Review: Eliane Elias - Paulistana

After proving herself a talented and unique piano voice, albeit with a sometimes frustratingly erratic output, Eliane Elias hit gold with ‘Fantasia’, a beautiful album that was received with strong critical notices and sold handsomely. And thankfully for her follow-up, ‘Paulistana’, she wisely continued in the same vein and continues on a decidedly handsome winning streak.

As before a nicely rounded mix of Brazillian composers hits from the likes of Barroso, Jobim and Bonfa are here alongside Elias’ own strong efforts peppering the mix. The opening salvo of the anthemic ‘Brazil’, Carlos Lyra’s classic ‘Influencia Do Jazz’ and Elias’ own ‘Paulistana’ alone is a huge treat, with each possessing a distinct and memorable melody.

Her favoured piano trio is the format of choice here, with Elias keen to hint at Bill Evans, as well as showcasing her own sound, with many tracks benefitting from some soulful and rhythmic percussion. On the downside, a handful of tracks also unweildily gain some of Elias’ vocals. Not to say that her voice is bad though - in fact its limited range is heightened by the warm and sensuous tone she brings to the lyrics – but its occasional lead means that her own piano playing, her greatest asset, is at times greatly reduced.

A warm and enjoyable listening experience, the recasting of these classics in a jazz format is a winning success, and Elias’ own pieces here, including the title track, are also much stronger than before, blending nicely with the well-chosen covers. And even despite the small flaws, ‘Paulistana’ is a great uplifting jazz record that sits nicely in Eliane Elias’ discography.

****

Review: Eliane Elias - Around The City

Eliane Elias has managed to maintain an unwavering dedication in her career as a jazz pianist and composer. In an industry where women tend to be packaged and marketed as female first, and then talented second, and where anyone south of Texas gets branded as a ‘Latin musician’ regardless of what actual music they play, Elias has somehow been able to find and broaden her audience simply by following the music.

‘Around The City’ then continues this journey, with a well-blended mix of original compositions (with some help from songwriters Lauren Christy and Lester Mendez) and some covers, including surprisingly Becks ‘Tropicalia’ and brilliantly Bob Marleys ‘Jammin’.

Lead-off track ‘Running’ is a great start to proceedings, with a strong swaying groove that works its way into your subconscious. The afore-mentioned ‘Jammin’ meanwhile is madeover into a high-energy number, which could potentially have tipped into bad karaoke, but in these skilled hands it becomes an awesome, and respectful, tribute.

The classic ‘Oye Como Va’ comes with a sexy vibe courtesy of Elias’ sultry vocals, and the soft and sensual ‘Segredos’ is an album highlight with its defined pulsating rhythm. But it is probably ‘Slideshow’ that is the pure gem of this album. Beautifully sung lyrics meld with the catchy flamenco guitars and handclaps that conjure up the perfect image of the cliffside roads winding their way to some mysterious sun drenched beach.

Everywhere on this album is the smouldering rhythm of Brazil, while still maintaining a strong night-time jazz feel with her superb piano work and warm vocals. The stellar ‘Segredos’ makes a welcome return as a closing reprise, revamped into a more jazz-tinged piece and again, Eliane Elias has delivered her own music on her own terms and the results are as always well worth the listen.

****

Review: Donald Byrd - Electric Byrd

Donald Byrd’s 1970’s ‘Electric Byrd’ was the trumpet players own reaction to rival Miles Davis’ ‘Bitches Brew’ and the musical gauntlet it had thrown down. It is also seen by many of the jazz cognoscenti as his last worthwhile jazz effort, before he confidently strode into the funk world and the massive commercial successes that it would bring him.

Byrd of course rose to the challenge he had set himself brilliantly. With just the slightest presence of Miles looming, Byrd occupies the same sound but with his own style setting the agenda for the explorations here. Just four lengthy tracks, all orginals, make up the album, with the undeniable masterpiece ‘Estavanico’ opening. Eleven perfect minutes form a groove that redefines the term fusion, taking in a heady brew of jazz, funk, samba and psychedelia among many others. Atmospheric and simply just brilliant, it’s one of Byrds highest creative and musical peaks, and any even casual fans of Miles’ seventies work should definitely check it out.

