Flora ミートボディ

Airto Moreira and Flora Purim, the legendary King and Queen of Brazilian Jazz, have captivated audiences for over six decades with their vibrant albums and exhilarating live performances. With a dedicated global fan base including the UK’s jazz funk and jazz dance scene to Japan’s concert halls, the power couple continues to make waves in the industry – Flora’s ‘If You Will’ (2022) album was even nominated for a Grammy!

This Fusion gem puts one of the most underated vocalist together with a few 70's fusion heavyweights and out comes a very enjoyable recording. George Duke, Alphonso Johnson, Airto and friends put out some of the hippest fusion in the 70' & 80's. Flora uses their musical abilities to the max on "That's What She Said." Using a variety of wordless vocal technics layered over electric keyboards and driving rhythms, these songs capture the fun and freedom that fusion later lost as it grew more commercial. Flora's entire catalog is ripe with music like this.

One of the all-time greats of Brazilian Jazz-Fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’. This album is a triumphant celebration, exploring new compositions alongside fresh versions of some of Flora’s favourite songs. Title track ‘If You Will’ revives her past collaborations with producer and long-time friend, the legendary George Duke.

The David harp is a type of harp from the German Baroque period. The figure of King David is usually depicted on the head of the harp column. The strings are fitted with brays, which gives this instrument a typical buzzing sound. In addition to the David harp, however, a number of other types of harp were used in baroque Germany, such as the single-row hooked harp, on which the pitch could be altered with hooks on the strings, or double-row chromatic harps.

This is the album that launched Flora Purim's solo career with great promise following her magnificent stint with Chick Corea's first incarnation of Return to Forever. Most of the tracks on this album sound like they would have fit very nicely onto one of RTF's first two LPs, with bandmate Stanley Clarke not only lending support on electric and acoustic bass, but also contributing original compositions and arrangements to the mix. The rest of the supporting cast is not too shabby either, including sax and flute man Joe Henderson, keyboard whiz kid George Duke, guitarist David Amaro, and Purim's other half, percussion legend Airto Moreira. Clarke's funky "Dr. Jive" and lyrical "Butterfly Dreams" are standout tracks here, as is the upbeat Egberto Gismonti composition "Moon Dreams"…

Percussionist Airto Moreira, his wife, vocalist Flora Purim, and Joe Farrell (heard on flute, soprano and tenor) had teamed up several times through the years, most notably in the original version of Return To Forever. Farrell would pass away just eight months after this album, but is still heard in fine form on the interesting set.An atmospheric and at times haunting effort.

This is the album that launched Flora Purim's solo career with great promise following her magnificent stint with Chick Corea's first incarnation of Return to Forever. Most of the tracks on this album sound like they would have fit very nicely onto one of RTF's first two LPs, with bandmate Stanley Clarke not only lending support on electric and acoustic bass, but also contributing original compositions and arrangements to the mix. The rest of the supporting cast is not too shabby either, including sax and flute man Joe Henderson, keyboard whiz kid George Duke, guitarist David Amaro, and Purim's other half, percussion legend Airto Moreira. Clarke's funky "Dr. Jive" and lyrical "Butterfly Dreams" are standout tracks here, as is the upbeat Egberto Gismonti composition "Moon Dreams"…

On her solo debut CD, Muffat Meets Handel, the successful young harpsichordist Flóra Fábri performs harpsichord pieces by precisely these two composers. Although the dates of the two musicians overlap for a period of almost seventy years, the same thing happened in this case as with many of Handel’s contemporaries: the two never met personally. However, unlike Bach and Mattheson, here musical awareness of the other did not operate in accordance with a 'one-way-street principle': it was not only Muffat who admired Handel and arranged his music; the process also functioned the other way around.

Count Pirro Capacelli Albergati (1663-1735) was the descendent of one of the most eminent families of the Bolognese nobility, ambassador, member of the Council of Elders, and gonfalonier of the city of Bologna. Yet his signature on the title page of the collection of monodic cantatas entitled Corona dei pregi di Maria should come as no surprise. Music had for centuries been a well-established and important part of the education of noble youths, alongside rhetoric and dance. Moreover, in this specific case, Pirro Capacelli Albergati possessed exceptional musical talents which were widely acknowledged by his contemporaries and fellow Bolognese citizens.