song 1700 4:50
Adapted By, Arranged By – Bob James
Drums – Billy Cobham
Written-By [Adapted From A Song By] – Henry Purcell
Credits :
Alto Saxophone, Flute, English Horn, Oboe, Recorder – George Marge
Electric Piano, Harpsichord, Arranged By, Conductor – Bob James
Baritone Saxophone – Arthur Clarke, Pepper Adams
Bass – Ron Carter
Cello – Charles McCracken, George Ricci
Congas – Ralph MacDonald
Drums – Bernard Purdie
Engineer – Rudy Van Gelder
Flute – Arthur Clarke
French Horn – Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge
Guitar – Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini
Harp – Margaret Ross
Organ – Richard Tee
Percussion – Airto Moreira
Producer – Creed Taylor
Tenor Saxophone, Alto Saxophone – Grover Washington, Jr.
Trombone – Paul Faulise, Tony Studd, Wayne Andre
Trumpet, Flugelhorn – Alan Rubin, Ernie Royal, John Frosk, Marky Markowitz, Marvin Stamm, Snooky Young
Viola – Emanuel Vardi, Richard Dickler
Violin – Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle, Max Ellen, Paul Gershman

AL DI MEOLA — Cielo e Terra (1985) APE (image+.cue), lossless

Having grown a bit weary of playing loud fusion, Al DiMeola recorded a largely acoustic set on his debut for Manhattan. DiMeola, who augments his acoustic guitar with the orchestral Synclavier guitar, plays five unaccompanied solos and is joined on the other four numbers by percussionist Airto Moreira. Other than Keith Jarrett's "Coral," all of the moody selections are by the guitarist. An interesting, if not overly memorable, atmospheric set. Scott Yanow
 Tracklist :
1 Traces Of A Tear 7:57
2 Vertigo Shadow 3:16
3 Cielo E Terra 10:41
4 Enigma Of Desire 2:45
5 Atavism Of Twilight 5:16
6 Coral 3:23
Composed By – Keith Jarrett
7 When Your Gone 4:31
8 Etude 7:05
9 Solace 4:42
Credits :
Composed By, Producer, Acoustic Guitar, Guitar [Synclavier] – Al Di Meola
Percussion – Airto Moreira (tracks: 1, 3, 7, 9, 10)

FLORA PURIM — Stories to Tell (1974-1991) RM | FLAC (tracks+.cue), lossless

Though her recordings for Chick Corea's Return to Forever provide a better introduction to her vocal talents, Stories to Tell is an excellent outing by Flora Purim and friends. Assisted by a cast of jazz/fusion all-stars led by husband Airto Moreira, Purim shows off the wide range of her abilities: from wordless vocal soaring to songs with lyrics in English and Portuguese, from uptempo percussion-driven workouts to beautiful ballads. In addition to Airto, the assembled cast includes bassists Miroslav Vitous and Ron Carter, keyboard wunderkind George Duke, guitarists Earl Klugh and Oscar Castro-Neves, and trombonist Raul de Souza. Also, Carlos Santana turns in one of his patented sizzling guitar solos on "Silver Sword." With material from Antonio Carlos Jobim, Vitous, Milton Nascimento, McCoy Tyner, and Purim herself, this is an album worth savoring. Jim Newsom
Tracklist :
1    Stories To Tell 3:41
Bass, Synthesizer, Composed By, Arranged By – Miroslav Vitous
Composed By – Flora Purim
2    Search For Peace 5:53
Composed By – Flora Purim, McCoy Tyner
3    Casa Forte 3:55
Composed By – Edu Lobo
Trombone, Soloist – Raul De Souza
4    Insensatez 2:46
Composed By – Antonio Carlos Jobim, Vinicius De Moraes
5    Mountain Train 3:14
Composed By – Ernie Hood, Flora Purim
6    To Say Goodbye 4:03
Composed By – Edu Lobo, Lani Hall
Trombone, Soloist – Raul De Souza
7    Silver Sword 5:40
Lead Guitar – Carlos Santana
Synthesizer, Composed By, Arranged By – Miroslav Vitous
8    Vera Cruz (Empty Faces) 4:12
Composed By – Marcio Borges, Milton Nascimento
Trombone, Soloist – Raul De Souza
9    O Cantador / I Just Want To Be Here 6:45
Bass – Miroslav Vitous
Composed By [I Just Want To Be Here] – Airto, Flora Purim, George Duke, King Errisson, Miroslav Vitous
Composed By [O Cantador] – Dorival Caymmi, Nelson Motta
Credits :
Acoustic Guitar – Oscar Neves (pistas: 5, 8)
Arranged By – George Duke (pistas: 3, 8)
Arranged By [Flute] – Oscar Neves (pistas: 4, 6)
Arranged By [Strings] – Oscar Neves (pistas: 6)
Bass – Ron Carter (pistas: 2, 3, 8)
Congas – King Errisson
Drums, Percussion – Airto
Flugelhorn – Oscar Brashear (pistas: 3, 8)
Flute, Flute [Alto] – Hadley Caliman (pistas: 3, 8)
Guitar – Earl Klugh (pistas: 1 to 6, 8, 9), Oscar Neves (pistas: 4)
Keyboards, Synthesizer – George Duke
Lead Vocals – Flora Purim
Piano – Larry Dunlap (pistas: 5)
Trombone – George Bohanon (pistas: 3, 8)
Zither – Ernie Hood (pistas: 5)

HUBERT LAWS — Afro-Classic (1970-1988) RM | The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (image+.cue), lossless

