Flora Purim
By Alex Teitz
When one speaks of Brazillian Jazz, it is impossible to go for long without talking about Flora Purim. Purim came to America in the 60’s from Rio de Janerio. She met and married Airto Moreira, and continues to make music with him today. Her latest, and 28th album is Perpetual Emotion, a beautiful, introspective look at her life through amazing songs. One song, “Fotografia” comes from Antonio Carlos Jobim and Brazil. Purim has been twice nominated for a Grammy for Best Female Jazz Performance. FEMMUSIC was delighted to talk to this jazz legend. For more information visit Wikipedia
FEMMUSIC: Can you describe your songwriting technique?
FP: Well it varies. Sometimes I think of a melody, no lyrics, maybe a bassline or a groove, and later on I present it at rehearsal and the musicians kind of collaborate. Other times I am by myself practicing guitar and I get into a niche and sometimes the lyrics come together with songs.
FEMMUSIC: How was it working with Oscar Castro Neves for “Fotografia” on Perpetual Emotion?
FP: He’s a genius. He knows everything. Oscar was close to (Antonio Carlos) Jobim and he knew exactly what Jobim meant and which chords. Impeccable.
FEMMUSIC: What was the best experience making Perpetual Emotion?
FP: Well there were very many great experiences. One of the best ones I remember at hand right now is when first met Christian Jacob and Trey Henry, the bass player and the piano player and it was my first time with them. I wasn’t very sure they could cut it but they came out as pros as they, not just cut it, but they blew my mind with the pace they had and their techniques and I truly fell in love with the magic that this rhythm session gave to me.
FEMMUSIC: I understand that the tracks for this album were done in a very short time.
FP: That’s right because everytime we played a song, it was first take. And it was hard to think we could do a better take. We probably could, but it would be like a mellow performance. Every take will be a performance, and every take will be a little different.
FEMMUSIC: What was the biggest challenge making Perpetual Emotion?
FP: It was to accept new way to…mix like putting the voice right in front on your face. So usually I am among the musicians because I do a lot of vocalize and the words and I have a tendency to use my voice to enhance the texture of this or that instrument. Now, this time, this was my record, so the producers made sure that my voice was all the way up front and dry with no effects. It was just a great experience for me to find out that I could do that.
FEMMUSIC: How do you think your music and your approach to music has changed over time?
FP: Well basically I think my music’s still the same, the records are changing. I have my set ways to approach music. Music, if you are not passionate for the music, if you don’t have passion, it won’t come out as good. So I first try to fall in love with my music and then I try to dissect the song, part by part, primarily make sense of the whole thing so when I put it together it flows like if I were having a conversation.
FEMMUSIC: What one thing would you like to change about the music industry itself?
FP: Well I wish they would give more opportunity to alternative music. Kind of be more open to mix old performers with young performers and have them play side by side and help each other on the growing process.
FEMMUSIC: As a woman in the music industry, have you been discriminated against?
FP: Not really. I was always embraced with a lot of love. I got here in 1967 and since then I was adopted by greatest musician in the world. I didn’t really feel any segregation, any prejudice from any part.
FEMMUSIC: What advice would you have for someone just starting out in this business?
FP: To work. To work a lot by himself, by herself. To do as much music as possible and practice so when he’s face to face with his opportunity he’s ready for it.