Airto Moreira -

Airto Moreira (born Aug. 5, 1941) is a Brazilian vocalist and percussionist, married to vocalist Flora Purim since 1967. The couple featured in the original lineup of Chick Corea’s Return to Forever, appearing on the 1972 album that launched the name and its 1973 followup Light as a Feather. As a solo artist, Moreira released nine solo albums between 1970 and 1979 on Buddah, CTI, Arista, and Warner.

Background

He was born Airto Guimorvan Moreira in Itaiópolis, Brazil, and raised in a family of folk healers in Curitiba. As a small child, he would make vigorous body movements and play percussion on the floor whenever songs came on the radio.

Moreira took up percussion and won his first talent contest at age six. At 13, he started doing paid engagements as a percussionist and singer in local bands. He moved to São Paulo at age 17 and gigged regularly on the city’s nightclub circuit.

In 1963, Moreira earned one of his earliest recording credits (as Airto Guimorvã) on an album by Antonio Guimarães. He then formed the Sambalanço Trio with bassist Humberto Clayber. They released the album Vol. 1 on Som Maior in 1964. After the arrival of keyboardist Hermeto Pascoal, they became the Sambrasa Trio and released Em Som Maior in 1965. During this period, Moreira also played on albums by Geraldo Cunha, Raulzinho, Sansa Trio, and Octeto De César Camargo Mariano.

In 1967, Moreira and Pascoal formed Quarteto Novo and issued a self-titled album on Odeon. That year, he married singer Flora Purim. Seeking refuge from their country’s political turmoil, they fled to New York City.

In 1969, the couple performed on the albums Moondreams by Walter Wanderley (CTI) and How Insensitive by Duke Pearson (Blue Note). The following year, they backed Pascoal on his debut solo album Hermeto.

Moreira signed to Buddah and debuted as a solo artist with the 1970 album Natural Feelings.

Natural Feelings

Airto Moreira released his debut solo album, Natural Feelings, in November 1970 on Buddah and Skye.

Moreira places hand percussion and voice in the foreground, then sets Ron Carter’s bass beneath Hermeto Pascoal’s piano, organ, harpsichord, and flute. Sivuca cuts the harmony into short guitar strokes, while Flora Purim enters in brief vocal phrases that blur chant and lead line. The writing split between Airto and Hermeto yields compact songs and longer instrumentals.

“Terror” takes the longest span on side one and interrupts a run of shorter titles. Side two opens with Hermeto’s “Andei,” returns to Airto’s earlier Quarteto Novo piece “Mixing,” and closes with Hermeto’s “The Tunnel” and “Frevo” before Airto’s brief “Liamba.”

A1. “Alue” (3:55) — Moreira, Purim
A2. “Xibaba (She-ba-ba)” (4:35) — Moreira
A3. “Terror” (9:45) — Pascoal
A4. “Bebe” (3:00) — Pascoal

B1. “Andei” (2:55) — Pascoal
B2. “Mixing” (4:25) — Moreira — first released by Quarteto Novo before Airto cut this version for Natural Feelings
B3. “The Tunnel” (3:00) — Pascoal
B4. “Frevo” (2:35) — Pascoal
B5. “Liamba” (2:15) — Moreira

Airto recorded Natural Feelings at A&R Recording Studios in New York with producers Bob Small and Gary McFarland and recording supervisor/co-producer Dave Sanders.

The sleeve reproduces Hieronymus Bosch’s St. John of Patmos.

Seeds on the Ground

Airto Moreira released his second solo album, Seeds on the Ground: The Natural Sounds of Airto, in July 1971 on Buddah.

Moreira pulls the record toward Brazilian folk material and voice-led ensemble writing. Flora Purim carries the vocal line beside Airto, Ron Carter anchors the low end, Hermeto Pascoal supplies keyboards and stringed colors, and Severino de Oliveira adds accordion and guitar; Dom Um Romão also enters the percussion line.

“Andei” opens in a short form, “O Sonho” and “Uri” expand the side, and “Papo Furado” cuts the first half to a smaller span. Side two begins with “Juntos,” then gives the rest of the album to the two-part “O Galho da Roseira.” “Uri” places Airto and Purim inside a folk melody that breaks toward open chanting.