Issued in 1970 as his second album for Creed Taylor's CTI label, Hubert Laws' Afro-Classic is a classic for the manner in which Laws, with brilliant assistance from arranger Don Sebesky, melded the jazz and classical worlds -- not to mention pop -- into a seamless whole. Laws was the first artist signed to Taylor's imprint. His debut for the label, Crying Song, won critical notice, but it was Afro-Classic that established a new role for the flute in contemporary jazz. Herbie Mann may have been the first, but Laws explored jazz and all the sound worlds that informed it -- especially in the electric domain -- with the kind of grace and innovative vision that made him a mainstay. Sebesky was deeply enamored of Laws' classical training, and his ability to swing -- check out his playing on Quincy Jones' "Killer Joe" for early evidence. The players assembled for the session included Bob James (himself classically trained and a graduate of the University of Michigan's music school) on electric piano, bassist Ron Carter, guitarist Gene Bertoncini, drummer Fred Waits, vibraphonist David Friedman, bassoonist Fred Alston, Jr., and percussionists Airto Moreira and Pablo Landrum. The program included James Taylor's hit "Fire and Rain," "Theme from Love Story" by Francis Lai, a pair of Bach pieces, including the stunning Passacaglia in C Minor, and Mozart's Flute Sonata in F. While the gentle version of "Fire and Rain" proves moving and subtle, and engages the ensemble as a chamber jazz group, it is with Bach's Allegro from Concerto No. 3 in D that the true revelation takes place. Sebesky arranges in a painterly manner, illustrating the tune with bassoon and vibes with Laws' flute floating through the melody. This is a chamber reading for the piece that not only maintains its integrity but showcases a different side that is revelatory. The liberties taken with the Passacaglia, however, are revolutionary, beginning with Carter's bass, slowly and purposefully illustrating the theme as James' Fender Rhodes enters in double "p." When Laws enters with the haunting, mournful melody, he does so with Bertoncini's guitar playing in muted tones followed by the electrified vibes of Friedman and then Alston's bassoon. Near the three-minute mark, Sebesky opens the arrangement for a vibes solo underscored by guitar and Rhodes, and at the five-minute mark the theme is restated. But it is no longer simply a classical tune; it begins to swing with Latin, blues, and jazz undertones. When Laws finally takes his solo, the tune simply grooves its way through to the end -- with subtle sound effects that Brian Eno would be envious of because he hadn't thought of them yet. It's stunning. The Mozart piece is pretty, but compared to what preceded it, it feels just a tad quaint. This album has been reissued on CD in Japan and from Mosaic Records, and in both cases its sound is warm and immediate.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Fire and Rain  7:58
James Taylor
2 Allegro  3:47  
Johann Sebastian Bach
3 Theme  7:32  
Francis Lai
4 Passacaglia  15:14
Johann Sebastian Bach
Cello [Electric] – Ron Carter
Flute [Electric] – Hubert Laws
5 Movement 1  3:17
Wolfgang Amadeus Mozart
Credits
Arranged By – Don Sebesky
Bass – Ron Carter
Bassoon – Fred Alston, Jr.
Drums – Fred Waits
Electric Piano – Bob James
Flute – Hubert Laws
Guitar – Gene Bertoncini
Percussion – Airto, Richie "Pablo" Landrum
Vibraphone – David Friedman

HUBERT LAWS - The Rite of Spring (1971-1987) RM / FLAC (tracks+.cue), lossless

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster -- except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Pavane 7:43
Gabriel Fauré
2     Rite of Spring 9:03
Igor Stravinsky
3     Syrinx 3:34
Claude Debussy
4     Brandenburg Concerto No. 3, First Movement 6:01
Johann Sebastian Bach
Guitar – Stuart Scharf
Bassoon – Jane Taylor
5     Brandenburg Concerto No. 3, Second Movement 4:27
Johann Sebastian Bach
Guitar – Stuart Scharf
Bassoon – Jane Taylor
Credits :
Bass – Ron Carter
Bassoon – Wally Kane
Drums – Jack DeJohnette
Flute – Hubert Laws
Guitar – Gene Bertoncini
Percussion – Airto Moreira
Piano, Electric Piano, Harpsichord [Electric] – Bob James
Producer – Creed Taylor
Vibraphone, Percussion – David Friedman

AIRTO ‎MOREIRA - Seeds On The Ground - The Natural Sound Of Airto (1971-1990) FLAC (tracks+.cue), lossless

Seeds On The Ground (1971) est le deuxième album solo du jazzman brésilien Airto Moreira, juste avant sa participation au Return To Forever de Chick Corea. On baigne typiquement dans l'atmosphère Jazz fin des années 60 / début 70 : Jazz Fusion, Free Jazz, Jazz teinté de rythmes exotiques. Le plus est apporté par les racines brésiliennes d'Arto Moreira via la Samba et les musiques Folkloriques Brésiliennes style Forro. Airto Moreira est accompagné par sa compagne, Flora Purim, au chant, et les excellents musiciens Hermeto Pascoal aux claviers e Ron Carter à la contrebasse. On note la présence de Sivuca. Mes plages préférées correspondent aux temps de l'album où le Jazz Fusion rencontre avec magie la Samba ("Juntos (We Love)"). Cet album "solo" et "débridé" d'Airto Moreira est souvent présenté comme une "récréation entre deux périodes, celle "Weather Report" et celle "Return to Forever". Seeds On The Ground est un très intéressant album de Jazz Fusion créatif et aventureux fortement teinté de musique latine sauce brésilienne, donc à découvrir. by Dominique Deret
Tracklist  
1 Andei (I Walked) 2:40
Bass – Ron Carter
Vocals, Percussion, Berimbau – Airto
Written-By, Harpsichord, Flute – Hermeto Pascoal
2 O Sonho (Moon Dreams) 7:45
Bass – Ron Carter
Drums, Percussion – Airto
Keyboards – Hermeto Pascoal
Vocals – Flora Purim
Written By – J. Livingston & R. Evans
3 Uri (Wind) 6:10
Accordion – Sivuca
Bass, Cello – Ron Carter
Flute [Bass], Acoustic Guitar [Violão], Voice, Written-By – Hermeto Pascoal
Viola – Severino De Oliveira
Vocals, Drums, Percussion, Voice – Airto
Vocals, Voice – Flora Purim
Voice, Written-By – Googie
4 Papo Furado (Jive Talking) 3:29
Acoustic Guitar [Caipira], Voice – Severino De Oliveira
Acoustic Guitar [Violão], Voice, Written-By – Hermeto Pascoal
Bass, Voice – Ron Carter
Percussion, Voice – Dom Um Romão
Vocals, Percussion, Voice – Airto
5 Juntos (We Love) 3:22
Bass – Ron Carter
Drums, Percussion – Airto
Flute [Bass], Piano, Written-By – Hermeto Pascoal
Organ – Severino De Oliveira
Percussion – Dom Um Romão
Written-By, Vocals – Flora Purim
6 O Galho Da Roseira (The Branches Of The Rose Tree) 7:54
Acoustic Guitar [Violão], Accordion – Severino De Oliveira
Bass – Ron Carter
Keyboards, Other [Japanese Sapho], Written-By – Hermeto Pascoal
Percussion – Dom Um Romão
Vocals – Flora Purim
7 O Galho Da Roseira (The Branches Of The Rose Tree) Part II 8:21
Acoustic Guitar [Violão], Accordion – Severino De Oliveira
Bass – Ron Carter
Keyboards, Other [Japanese Sapho], Written-By – Hermeto Pascoal
Percussion – Dom Um Romão
Vocals – Flora Purim

