This is the work of fabulous creativity. Airto largely leaves behind the fusion stuff. The musical stew is familiar yet mysterious and seductive. Twists and turns kept me riveted to my chair and I was transported to another world. A world with Brazilian feeling but with other worldly influences that can't be pinned down. Identity is good name for this album because it so clearly is a manifestation of an artist with clear and beautiful roots from Brazil but mixes with a magic that transcends time and place. Highly recommended, and for hifi nuts the production delivers!
Other than a couple of obscure efforts for Buddah in 1970, this was percussionist Airto's debut as a leader, and this is still his most famous record. A brass section arranged by Don Sebesky is heard on two tracks, and such all-stars as keyboardist Chick Corea, flutist Hubert Laws, the reeds of Joe Farrell, and even pianist Keith Jarrett and guitarist George Benson make worthwhile appearances. Flora Purim joins Airto in the one vocal piece ("Free"), and "Return to Forever" receives an early recording. The music combines together jazz, Brazilian music, and aspects of fusion and funk quite successfully.
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.
One of Airto's best albums ever – and one that we never tire of hearing! There's a sublime quality here that steps perfectly right off of the percussionist's groundbreaking work with Quarteto Novo! Airto's joined on this set by Hermeto Pascoal – also from the Quarteto Novo group – as well as wife Flora Purim, bassist Ron Carter, and the always-great Sivuca – who plays guitar on the record. There's a swirling blend of jazz, Brazilian rhythms, and free-thinking soul to the set – one that's never been captured so perfectly on other Airto albums – and which has a lean, clean sound that's simply beautiful. The overall sound is quite rootsy, without many fusion touches at all – and Hermeto's reed work really brings in a great edge to the whole session – one that makes the album differ a bit from much of the other Airto/Flora work of the time.