A1. “Andei (I Walked)” (2:40) — Hermeto Pascoal
A2. “O Sonho (Moon Dreams)” (7:45) — Airto Moreira
A3. “Uri (Wind)” (6:10) — Airto Moreira
A4. “Papo Furado (Jive Talking)” (3:29) — Airto Moreira
B1. “Juntos (We Love)” (3:22) — Airto Moreira
B2. “O Galho da Roseira (The Branches of the Rose Tree)” (7:54) — Airto Moreira
B3. “O Galho da Roseira (The Branches of the Rose Tree) Part II” (8:21) — Airto Moreira

Airto produced Seeds on the Ground. The album uses a gatefold sleeve with liner notes by Airto, and Hal Wilson shot the back-cover and inside photography.

Free

Airto Moreira released his third solo album, Free on October 24, 1972, on CTI. It was his first album for Creed Taylor’s label and his first entry on Billboard’s jazz album chart.

Moreira places percussion and voice at the center, then surrounds them with CTI brass, reeds, flute, piano, guitar, and two bass chairs. Don Sebesky’s brass writing widens the large-ensemble passages, while Chick Corea, Keith Jarrett, Joe Farrell, Hubert Laws, George Benson, Jay Berliner, Ron Carter, and Stanley Clarke shift the record between orchestral breadth and smaller-group detail.

“Return to Forever” and “Flora’s Song” fill side one in long form. The title track opens side two with Airto and Purim in the vocal line and Airto on wood flute, then “Lucky Southern” and “Creek (Arroio)” cut the album down to two shorter closing pieces on the original LP.

A1. “Return to Forever” (10:15) — Chick Corea
A2. “Flora’s Song” (8:30) — Flora Purim
B1. “Free” (10:35) — Airto Moreira
B2. “Lucky Southern” (2:35) — Keith Jarrett
B3. “Creek (Arroio)” (6:00) — Victor Brazil

Airto recorded Free at Van Gelder Studio in Englewood Cliffs in March, April, and May 1972 with producer Creed Taylor and engineer Rudy Van Gelder. Bob Ciano handled the design, and Pete Turner shot the cover for the gatefold sleeve.

Free reached No. 30 on Billboard’s jazz album chart.

Fingers

Airto released his fourth solo album, Fingers, in July 1973 on CTI.

Moreira cuts the album with a compact working band. Opa keyboardist Hugo Fattoruso supplies organ, electric piano, harmonica, and vocal parts, David Amaro splits the guitar work between acoustic and electric lines, Ringo Thielmann holds the bass part, Jorge Fattoruso doubles the drum attack, and Flora Purim adds percussion and voice beside Airto.

The record opens with “Fingers (El Rada),” a version of a Ruben Rada and Eduardo Useta piece first issued by Totem under the title “Dedos.” Hugo Fattoruso wrote “Romance of Death,” “Wind Chant,” and “Parana,” Purim wrote “San Francisco River,” and Airto shared credits on “Merry-Go-Round” and “Tombo in 7/4.”

A1. “Fingers (El Rada)” (4:30) — Ruben Rada, Eduardo Useta
A2. “Romance of Death” (5:35) — Hugo Fattoruso
A3. “Merry-Go-Round” (2:40) — Airto Moreira, Flora Purim
A4. “Wind Chant” (5:45) — Hugo Fattoruso
B1. “Parana” (6:00) — Hugo Fattoruso
B2. “San Francisco River” (4:05) — Flora Purim
B3. “Tombo in 7/4” (6:20) — Airto Moreira, Hugo Fattoruso

Airto recorded Fingers at Van Gelder Studio in April 1973 with producer Creed Taylor and engineer Rudy Van Gelder. Pete Turner shot the cover, Alen MacWeeney supplied the additional photography, and Rob Ciano handled the design. Some copies also carried a CTI poster insert.

CTI issued “Parana” (b/w “Merry-Go-Round”) as OJ-15 in 1973. The label also issued “Tombo / Fingers (El Rada)” as OJ-17 that year. Fingers reached No. 18 on Billboard’s jazz album chart.

Virgin Land

Airto released his fifth album, Virgin Land, in 1974 on Salvation. Billy Cobham produced the album, and the sessions split between Los Angeles and New York in February 1974.

Moreira builds the record from a larger keyboard and reed palette than the previous album. George Duke, Milcho Leviev, and Kenny Ascher divide the piano, electric piano, synthesizer, mellotron, and keyboard parts, while David Amaro and Gabriel DeLorme cut the guitar line against Stanley Clarke and Alex Blake. Flora Purim returns in the vocal seat, and Eddie Daniels, George Marge, and Jane Taylor widen the upper register with clarinet, piccolo, oboe, and bassoon.