AIRTO MOREIRA - Free (1972-2003) RM / APE (image+.cue), lossless

The 1970s were banner years for Airto Moreira -- not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as "Wind Chant," "Tombo in 7/4" and "Romance of Death," the results are consistently enriching. Fingers is an album to savor. by Alex Henderson
Tracklist :
1  Return to Forever - 10:17
(Chick Corea)
2 Flora's Song - 8:30
(Flora Purim)
3 Free - 11:50
(Airto Moreira)
4 Lucky Southern - 2:36
(Keith Jarrett)
5 Creek (Arroio) - 6:12
(Victor Brazil)
- Bonus Track -
6 So Tender - 5:01
(Keith Jarrett)
7 Jequié - 2:57
(Moacir Santos)
8 Creek (Arroio) (Altenate Version) - 9:23  
Personnel :
Airto - Percussion, Vocals
Hubert Laws - Flute
Joe Farrell - Soprano Saxophone, Alto Flute, Bass Flute, Piccolo
Chick Corea - Piano, Electric Piano
Keith Jarrett - Piano
Nelson Ayres - Electric Piano
George Benson - Guitar
Jay Berliner - Guitar
Ron Carter - Bass
Stanley Clarke - Electric Bass
Flora Purim - vocals
Burt Collins, Mel Davis, Alan Rubin - Trumpet, Flugelhorn
Wayne Andre, Garnett Brown, Joe Wallace - Trombone
Don Sebesky - Arranger

AIRTO MOREIRA - Fingers (1973-2002) RM / FLAC (tracks+.cue), lossless

The 1970s were banner years for Airto Moreira -- not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as "Wind Chant," "Tombo in 7/4" and "Romance of Death," the results are consistently enriching. Fingers is an album to savor.  by Alex Henderson
Tracklist
1    Fingers (El Rada)    4:30
Ruben Rada / Eduardo Uzeta
2    Romanca Of Death    5:35
Hugo Fattoruso
3    Merry-Go-Round    2:40
Airto Moreira / Flora Purim
4    Wind Chant    5:45
Hugo Fattoruso
5    Parana    6:00
Hugo Fattoruso
6    San Francisco River    4:05
Flora Purim
7    Tombo In 7/4    6:20
Airto Moreira
Credits
Acoustic Guitar, Guitar [Electric], Guitar [12 String] – David Amaro
Bass, Vocals – Ringo Thielmann
Drums, Vocals – Jorge Fattoruso
Keyboards, Harmonica, Vocals – Hugo Fattoruso
Percussion, Drums, Vocals – Airto
Percussion, Vocals – Flora Purim

AIRTO MOREIRA - I'm Fine, How Are You? (1977-2002) RM / FLAC (tracks), lossless

Tracklist :
1    I'm Fine, How Are You? 5:14
Written-By – Moreira
2    Meni Devol 5:11
Written-By – Fattoruso, Rada
3    La Tumbadora 3:39
Written-By – Fattoruso, Rada
4    The Happy People 3:48
Written-By – Moreira
5    The Road Is Hard (But We're Going To Make It) 5:32
Written-By – Purim
6    La Cumbia De Anders 4:30
Written-By – Fattoruso, Rada
7    Celebration Suite 4:16
Written-By – Moreira
8    Nativity 6:57
Written-By – Moreira, Pastorius, McNabb
Credits :
Arranged By – Airto (faixas: 1, 4, 7), Flora (faixas: 5), Hugo Fattoruso
Backing Vocals – Airto (faixas: 4, 7), Aluizio (faixas: 4, 7), Ciruela (faixas: 4, 7), Diana (faixas: 4, 7), Flora (faixas: 4, 7), Hugo, Maria, Shirley (faixas: 4, 7), Sybil
Bass – Abraham Laboriel (faixas: 5), Byron Miller (faixas: 1 to 4, 6 to 8), Jaco Pastorius (faixas: 8)
Guitar – Charles (Icarus) Johnson, Oscar C Neves (faixas: 4, 7)
Keyboards – Hugo Fattoruso
Percussion – Airto, Laudir de Oliveira (faixas: 4, 7), Manolo Badrena (faixas: 3)
Saxophone, Flute – Tom Scott (faixas: 1, 5)
Trombone – Raul De Souza (faixas: 4, 7)
Vocals – Flora Purim (faixas: 5), Ruben Rada (faixas: 2, 3)