‘Essence’ completely changes direction with a languorous and strolling bass line, and some wah-wah guitar just bubbling beneath with barely-contained restraint. More exciting rhythms too propel everything forward and allowing a line of soloists to impress with some highly skilled yet not overdone use of echo technology. ‘Xibaba’ takes us back into a Brazillian flavoured groove and some very catchy rhythms on a variety of exotic percussion, with some perfectly pitched soothing flute. It takes a while to get going, but the eastern sounding trumpet that opens is outstanding, and when it heats up, the complex and swirling sounds that engulf the listener are something really very special.

‘The Dude’ meanwhile lives up to its name with one of the heaviest grooves ever – and, like the rest of the album, deserves much greater exposure than it has received. The group is almost big band in size, with a mix of youngsters and old hands blending seamlessly, and a great jazz and funk hybrid is created that is different enough in sound from Byrd’s contemporaries to make it really stand out.

Often, and mistakenly, generalised as being in the same vein as Byrds later funkier, poppier and lighter output, ‘Electric Byrd’ is still a jazz album at heart and it still sounds like a groundbreaking revelation today. To some it’s his last great jazz album, but whatever you think of his later work, this is both a key part of his recording history and is simply awesome music.

*****

Review: Flora Purim - Nothing Will Be As It Was...Tomorrow

Flora Purim had both risen to stardom and earned critical acclaim while under the Milestone banner and Orin Keepnews stewardship. After four highly productive years though it was time for pastures new and bigger, and Purim made the move to jump ship from the smaller label to the much more commercially sized Warner Brothers.

It was unfortunately this move that signalled the end of Purim’s golden phase; as the more commercial sound strive for new acceptance would tend to move the talented songstress into less musically desirable areas. The opening shot from her Warner years, ‘Nothing Will Be As It Was…Tomorrow’ shows this, for better and for worse, perfectly.

Some good songs are here, courtesy of the Brazillian legend Milton Nascimento, Purim herself, and somewhat surprisingly also some of Earth Wind And Fire, who notably bring the excellent, and probably most famous piece here, ‘Angels’. Sounding like prime Earth Wind And Fire, Purim adds some typically lush vocal work, and the effect is an absolute winner. But in truth it feels less like Flora Purim, and more like Earth Wind And Fire with a Flora Purim guest spot. Purim’s own material works a whole lot better however, and Milton Nascimento’s songs get some good makeover, if with a much heavier funk effect.

‘Bridges’ aside, which gets a nicely soulful arrangement, this whole effort veers more into the late ‘70’s sounds of disco and funk. The album has a classic 1970’s R&B-jazz production quality to it courtesy of George Duke (though here listed as ‘Dawili Gonga’) and Leon ‘Ndugu’ Chancler, that though perfect for certain R&B and jazz acts, here does not quite meld with Purim’s uniquely Brazillian fusion style.

Purim’s silky Portuguese vocals and seductively accented English singing however still work a treat, and the musicianship here is of the usual high quality. As such it works for commited fans of Flora Purim, and of George Duke, and there are a good number of tracks here that will appeal to the casual listener. But for the devotees of Purim’s earlier and classier work, and as a recording on it’s own right it’s a fairly mixed bag.

***

Review: Flora Purim - Encounter

Flora Purim was on the crest of the first wave of jazz fusion in the early and mid 1970’s, and helped create her unique position in the genre by putting her voice up against a whole blend of Brazilian rhythms, new sounds and some incredible backing musician talent.

One thing that always helped position Purim and her music  was her playful and exuberant performances, and this rose to an uptempo peak on the excellent ‘Open Your Eyes, You Can Fly’. ‘Encounter’ then comes as a surprise to the more fusion-headed fans of Purim, aiming for a much more relaxed mellower mood than any of her earlier works. The results however remain unchanged – high quality music from start to finish, including great pieces, pristine musicianship and some of the Brazilian chanteuse’s finest singing to date.