“Stanley’s Tune” opens side one under Stanley Clarke’s arrangement credit, and “Musikana” and the title piece complete that half. Side two turns to Milcho Leviev’s “Peasant Dance” and “Lydian Riff,” then closes with “Hot Sand” and “I Don’t Have to Do What I Don’t Want to Do.”

A1. “Stanley’s Tune” (4:31) — Stanley Clarke
A2. “Musikana” (7:03) — Gabriel DeLorme
A3. “Virgin Land” (8:15) — Airto Moreira
B1. “Peasant Dance” (3:30) — Milcho Leviev
B2. “Lydian Riff” (7:15) — Milcho Leviev
B3. “Hot Sand” (5:30) — Airto Moreira
B4. “I Don’t Have to Do What I Don’t Want to Do” (3:16) — Gabriel DeLorme, Airto Moreira

Airto recorded “Stanley’s Tune,” “Musikana,” “Virgin Land,” and “Hot Sand” at Wally Heider Recording in Los Angeles in February 1974. He recorded “Peasant Dance,” “Lydian Riff,” and “I Don’t Have to Do What I Don’t Want to Do” at Electric Lady Studios in New York later that month with producer Billy Cobham. Pete Turner shot the jacket image, and Bob Ciano handled the design.

In Concert

Deodato and Airto released In Concert in March 1974 on CTI. The album draws from the Felt Forum concert at Madison Square Garden on April 20, 1973, a CTI event staged around Deodato’s Prelude run.

Deodato handles three cuts with keyboards over John Giulino’s bass and John Tropea’s guitar, while Rick Marotta, Rubens Bassini, and Gilmore Degap drive the rhythm line under a brass-and-baritone section. Airto takes the other two tracks with Flora Purim, David Amaro, and Hugo Fattoruso, which shifts the album from Deodato’s arranged ensemble attack to chant, hand percussion, and piano-led dialogue.

The set opens with the Steely Dan song “Do It Again,” then turns to Deodato’s “Spirit of Summer” and Hugo Fattoruso’s “Parana.” Side two carries Deodato and John Tropea’s “Tropea” before Airto closes the LP with “Branches,” written by Hermeto Pascoal and Divina Eulália Oliveira.

A1. “Do It Again” (6:29) — Walter Becker, Donald Fagen
A2. “Spirit of Summer” (5:33) — Eumir Deodato
A3. “Parana” (6:50) — Hugo Fattoruso
B1. “Tropea” (8:50) — Eumir Deodato, John Tropea
B2. “Branches” (7:14) — Hermeto Pascoal, Divina Eulália Oliveira

Deodato and Airto documented the Felt Forum set with producer Creed Taylor and engineer Rudy Van Gelder. Bob James supervised the arrangements. Pete Turner shot the cover, Dean Brown and Frederico Mendes supplied the back photographs, and Bob Ciano designed the sleeve.

In Concert reached No. 114 on Billboard’s Top LPs & Tape chart and No. 29 on the Billboard jazz LP chart.

Identity

Airto released his sixth solo studio album, Identity, in November 1975 on Arista.

Moreira sets percussion and voice against synthesizers by Egberto Gismonti and Herbie Hancock, then threads Wayne Shorter’s soprano and tenor saxophone through David Amaro’s guitar and Raul de Souza’s trombone. John Heard, John B. Williams, and Louis Johnson divide the bass work, while Roberto da Silva enters on drums and Flora Purim appears in the vocal line.

The writing splits between Airto, Egberto Gismonti, Hermeto Pascoal, Geraldo Carneiro, Paulinho Tapajós, and Novelli. Side one runs from “The Magicians” through the short title piece and “Encounter.” Side two opens with “Wake Up Song (Baião do Acordar) / Café,” then turns to Hermeto’s “Mãe Cambina” and closes with “Flora on My Mind.”