AIRTO MOREIRA - The Other Side of This (1992) FLAC (tracks+.cue), lossless

Using voice, drum, whistle, chimes, shakers, rattle, tambourine, and didgeridoo, Airto and company make music that comes from all regions and belongs to none. These are songs for ritual and healing, based on many cultures. The mood is ethereal, yet because of the predominance of percussion, also powerful. New age music with punch. by Steven McDonald
Tracklist :
1     Endless Cycle 4:00
Airto Moreira
Vocals, Drums [The 'Beast' - Suspended Steel Cylinder Drums], Bells, Whistle [Air Whistle] – Airto Moreira   
2     Tumbleweed 5:20
Airto Moreira
Ghatam – T.H. "Vikku" Vinayakram
Tabla, Wood Block [Wood] – Zakir Hussain
Wood Block [Wood] – Babatunde Olatunji, Kitaro, Mickey Hart
Wood Block [Wood], Vocals, Rattle, Shaker, Flute [Wooden], Flute [Charming] – Airto Moreira   
3     Back Streets of Havana 2:44
Bata, Cowbell, Shekere, Vocals – Giovanni Hidalgo
Bata, Shekere, Lead Vocals – Frank Colon
Bata, Vocals, Handclaps – Airto Moreira
Vocals, Handclaps – Diana Moreira   
4     Healing Sounds 2:42
Verna Yater
Vocals – Dr Verna Yater   
5     The Underwater People 8:30
Airto Moreira
Ghatam – T.H. "Vikku" Vinayakram
Tabla – Zakir Hussain
Vocals – Diana Moreira
Vocals, Percussion [Water Bottle], Flute [Wooden], Caxixi, Ganzá, Whistle [Air Whistle] – Airto Moreira
6     Old Man's Song 2:04
Airto Moreira
Vocals, Tambourine [Brazillian], Djembe, Caxixi – Airto Moreira
7     Hey Ya 4:06
Airto Moreira
Percussion [Stomping, Tree Branches], Vocals, Surdo, Shaker, Cowbell, Rattle, Bullroarer – Airto Moreira
Percussion [Stomping], Vocals – Caryl Ohrbach, Cheryl McEnaney, Diana Moreira, Flora Purim, Kitaro, Rose Solomon
Percussion [Stomping], Vocals, Shaker, Rattle – Mickey Hart
8     When Angels Cry 4:17
Flora Purim
Chimes, Performer [Bird Calls] – Airto Moreira
Vocals – Flora Purim
9     Dom-Um (A Good Friend) 5:58
Zakir Hussain / Airto Moreira
Berimbau, Caxixi, Triangle, Nose Flute, Vocals, Performer [Bird Calls] – Airto Moreira
Tabla – Zakir Hussain
10     Street Reunion 2:57
Bata, Lead Vocals, Shekere – Frank Colon
Bata, Vocals, Handclaps – Airto Moreira
Bata, Vocals, Shekere, Cowbell – Giovanni Hidalgo
Vocals, Handclaps – Diana Moreira   
11     Mirror of the Past 6:12
Airto Moreira
Didgeridoo, Vocals, Flute [African Black], Rattle [African Rattles], Bells [Chinese], Wind [Hollow Bamboo Blown On Water] – Airto Moreira
12     Sedonia's Circle 3:31
Stanley Clarke
Frame Drum, Vocals – Amrita Blain, Caryl Ohrbach, Jana Holmer, Justine Toms, KC Ross, Leah Martino, Sedonia Cahill
Rattle, Vocals – Margie Clark
Tar (Drum), Vocals – Margaret Barkley
Vocals – Diana Moreira, Flora Purim
13     Terra E Mar 6:03
Airto Moreira
Singing Bowls [Tibetan Bowl] – Mickey Hart
Vocals – Diana Moreira
Vocals, Rainstick [Brazilian], Conch, Performer [Bird Calls], Nose Flute, Sounds [Water Sounds] – Airto Moreira