As always featuring a winningly strong line-up of musicians, here new guest McCoy Tyner brings his personal piano touch to proceedings, with a winning duet between Tyner and Purim rating as some of the most interesting work either has committed to tape. Joe Henderson returns to lend some sterling saxophone work too, most notably on the excellent ‘Black Narcissus’, easily the album highlight. Always a fantastic piece of music, Purim’s version here just raises it to another level, with her singing perfectly pitched, and matched sublimely to Henderson’s brilliant solo.

A notably lighter, softer, mellower and distinctly more jazzy recording than any of Flora Purim’s previous works, ‘Encounter’ is a great album. Granted it heads in a different direction, but that is no bad thing. A chilled and relaxing listen, it offers a different side to the singer, a different yet great side, and though probably not the first port of call for newcomers, it should surely be investigated by any fans of her other works.

****

Review: Flora Purim - Open Yours Eyes, You Can Fly

Flora Purim had a terrific run in the seventies, with nine consistently strong albums recorded in a period of just less than seven years, as well as her excellent and famous work with Chick Corea in the first line-up of the Return To Forever group showcasing her to good effect on their eponymous debut and the hugely successful follow-up ‘Light As A Feather’. As a solo performer she gained her greatest praise and notices as a stand-out and more sensual latin-jazz artist, but the true commercial crossover came with her highly successful ‘Open Your Eyes You Can Fly’.

All of the songs here are great, with some perhaps not as impressive as others, but with fine top-of-the-league songwriters on-board, including Chick Corea, there are no weak moments. The players too are all dazzlingly good; witness the exuberant opener and David Amaro’s fuzzy yet instantly grabbing and playful guitar, or Hermeto Pascoal’s soulful flute playing throughout.

Best of all though, crucially and aptly, is Purim herself. Easily at her most charming here, she takes Corea’s ‘Sometime Ago’ and gives it one of her very best performances, while ‘Ina’s Song (Trip To Bahia)’ features her Portuguese vocals at their most passionate. Her writing contribution on ‘San Francisco River’ equally impresses, with a catchy melody and its uniquely cool and relaxing mood.

‘Open Your Eyes…’ is not up there with Purim’s absolute best work, but that really is just down to her producing such consistently good recordings. It does though come incredibly close and being notably more uptempo and upbeat than her other work, it is definitely one to check out.

****

Review: Flora Purim - 500 Miles High

Running at a career high thanks to some very impressive albums, both as a solo artist and as part of the original Return To Forever line-up, a strong and highly unique voice, and some incredible notices and reviews for her recorded output and live shows, Flora Purim did what all good jazz artists do, and recorded a live album that justifiably stands shoulder-to-shoulder with her acclaimed studio efforts.

‘500 Miles High’ gives us the cream of Purim playing live at the 1974 Montreux Jazz Festival, and supported by a typically strong and inspired group, most of whom had played on many of her then current records. As was usual for the time, husband Airto lends his percussive and vocal skills, while Ron Carter fills in on bass in his own unique way, Pat Rebillot handles keyboards, Herbie Mann plays flute and the stellar yet underappreciated David Amaro lets his soaring guitar fly throughout.

In fact, the band members are given such generous spaces and solo opportunities to show their thing that it feels as much a group album as it does a Flora Purim one. Without her the collective showcased here would have delivered something truly spellbinding – as they frequently do – but when the iconic singer takes the mic, everything is elevated to an almost transcendant high, with Purim enhancing everything here above their studo counterparts. Her near signature theme ‘500 Miles High’ is here electric and full of high energy, while Milton Nascimento joins in for a guest spot on both guitar and vocals for joyful and uplifting highlight in the form of his own ‘Cravo E Canela’.