A1. “The Magicians (Bruxos)” (5:20) — Airto Moreira, Egberto Gismonti, Geraldo Carneiro
A2. “Tales from Home (Lendas)” (5:17) — Airto Moreira, Egberto Gismonti, Paulinho Tapajós
A3. “Identity” (2:04)
A4. “Encounter (Encontro no Bar)” (4:54) — Egberto Gismonti, Geraldo Carneiro
B1. “Wake Up Song (Baião do Acordar) / Café” (7:26) — Egberto Gismonti, Novelli
B2. “Mãe Cambina” (5:34) — Hermeto Pascoal
B3. “Flora on My Mind” (6:11)

Airto recorded Identity at Record Plant, Kendun Recorders, and Wally Heider in Los Angeles with co-producer Herbie Hancock and engineer Phil Schier. Westlake Audio handled the mix. Ren Deaton oversaw the art direction and graphics, and Herb Greene shared the photography with Deaton.

Promises of the Sun

Airto released his seventh solo album, Promises of the Sun, in 1976 on Arista.

Moreira pulls percussion, wood flutes, vocal effects, and backing voices around Hugo Fattoruso’s keyboards, Novelli’s bass and acoustic guitar, and Toninho Horta’s guitar. Flora Purim enters in the vocal line, while Milton Nascimento and Raul de Souza appear on the title piece. The album narrows the personnel field and leans harder on vocal refrains, repeated figures, and guitar-led accompaniment.

Airto wrote “Batucada,” “Zuei,” “Candango,” and “Georgiana.” Side one places those titles around the Fernando Brant–Milton Nascimento title song. Side two opens with “Circo Marimbondo,” then turns to Novelli’s “La de Casa” and “Ruas do Recife” before the long closing “Georgiana.” “Promises of the Sun” carries Milton Nascimento’s lead vocal and acoustic guitar with Raul de Souza on trombone.

A1. “Batucada” (4:42)
A2. “Zuei” (3:56)
A3. “Promises of the Sun” (5:27) — Fernando Brant, Milton Nascimento
A4. “Candango” (3:56)
B1. “Circo Marimbondo” (4:15) — Ronaldo Bastos, Milton Nascimento
B2. “La de Casa” (4:04) — Novelli
B3. “Ruas do Recife” (3:19) — Novelli, Marcos Valle
B4. “Georgiana” (6:46)

Airto recorded Promises of the Sun at Paramount Recording Studio in Los Angeles in 1976. He produced the album with Flora Purim and Dick Cutler, and Kerry McNabb handled the engineering and mix. John Golden mastered the album.

Original copies carried a credit insert. Joel Sussman and Stuart Cutler supplied the photography.

I’m Fine, How Are You?

Airto released his eighth studio album, I’m Fine, How Are You?, in 1977 on Warner Bros.

Moreira keeps the percussion line in front, then sets Hugo Fattoruso’s keyboards against electric bass from Byron Miller, Abraham Laboriel, and Jaco Pastorius. Charles Johnson holds the core guitar chair, Tom Scott enters on saxophone and flute, Raul de Souza colors two tracks, and Ruben Rada and Flora Purim take guest vocal spots. Laudir de Oliveira and Manolo Badrena widen the percussion section on selected cuts.

The album opens with the title track, then turns to Rada-Fattoruso pieces “Meni Devol,” “La Tumbadora,” and “La Cumbia De Andres.” Airto’s “The Happy People” and “Celebration Suite” flank Flora Purim’s “The Road Is Hard (But We’re Going To Make It),” and “Nativity” closes the LP with Jaco Pastorius in the bass seat.

A1. “I’m Fine, How Are You?” (5:11)
A2. “Meni Devol” (5:11) — Ruben Rada, Hugo Fattoruso
A3. “La Tumbadora” (3:39) — Ruben Rada, Hugo Fattoruso
A4. “The Happy People” (3:48)
B1. “The Road Is Hard (But We’re Going To Make It)” (5:32) — Flora Purim
B2. “La Cumbia De Andres” (4:24) — Ruben Rada, Hugo Fattoruso
B3. “Celebration Suite” (4:16)
B4. “Nativity” (6:44) — Airto Moreira, Jaco Pastorius, Kerry McNabb

Airto recorded I’m Fine, How Are You? at Paramount Studios in Hollywood in July and August 1977. He produced the album with Flora Purim for Zara Productions, Kerry McNabb served as co-producer and engineer, and Kendun handled the mastering. John Cabalka and Brad Kanawyer designed the sleeve, Claude Mougin shot the photographs, and Julian Falk supplied the kite design.

Touching You…Touching Me

Airto Moreira released his ninth album, Touching You…Touching Me, in 1979 on Warner Bros.

