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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t flora purim
a l b u m the midnight sun
l a b e l n/a
g e n r e fusion
r i p d a t e 26-09-2002
s t r e e t d a t e 00-00-0000
o r i g i n a l r e l 1988
s u p p l i e r freund
s o u r c e cd
b i t r a t e 192 kbps
e n c o d e r lame 3.92
r e l e a s e n o t e s
AMG about the artist:
Influenced by both traditional Brazilian singers and the
improvisations of American jazz divas like Ella Fitzgerald and Sarah
Vaughan, Flora Purim was one of the most adventurous singers of the
1970s. After meeting and marrying her husband, percussionist Airto
Moreira, in their native Brazil, Purim moved with him to the U.S. in
the late '60s. Though she worked with Stan Getz and pianist Duke
Pearson before the decade ended, it wasn't until joining Chick Corea,
Joe Farrell, Stanley Clarke, and Moreira in the original Return to
Forever in 1972 that she became well known in the States. Purim
showed considerable promise on Forever classics like "500 Miles High"
and "Light As a Feather" and lived up to it when she went solo with
1973's Butterfly Dreams. Ranging from superb to passably decent,
Purim's Milestone dates of the mid- to late '70s kept her quite
visible in the jazz world. Purim's work grew erratic and uneven in
the 1980s, and she wasn't recording as often (though she did provide
one album for Virgin and three with Moreira for Concord's Crossover
label). Purim didn't record very often in the early to mid-'90s
either, but she continued to be highly regarded in Brazilian jazz
circles. ù Alex Henderson
AMG about the album:
With a constantly shifting series of musicians at her back, Purim
turns in a correspondingly eclectic album, veering freely from the
Great American Songbook to jazz-rock to Brazil and back again.
However, this album begins in a somewhat unfocused manner ù Flora
does not sound completely comfortable with the songs in English ù and
only hits its stride somewhere in the middle, when the Brazilian
elements really kick in. Of the standards, "Angel Eyes" is backed
bittersweetly by the British saxophone quartet Itchy Fingers, and
there is a leisurely, spare-textured "Midnight Sun" featuring George
Duke. Flora also makes a gentle return to "Light as a Feather" from
the RTF days, and some marvelous Brazilian cruising can be heard
within an otherwise frustrating start-and-stop rendition of Milton
Nascimento's "Nothing Will Be as It Was." Fascinating in spots. ù
Richard S. Ginell
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
angel eyes 03:18
light as a feather 06:50
the midnight sun 04:19
nothing will be as it was 06:49
las olas 04:49
flora nova 04:32
a esperanca 03:50
good morning heartache 03:14
bodas de prata 05:15
42:56
MB 68,9
g r o u p n e w s
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g r e e t s
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s p e c i a l g r e e t s g o e s o u t t o : SChiZO
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
⌐ FuFFENS 2 0 0 2