AIRTO MOREIRA - Samba de Flora (1989) 32bits-96Hz / FLAC (tracks+.cue), lossless

An effusively performed minor classic of Brazilian jazz fusion, percussionist Airto Moreira's 1988 album Samba de Flora found him diving into an organic mix of originals and covers alongside equally gifted collaborators including his wife vocalist Flora Purim, Argentine pianist Jorge Dalto, bassist Alphonso Johnson, percussionist Don Alias, Cuban conga player Cachete, and others. The album was originally released on the cult independent Montuno Records label, based out of the Record Mart record store located in the Times Square subway station. Founded by Latin music impresario Al Santiago in 1975, Montuno issued album after album documenting the exuberant music and musicians whom Latin fans -- and specifically Latin dance fans -- were digging in NYC in the '70s and '80s. The centerpiece of the album is the propulsive minor-key title track, which features Moreira on both percussion and vocals, leading his band through an absolutely infectious dancefloor banger. Following the songs' minute-long percussion intro, Moreira and his band erupt into a dynamic call-and-response verse that conjures images of stylish dancers coupled in a sweaty samba frenzy. Equally captivating is the group's buoyant reading of Hugo Fattoruso and Ruben Rada's "Dedos" featuring Purim's earthy, smiling vocals. Elsewhere, they offer a similarly sparkling rendition of George Duke's "Yanah Amina" and plunge into the electric guitar-tinged Tropicalia of "Latin Woman." Moreira also reveals a gift for elegiac balladry, showcasing his burnished baritone vocals on the yearning, spare piano numbers "Mulambo" and "La Puerta." As with many of the LPs released by Montuno, Samba de Flora is a warmly produced album with a vibrant live aesthetic that steams with the energy and passion of a concert given in the heat of a New York City summer. by Matt Collar  
Tracklist :
1     Parana 4:26
Bass – Alphonso Johnson
Berimbau – Frank Colon
Drums, Percussion, Vocals – Airto Moreira
Guitar – Roland Bautista
Keyboards – Jorge Dalto
Percussion – Don Alias, Giovanni "Mañenguito" Hidalgo
Synthesizer – Kei Akagi
2     Samba de Flora 6:16
Tite Curet Alonso / Jorge Dalto
Bass – Michael Shapiro
Drums, Vocals – Airto Moreira
Keyboards – Jorge Dalto
Percussion – Angel "Cachete" Maldonado, Donald Alias*, Frank Colon, Giovanni "Mañenguito" Hidalgo     
3     La Puerta 5:39
Luis Demetrio
Piano [Acoustic] – Jorge Dalto
Vocals – Airto Moreira
4     Dedos 5:22
Hugo Fattoruso / Ruben Rada
Bass – Alphonso Johnson
Bongos – Giovanni "Mañenguito" Hidalgo
Congas – Angel "Cachete" Maldonado
Drums, Percussion – Airto Moreira
Keyboards – Jorge Dalto
Synthesizer – Kei Akagi
Trombone – Raul De Souza
Trumpet – Jeff Elliott
Vocals – Flora Purim, Rafael José
5     Yanah Amina 3:22
George Duke
Backing Vocals – Jill Avery
Bass – Randy Tico
Drums, Percussion, Congas – Airto Moreira
Saxophone, Flute, Soloist – David Tolegian
Trumpet – Rolando Gingras
Trumpet, Flugelhorn, Soloist – Jeff Elliott
Vocals – Flora Purim
6     El Fiasco 5:56
Jeff Elliott
Bass – Randy Tico
Drums – Tony Moreno
Keyboards – Bruce Bigenho
Percussion – Luiz Muños
Percussion, Congas – Airto Moreira
Saxophone – David Tolegian
Trumpet – Jeff Elliott, Rolando Gingras
7     Mulambo 6:30
Public Domain / Jaime Florence / Augusto Mesquita
Piano [Acoustic] – Jorge Dalto
Vocals – Airto Moreira, Flora Purim
8     Latin Woman 5:24
Bass – Keith Jones
Drums – Tony Moreno
Guitar – Larry Nass
Horns – Jeff Elliott
Keyboards – Jorge Dalto
Percussion, Congas – Airto Moreira
Piccolo Flute – Joe Farrell
Vocals – Flora Purim
Larry Nass

AIRTO / MICKEY HART / FLORA PURIM - Dafos (1989) FLAC (image+.cue), lossless

Long before 'world music' was a widely used term, ethnomusicologist and performer Mickey Hart became enamored with the culture of rhythms. After hooking back up with the Grateful Dead in the mid-'70s, Hart began incorporating advanced time-signatures into the "Drums" portion of the "Rhythm Devils" duets with Bill Kreutzmann (drums). As described in the liner notes, this is something of a soundtrack album for a planet called Däfos (1985). Hart (tar/beam/stick/tubular bells/percussion/berimbaus/saron/vocals) is accompanied by Steve Douglas (woodwinds), Shabda Khan (tar), Jody Diamond (saron), Bobby Vega (bass), Flora Purim (vocals), Airto Moreira (percussion) and the Brazilian group Batucaje among others for a collection of ambient soundscapes adorned by an array of indigenous hand and mallet-struck percussion. Although dominated by instruments, Flora Purim's vocals during "Reunion I" through "Reunion III" are equally as expressive as Vega's propulsive electric bass interjections, backed by Hart and Moreira's perpetual pursuit. "Saudação Popular" is one of the cuts to feature Batucaje, who join Hart on berimbau. The instrument's wah-wah effect is produced by the bow-like object that is struck, while the frequency is controlled by the amount of pressure the player places when moving it against the body. The mid-tempo tune incrementally increases in speed to match the intensity of the participants fervor. "Psychopomp" is Hart providing ambience on the amplified piano-string Beam -- that was often the highlight of the Grateful Dead's "Space" jams. The hollow, almost metallic "Subterranean Caves of Kronos" is once again just Hart on a series of subdued melodic tubular bell progressions. Conversely cacophonous is the multi-drum Beast, a 25-foot round aluminum frame able to support a capacious assemblage of drums. Its use became another zenith of Grateful Dead shows and Hart gives it a workout on the hell-bound "Gates of Däfos." According to the brief text supplied for each song title, the lengthy "Passage" depicts the journey once inside the Gates of Däfos, which develops from the atmosphere of a pastoral setting to the urban sounds of sambas and celebrations. Upon its release, Däfos (1985) garnered substantial notice from audiophiles, including a write-up in Absolute Sound that is reprinted in the Rykodisc CD edition. by Lindsay Planer  
Tracklist :
1     Dry Sands of the Desert 5:05
Mickey Hart
2     Ice of the North 1:20
Mickey Hart
3     Reunion I/Reunion II/Reunion III 9:52
Mickey Hart
4     Saudação Popular 5:12
Batucaje / Mickey Hart
5     Psychopomp 4:54
Mickey Hart
6     Subterranean Caves of Kronos 2:12
Mickey Hart
7     The Gates of Däfos 3:55
Mickey Hart
8     Passage 10:55
Mickey Hart
Credits :
Bass – Bobby Vega (faixas: 4)
Berimbau, Backing Vocals – Batucaje (faixas: 2), Mickey Hart (faixas: 2)
Gamelan – Jody Diamond (faixas: 3), Mickey Hart (faixas: 3, 5)
Other [Crew] – Billy Bullshit, Luvell, Ramrod, Young Dan Dundas
Percussion – Airto Moreira (faixas: 2, 4), Batucaje (faixas: 7), Mickey Hart (faixas: 4, 7)
Percussion [Tars] – Brian Crittenden (faixas: 1), Daniel Kennedy (faixas: 1), Habib Bishop (faixas: 1), Khadija Mastah (faixas: A1), Mica Katz (faixas: 1), Mickey Hart (faixas: 1), Ray Patch (faixas: 1), Shabda Kahn (faixas: 1)
Percussion [The Beast] – Mickey Hart (faixas: 6)
Vocals – Flora Purim (faixas: 2, 4), Marcos Antonio Dias (faixas: 2)
Woodwind – Steve Douglas (faixas: 1)