Bassist Alphonso Johnson holds the floor under keyboards by George Duke, Marcos Valle, Hugo Fattoruso, Michel Colombier, Bayete, and José Roberto Bertrami. Airto places percussion and lead voice at the front, while Joe Farrell cuts through the thicker arrangements on saxophone and Flora Purim enters on two vocal titles.

“Amajour” opens with Herb Alpert in the brass line and The Sweet Inspirations in the background chorus. “Partido Alto” and “It’s Not a Ballad” place Purim inside the vocal line, “And Then We Touched the Sky” turns to an Alphonso Johnson composition, and “Introduction to the End” closes the album as a short percussion coda.

A1. “Amajour” (4:53) — George Sopuch
A2. “Partido Alto” (5:38) — Alex Malheiros, José Roberto Bertrami
A3. “Open Space” (3:08) — Airto Moreira, Hugo Fattoruso
A4. “Heartbeat” (4:21) — Airto Moreira, Michel Colombier
A5. “Toque de Cuica” (3:56) — José Roberto Bertrami
B1. “Move It on Up” (3:39) — G. T. Moore
B2. “And Then We Touched the Sky” (4:40) — Alphonso Johnson
B3. “Tempos Atras (Dreams Are Real)” (5:40) — José Roberto Bertrami
B4. “It’s Not a Ballad” (4:14) — José Roberto Bertrami
B5. “Introduction to the End” (1:43) — Airto Moreira

Airto recorded Touching You…Touching Me at Conway Studios and the Village Recorder with co-producer Bob Monaco. Roger Harris handled the basic tracks and overdubs, Denis Degher handled mixing overdubs, Kevin Beamish handled additional overdubs, and Jeff Sanders mastered the album. John Cabalka directed the art, and Jim McCrary shot the sleeve.

Däfos

Mickey Hart, Airto, and Flora Purim released Däfos in 1983 on Reference Recordings.

Hart and Airto build the album from hand percussion, sarons, berimbaus, tar, tubular bells, beam, rainstick, electric bass, and woodwinds, while Purim carries the vocal line inside the percussion field. José Lorenzo and Batucaje widen the Brazilian side of the ensemble, and the recording preserves the performance without overdubs.

“Dry Sands of the Desert” and “Ice of the North” open the sequence with short scene-setting pieces. “Reunion I / Reunion II / Reunion III” stretches toward the ten-minute mark, “Saudaçao Popular” places Lorenzo and Batucaje inside the writing credit, and “Passage” closes the album in its longest span.

A1. “Dry Sands of the Desert” (5:05) — Mickey Hart, Steve Douglas, Shabda Khan, Hamza El Din
A2. “Ice of the North” (1:20) — Mickey Hart, Jody Diamond
A3. “Reunion I / Reunion II / Reunion III” (9:52) — Bobby Vega, Flora Purim, Airto Moreira, Mickey Hart
A4. “Saudaçao Popular” (5:12) — Mickey Hart, Airto Moreira, Flora Purim, José Lorenzo, Batucaje
B1. “Subterranean Caves of Kronos” (2:12) — Mickey Hart
B2. “The Gates of Däfos” (3:55) — Mickey Hart
B3. “Passage” (10:55) — Mickey Hart, Airto Moreira, Flora Purim, José Lorenzo

Hart, Airto, and Purim recorded Däfos at the Japan Center Theatre in San Francisco on October 24, 1982, and March 21, 1983. Hart and Airto produced the album with Keith O. Johnson and Tom Flye as engineers. J.E. Tully designed the sleeve, and Tony Plewik and John Werner supplied photographs.

Latino: Aqui se puede

Airto Moreira released Latino: Aqui se puede in 1986 on Montuno.

Moreira builds the album around percussion, lead voice, and Latin song structures, then threads Joe Farrell’s reeds through Jorge Dalto’s electric piano and Alphonso Johnson’s bass. Flora Purim returns in the vocal line, while Oscar Castro-Neves and Raul de Souza broaden the harmony and brass color.

The title piece carries a co-credit from Airto and Tite Curet Alonso. “Sin Salida” comes from Ruben Rada and Hugo Fattoruso, “Jump” comes from Jeff Elliot, “The Return” comes from Kei Akagi, “Sete Sementes” comes from Geni da Silva, and “Tombo” closes the album under Airto and Purim’s joint credit.

A1. “Aqui se puede” (3:33) — