Flora Purim signed with Warner Bros. in late 1976 and immediately hit the studio. Between 1977 and 1979 she issued three albums for the label -- Nothing Will Be as It Was...Tomorrow, Everyday, Everynight, and Carry On. During the mid- to late 70s, Purims music was evolving toward a more commercial-oriented fusion sound. She and percussionist/composer/husband Airto Moreira were melding their innovative strains of modern Brazilian and electric jazz to R&B and pop. Nothing Will Be as It Was...Tomorrow was produced by drummer Leon "Ndugu" Chancler, Purim and Airto.The lineup balances Brazilian studio aces -- trombonist Raul De Souza, multi-instrumentalist Hugo Fattoruso, guitarist Toninho Horta -- and American jazzers including keyboardists Patrice Rushen and George Duke (as "Dawili Gonga"), saxists Fred Jackson and Ernie Watts, harpist Dorothy Ashby, and Earth Wind & Fire guitarist Al McKay. In typical fashion, the married couple invited the session players to contribute compositions. Highlights include Rushens meditative "You Love Me Only," McKay and bandmate Philip Baileys slinky funk groover "Angels," and three excellent songs composed by Milton Nascimento: the title track, the funky "Fairy Tale Friend," and the poignant "Bridges." 1978s Everyday, Everynight was co-produced by Airto and Bob Monaco. It was arranged and orchestrated by French conductor, composer, and arranger Michel Colombier. The massive session cast included Herbie Hancock, Duke, Lee Ritenour, David Sanborn, the Brecker Brothers, Jaco Pastorius, Oscar Neves, De Souza, and many more. The presentation reflects Colombiers sophisticated pop influences. The first three cuts (all co-written by Moreira and Purim) deliberately reflect it: The title track is a seamless fusion of urban pop and disco. "Samba Michel" is a hyperspeed fusion of samba, funk, and Brazilian jazz with polished orchestration, and "Hope" is an elegant cinematic ballad pregnant with Colombiers tasteful orchestration. His own tunes -- the bumping "Five Four" and the ballad "Walking Away" -- were composed especially for Purim. Another highlight, "Las Olas," penned by Pastorius, is a lovely vehicle for graceful interplay between himself, Purim, and Colombier. 1979s Carry On was produced by Duke. While its tracks offer an eclectic meld of samba, jazz fusion, pop, funk, and R&B, Purim and Airto filter it through a celebratory, emotional Brazilian jazz language. The studio players were all from Dukes band at the time and included bassist Byron Miller, drummers Ricky Lawson and Chancler, percussionist Sheila Escovedo, keyboardist Bobby Lyle, trumpeter Jerry Hey, and saxophonist Joe Farrell. Highlights include Dukes title track, Gilberto Gils "Sarara," and Hortas "Beijo Partido." Purim really cuts loose on Nascimentos "From the Lonely Afternoon." The latter track appeared from the composer and Wayne Shorter on the superb Native Dancer. Purims reading is faster, and much more dynamically intense. In addition to the three studio albums included on the Complete Warner Recordings are two bonus tracks from the Everyday, Everynight sessions: "Tango Blues" and "Sad Song." Whether considered individually or as part of the singers fascinating catalog, these records hold up as prophetic in the histories of fusion and Brazilian jazz. ~ Thom Jurek

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