AIRTO MOREIRA - Struck by Lightning (1990) FLAC (image+.cue), lossless

Tracklist :
1    It's Time For Carnival 5:56
Acoustic Guitar – José Neto
Electric Bass [Fretless] – Randy Tico
Electric Guitar – José Neto
Electric Guitar, Acoustic Guitar – José Neto
Lyrics By – Airto Moreira
Percussion – Airto Moreira
Tamborim – Junior Homrich
Vocals – Airto Moreira
Written-By – A. Moreira
2    Burning Money (Queimando Dinheiro) 4:08
Acoustic Bass ["John Hawk" Fretless] – Randy Tico
Acoustic Guitar – José Neto
Electric Bass [Fretless] – Randy Tico
Flute, Keyboards [Korg M-1] – Gary Meek
Percussion, Vocals – Airto Moreira
Twelve-String Guitar – José Neto
Written-By – J. Neto
3    Berimbau First Cry 5:07
Berimbau, Vocals, Flute [Wooden], Percussion, Noises [Background Noises], Voice – Airto Moreira
Written-By – A. Moreira
4    Sea Horse 6:48
Acoustic Bass ["John Hawk" Fretless] – Randy Tico
Acoustic Guitar – José Neto
Electronic Wind Instrument [EWI] – Gary Meek
Lyrics By [Underwater] – Airto Moreira
Percussion, Vocals, Electronics [Electronic Water Bottle] – Airto Moreira
Twelve-String Guitar – José Neto
Written-By – J. Neto
5    Struck By Lightning 4:42
Drums [Trap Drums] – Mike Shapiro
Electric Bass – Rob Harrison
Keyboards – Marcos Silva
Lyrics By – Flora Purim
Percussion – Airto Moreira
Vocals – Flora Purim
Written-By – G. Meek
6    Samba Louco (Crazy Samba) 2:03
Electric Bass – Mark Egan
Percussion – Airto Moreira
Synthesizer [Yamaha Tx-7, Roland D-50, Fairlight SG10] – Chick Corea
Tenor Saxophone – Gary Meek
Written-By – A. Moreira, C. Corea, M. Egan
7    Seven Dwarfs 4:18
Electric Bass – Mark Egan
Electronic Wind Instrument [EWI] – Gary Meek
Percussion, Drums [Trap Drums], Vocals – Airto Moreira
Piano – Chick Corea
Soprano Saxophone – Gary Meek
Written-By – A. Moreira
8    Samba Nosso (Our Samba) 9:04
Electric Bass – Stanley Clarke
Electronic Wind Instrument [EWI] – Gary Meek
Percussion, Drums [Trap Drums], Vocals – Airto Moreira
Piano, Synthesizer [Yamaha Tx-7, Roland D-50, Fairlight SG10] – Herbie Hancock
Soprano Saxophone – Gary Meek
Written-By – A. Moreira, H. Hancock, S. Clarke
9    Skins & Rattle 5:56
Percussion – Airto Moreira
Written-By – A. Moreira

AIRTO MOREIRA AND THE GODS OF JAZZ - Killer Bees (1989) APE (image+.cue), lossless

In November of 1989, after ten years of California living, Brazilian percussionist Airto Moreira felt the need to get back in touch with the free-music roots he established two decades earlier in New York City. A spate of slumberous L.A. studio sessions, in combination with a tired scene in his adoptive hometown of Santa Barbara, was beginning to take its toll on the creative percussionist. New York of the late 1960s bustled with musical vibrancy for Moreira. All night jam sessions with the likes of Chick Corea, Dave Holland, Jan Hammer, Stanley Clarke, Joe Zawinul, Wayne Shorter, and Walker Booker were the rule for the artist. On occasion, even such heavyweight legends as Lee Morgan, Cannonball Adderley, Buster Williams, and Thelonious Monk would sit in. In an effort to shake off L.A. studio stupor and re-create the wonder days of impromptu dream team sessions, he invited long time jazz comrades Chick Corea, Herbie Hancock, Mark Egan, and Stanley Clarke to record improvised music with him in a local Santa Barbara studio. Jumping at the opportunity to play with their friends for the sake of playing, these musicians ended up producing the Killer Bees CD. Peppered with subtle overdubs by vocalist Flora Purim, saxophonist Gary Meek, and guitarist Hiram Bullock, Killer Bees is a set of nine tracks characterized by the sense of spontaneity and adventurousness that Airto intended to revisit. From the opening "Banana Jam," a track in which Moreira, Corea, and Egan experiment with sounds in an improvised section that eventually crescendos into a powerful bass and piano ostinato, to the concluding "Chicken on the Mind," a whimsical track that builds on the sounds of a barking dog and the cackles of Corea, this CD captures superb studio musicians playing out on a limb. If you are looking for the precise articulation of rigid song structures, then this CD may leave you feeling a bit unsatisfied. On the other hand, if you enjoy listening to evolving and amorphous forms full of mercurially virtuosic content, then Killer Bees will make you yearn for more projects that recreate Moreira's free-jazz jams of yore. by John Vallier  
Tracklist :
1     Banana Jam 6:03
Chick Corea / Mark Egan / Airto Moreira / Flora Purim
2     Be There 4:43
Stanley Clarke / Herbie Hancock / Airto Moreira
3     Killer Bees 7:36
Hiram Bullock / Chick Corea / Mark Egan / Airto Moreira
4     City Sushi Man 4:03
Hiram Bullock / Chick Corea / Mark Egan / Airto Moreira
5     See Ya Later 5:36
Chick Corea / Mark Egan / Airto Moreira
6     Never Mind 7:46
Stanley Clarke / Herbie Hancock / Airto Moreira
7     Communion 8:39
Stanley Clarke / Herbie Hancock / Airto Moreira
8     Nasty Moves 2:12
Hiram Bullock / Mark Egan / Airto Moreira
9     Chicken in the Mind 3:29
Chick Corea / Mark Egan / Airto Moreira
Credits :
Acoustic Bass, Electric Bass – Stanley Clarke
Drums, Percussion, Vocals – Airto Moreira
Electric Bass, Fretless Bass – Mark Egan
Guitar – Hiram Bullock
Overdubbed By – Steve Hart
Piano, Keyboards – Chick Corea, Herbie Hancock
Tenor Saxophone, Soprano Saxophone – Gary Meek
Vocals, Producer – Flora Purim

