Three wonderful albums from this legendary Brazilian singer – all presented in a single set! First up is Nothing Will Be As It Was Tomorrow – a record that's quite different from Flora's earlier work, but in a way that we find very compelling! The record was produced by Leon Ndugu Chancler, and it's got a smooth fusion sound that's kind of in a southern California R&B mode, played by a huge range of excellent Brazilian and west coast talents that include Patrice Rushen, Dorothy Ashby, Fred Jackson, Raul De Souza, Toninho Horta, and Airto. While this sound overwhelms the core of Flora's usual Brazilian jazz approach, it also expands some of the tracks to a great groove – with Flora's vocals on top, stretching out in a whole new way! Includes a great English language version of the Milton Nascimento classic "Nada Sera Como Antes", plus the cuts "You Love Me Only", "I'm Coming For Your Love", "Corre Nina", "Angels", "Bridges", and "Fairy Tale Song". Every Day Every Night is a beautifully soulful record from Flora Purim – still awash with touches from her Brazilian roots, but also done with a great 70s LA sound! Airto's helping Flora out on production, but the real hero here is Michel Colombier – who handles most of the arrangements and wrote a good deal of the tunes with Purim and Airto – mixing his own expansive studio talents with their organically-forged groove, in a way that makes the record a real standout from the California fusion scene of the 70s! Players include Randy Brecker, Lee Ritenour, George Duke, Herbie Hancock, Harvey Mason, and other jazz heavyweights – and titles include "The Hope", "I Just Don't Know", "In Brasil", "Blues Ballad", "Why I'm Alone", "Walking Away", and "Samba Michel". Carry On is one of Flora Purim's more R&B-sounding albums from the 70s, produced by George Duke with an appreciation for Flora's Brazilian jazz roots, but with a smoother sound that's in keeping with Duke's own work of the time! The combination is pretty sweet – a professional culmination of the mixture of fusion and Brazilian jazz that had been happening in the San Francisco scene during most of the 70s, and featuring many of the musicians who had helped make that groove so strong. Players include Airto, Sheila Escovedo, Joe Farrell, Ronnie Foster, Bobby Lyle, and Larry Williams – and tracks include "Niura Is Coming Back", "From The Lonely Afternoon", "Freeway Jam", "Beijo Partido", "Corine", and "Love Lock". Includes bonus tracks too – "Tango Blues" and "Sad Song". (Brazil, Vocalists) CD

(Brazil, Vocalists) CD

One of Flora Purim's 70s classics – an album recorded with that soaring breezy vocal style that she virtually invented – heard here before it got too old, and too copied by other singers! The set's a live one, filled with lots of energy – and recorded before a very enthusiastic crowd at the 1974 Montreux Jazz Fest. Players include David Amaro on guitar, Pat Rebillot and Wagner Tiso on electric piano and organ, Ron Carter on bass, Roberta Silva on drums, Airto on a range of percussion – and guest vocals and a bit of guitar from Milton Nascimento on one track! Airto, Nascimento, and Tiso arranged the set – and tracks include "O Cantador", "Bridge", "500 Miles High", "Cravo E Canela", "Baia", "Uri", and "Jive Talk". (Brazil, Vocalists) CD

(Brazil, Vocalists) CD

The important first album by singer Judy Roberts – an excellent jazz talent with a sound that's up there with the best jazz fusion vocalists of the 70s! Judy comes at the end of a decade that scored big recordings for singers like Flora Purim and Urzula Dudziak – and she's easily as great as any of those three, and often sadly lost to time because of the later years in which she recorded, and the Chicago scene in which she made her home! This first self-produced album is a rare groovehound's gem – filled with soaring numbers that feature Roberts on both vocals and keyboards – including electric piano, Arp, clavinet, and other keyboards. Titles include "Fantasy", "Thumbs", "Never Was Love", "Dandelion", "Yes Indeed", and "Watercolors". CD