A near perfect recording of a great live show, the only down note is that at only just over forty minutes it’s too short and leaves you craving much more. One of Purim’s greatest records, her studio recordings are definitely to be investigated first, but this is a gorgeous and dancingly beautiful piece of the songstress in her prime and is essential for anyone who is bewitched by her other performances, either under her own name or with Chick Corea. ‘500 Miles High’ is perfectly gorgeous.

****

Review: Flora Purim - Stories To Tell

One of Flora Purim’s most famous and loved recordings, ‘Stories To Tell’ sits at the highest point of the peak of her career, containing excellent song choices, standout turns from some superb musicians, and most of all that distinctively haunting yet gorgeous voice of the singer herself.

As with her best work, husband Airto Moreira leads a group taking in legends as diverse as jazz bass stars Ron Carter and Miroslav Vitous, keyboardist George Duke, trombone man Raul De Souza, and three incredible and very different guitarists in the most welcome form of Earl Klugh, Oscar Castro-Neves and Carlos Santana.

Plowing the same uniquely heady brew as her striking debut, Purim sings beautifully in English and her native Portuguese, as well as wordlessly adding colour, and here and there putting in her woops and yelps of celebration all over the music. And what music it is too; from the sublime ballads, including one cracking Tom Jobim song, to the uptempo party of some very funky jazz.

An album that holds together with no weak moments blotting it, everyone is a standout and every track is pristine, with ‘Silver Sword’ being a particularly great moment of freaky keyboard and guitar interplay, and the closing number ‘O Cantador/I Just Want To Be Here’ offering first a strong ending song and then slowly turning into a steamily energetic free-for-all jam for Purim and her band – and it works a treat.

An album taking in and blending elements from the worlds of jazz, blues, samba, bossa, fusion and many others, it’s Flora Purim at her very, very best in her own comfortable genre of her seemingly sole creation. Alternately funky, beautiful, melodic and rhythmic, it is repeatedly euphoric and hugely memorable, with ‘Stories To Tell’ arguably being the singers greatest album, certainly sitting up there with ‘Butterfly Dreams’, her incredible and perhaps more famous debut record, and it comes with the very highest of recommendations.

*****

Review: Flora Purim - Butterfly Dreams

First emerging on the jazz scene with pianist Duke Pearson and arranger Gil Evans, Flora Purim’s first proper leap into the limelight came with Chick Corea’s invitation to sing and play on the first two electric-jazz-samba Return To Forever albums. The success and exposure of these two landmark efforts then gave the Brazillian singer the impetus and means to launch a solo career, under the stewardship of the highly respected producer Orrin Keepnews.

‘Butterfly Dreams’ from 1974 is that album that launched Purim’s solo career and her unique approach to using her beautiful voice, with an incredible promise that would be fulfilled throughout the rest of the decade. Taking in a mix of material from Stanley Clarke, George Duke, Jobim, Gismonti and some original compositions, it’s a surprisingly brief yet varied and joyous recording that boasts some great supporting players, including as usual her husband and percussion maestro Airto Moreira.

Two very different takes of Clarke’s ‘Dr Jive’ almost bookend the recording with some huge tasty bass and distinctive uptempo Brazillian rhythms underlying Purim’s always outstanding yet perfectly controlled six-octave vocal range. Jobim’s ‘Dindi’ gets a gentle and sympathetic reading, while ‘Summer Night’ and ‘Moon Dreams’ are pure bundles of energy driven by the very alive hotly funky rhythm team.

Joe Henderson, the master tenor saxman, lends a very rare yet welcome appearance on flute, while David Amaro makes the first of many energetic and distinctive guest slots with Purim. ‘Love Reborn’ in particular gets to show Henderson’s saxophone at its best, and some nice acoustic guitar work.

Closing with a redux of Clarke’s ‘Light As A Feather’ that isn’t too far from the original and more famous version from the Return To Forever album of the same name, it signals the end of a beautiful yet also playful and fun debut that is able to showcase Purims many incredible vocal strengths and talents. An outstanding record, it’s recommended to practically anyone.

*****