AIRTO MOREIRA - Homeless (2000) FLAC (tracks+.cue), lossless

Although Airto Moreira was never a jazz purist, most of his work has been jazz-oriented. From his years with Chick Corea's first Return to Forever lineup to his classic CTI dates of the 1970s to his work on wife Flora Purim's albums, the Brazilian drummer/vocalist has been known for combining jazz with Brazilian music, rock, and funk. No one could ever accuse Purim's husband of being someone who is only interested in showing the world how fast he can play John Coltrane's "Giant Steps," but it is safe to say that most of Moreira's work has been jazz-oriented even though it isn't straight-ahead bop. Homeless, however, is a Moreira project that has very little to do with jazz. This diverse, highly rhythmic CD draws on everything from pop, funk, hip-hop, and Afro-Brazilian tribal chanting to club and rave music, but jazz considerations aren't a priority. Although Homeless isn't the least bit predictable, there is something that ties all the material together: rhythm. Whether Moreira is embracing melodic Brazilian pop on the introspective "Wake Up Now" (which features his daughter, singer Diana Moreira Booker), getting into Afro-Brazilian tribal sounds on "The Last One" and "Come As You Are" (which are all rhythm and no melody), or getting into a moody yet funky rave/trance groove on "Vira Poeira (Burning to Dust)," the common denominator is Moreira's distinctively Brazilian sense of rhythm. The lead vocals are shared by Moreira and Booker; while Moreira sings in Portuguese, his daughter handles the English lyrics. Not surprisingly, Booker sounds somewhat like Purim, although she does have an appealing delivery of her own. This likable, if a bit uneven, CD isn't among Moreira's essential releases, but it's an intriguing addition to his catalog -- and he deserves credit for trying something a bit. by Alex Henderson
Tracklist :
1     Vira Poeira (Turn to Dust) 4:47
Krishna Booker / Airto Moreira
2     Come as You Are 4:45
Airto Moreira
3     700 Years 4:48
Krishna Booker / Giovanni Hidalgo / Airto Moreira
4     After These Messages 3:03
Krishna Booker / Airto Moreira
5     Street Vendors (D'Jmbo) 5:02
Krishna Booker / Airto Moreira
6     Wake up Now 4:16
Airto Moreira / José Neto
7     Homeless (Around the Fire) 6:19
Airto / Airto Moreira
8     Samba 4 Sale 6:59
Airto Moreira
9     Ginga Sem Fronteira 5:57
Krishna Booker / Airto Moreira
10     The Last One 4:41
Airto Moreira
Credits :
Backing Vocals – Airto Moreira (faixas: 1, 2, 3, 6), Db a.k.a. Decibel (faixas: 9), The Factor (faixas: 1, 2)
Bass – Gary Brown (faixas: 3, 6)
Drums – Airto Moreira (faixas: 1, 3, 4, 5, 9, 10), Changuito (faixas: 6), Meia Noite (faixas: 5), Pablo Silva (faixas: 2, 8)
Flute [Wooden Flutes] – Airto Moreira
Guitar – José Neto
Human Beatbox – The Factor (faixas: 4)
Keyboards – The Factor (faixas: 1, 3, 5, 9)
Lead Vocals – Airto Moreira (faixas: 1, 5, 9), Db a.k.a. Decibel (faixas: 3, 5, 6,)
Lyrics By [Portuguese Words] – Hilton Barcelos (faixas: 9)
Other [Background Ambience] – Airto Moreira (faixas: 7, 8, 10), Db a.k.a. Decibel (faixas: 7, 10), Flora Purim (faixas: 7), Freddie Santiago (faixas: 7), Giovanni Hidalgo (faixas: 7), The Factor (faixas: 10)
Percussion – Airto Moreira (faixas: 1 - 3, 5 - 9), Amén Santos (faixas: 2, 8, 10), Changuito (faixas: 3, 4), Freddie Santiago (faixas: 6), Giovanni Hidalgo (faixas: 3, 6), Meia Noite (faixas: 1, 4, 5), Pablo Silva (faixas: 10)

FLORA PURIM - That's What She Said (1977-2001) RM / FLAC (tracks+.cue), lossless

Toward the close of her Milestone years, Flora Purim teamed up with producer/keyboardist George Duke -- and the imprint of Duke, then entering his funkified "Dukey Stick" period, is heavy enough to dominate the record. Very often, Duke uses his then rhythm section of bassist Byron Miller (alternating with Alphonso Johnson) and drummer Ndugu Chandler to give the grooves a definite '70s funk feel -- and percussionist Airto adapts his talents seamlessly to this way of life. Duke's electronic keyboard arsenal is all over the record, occasionally going gonzo on the Moog synthesizer, draping a then-still-fashionable ARP string synthesizer over the landscape, comping on the Rhodes electric piano or Yamaha electric grand. Joe Henderson turns up with a funk-bop tenor solo on the Brazilian/funk groove on "What Can I Say?" (what could he say?), part of a first-call L.A. studio horn section that includes trumpet Oscar Brashear, trombonist George Bohanon, and Ernie Watts on flute. And where does all of this instrumental activity leave Purim? Floating on top of the mix as usual, whether in a wordless vocalise, agile scatting with Duke's lead synth on the title track, or heavily accented English, sometimes in multiple overdubs. Nevertheless, the Brazilian feeling is not quite cancelled out by Duke's busy production hand -- and this Western Hemispheric amalgam would soon pave the way for groups like Azymuth. by Richard S. Ginell 
Tracklist :
1     Look into His Eyes 4:34
Drums – Leon Ndugu Chancler
Electric Bass – Byron Miller
Percussion – Airto
Vocals – Flora Purim
Written-By, Electric Piano [Rhodes], Synthesizer [Moog], Soloist [Moog], Backing Vocals – George Duke
2     Juicy 4:32
Drums – Ndugu
Electric Bass – Alphonso Johnson
Electric Piano [Rhodes], Synthesizer [Moog] – George Duke
Percussion, Congas – Airto
Vocals, Gong – Flora Purim
Written-By – Duke
3     Hidden Within 5:09
Drums – Ndugu
Electric Bass – Byron Miller
Electric Piano [Yamaha Grand], Synthesizer [Moog], Soloist [Moog] – George Duke
Guitar – Jay Graydon
Guitar, Soloist – David T. Walker
Percussion, Congas – Airto
Vocals – Flora Purim
Written-By – Leon Ndugu Chancler
4     You on My Mind 3:32
Drums – Ndugu
Electric Bass – Alphonso Johnson
Percussion, Vocals – Airto
Piano [Acoustic], Electric Piano [Rhodes], Synthesizer [Moog] – George Duke
Vocals, Backing Vocals – Flora Purim
Written-By – Airto Moreira
5     What Can I Say? 5:04
Drums – Ndugu
Electric Bass – Byron Miller
Electric Piano [Yamaha Grand, Rhodes], Arranged By [Horns], Conductor [Horns] – George Duke
Flute – Ernie Watts
Guitar – Jay Graydon
Percussion, Congas, Bongos – Airto
Soloist, Tenor Saxophone – Joe Henderson
Trombone – George Bohanon
Trumpet – Oscar Brashear
Vocals – Flora Purim
Written-By – Duke
6     Love's the Way I Feel 'Bout Cha 4:45
Alphonso Johnson / Pat Walker
7     That's What She Said 3:53
Drums – Ndugu
Electric Bass – Alphonso Johnson
Electric Piano [Rhodes], Arranged By [Horns], Conductor [Horns] – George Duke
Flute – Ernie Watts
Percussion, Congas, Bongos, Soloist [Bongos] – Airto
Synthesizer [Arp Odyssey], Soloist – Hugo Fattoruso
Tenor Saxophone – Joe Henderson
Trombone – George Bohanon
Trumpet – Oscar Brashear
Vocals – Flora Purim
Written-By – Duke
8     You Are My Heart 4:06
Leon "Ndugu" Chancler
Credits :
Accompanied By [With] – Airto, Alphonso Johnson, Byron Miller, Ernie Watts, George Bohanon, George Duke, Jay Graydon, Leon Ndugu Chancler, Oscar Brashear

FLORA PURIM - Carry On (1979-2002) RM / FLAC (tracks+.cue), lossless

In 1979, jazz was no longer George Duke's primary focus; his albums were emphasizing soul/funk, and many of the R&B fans who knew him for late '70s hits, like "Dukey Stick," "I Want You for Myself," and "Reach for It," knew little or nothing about his work with Cannonball Adderley, Billy Cobham, or Jean-Luc Ponty. But Duke was still producing some jazz albums here and there, although they weren't necessarily straight ahead. Even though Flora Purim's Carry On, which Duke produced, is primarily a Brazilian jazz album, it isn't for jazz purists -- rather, Purim provides an eclectic blend of jazz, samba, R&B/funk, rock, and pop. Purim has many inspired moments on this LP and is joined by members of Duke's late '70s band -- bassist Byron Miller, drummers Ricky Lawson and Leon "Ndugu" Chancler, percussionist Sheila Escovedo (who became Sheila E after joining forces with Prince in 1984), keyboardist Bobby Lyle, trumpeter Jerry Hey, and saxman Joe Farrell. In addition to excelling on Duke's funky title song, Gilberto Gil's "Sarara," and Toninho Horta's "Beijo Partido," Purim really lets loose on Milton Nascimento's "From the Lonely Afternoon." Those who associate "From the Lonely Afternoon" with Wayne Shorter's superb Native Dancer album will find Purim's interpretation to be faster and more intense. by Alex Henderson
Tracklist :
1     Sarara 4:06
Gilberto Gil
2     From the Lonely Afternoon 3:25
Milton Nascimento
3     Niura is Coming Back 2:54
Yana Purim
4     Once I Ran Away 3:38
Yana Purim
5     Carry On 5:15
George Duke
6     Love Lock 3:32
Reggie Lucas / James Mtume
7     Corine 4:52
George Duke / Airto Moreira / Flora Purim
8     Islands in the Sun [Interlude] 1:29
David Bateau / Michael Sembello
9     Beijo Partido (Broken Kiss) 4:40
Toninho Horta
10     Freeway Jam 4:36
Max Middleton
Credits :
David Amaro, David Myles, Michael Sembello - Guitar
Leon "Ndugu" Chancler, Ricky Lawson, Fred Fleck - Drums
Lynn Davis, Josie James - Vocals (Background)
George Duke - Composer, Piano
Joe Farrell - Sax (Soprano)
Hugo Fattoruso, Bobby Lyle, Greg Phillinganes - Keyboards, Synthesizer
Gary Gazaway - Flugelhorn
Jerry Hey - Trumpet
Al Jarreau - Guest Artist, Vocals
Keith Jones, Byron Miller - Bass
Airto Moreira - Composer, Tambourine, Trombone
Flora Purim -  Vocals
William Frank "Bill" Reichenbach Jr., Raul de Souza - Trombone
Larry Williams - Flute, Piccolo, Sax (Alto)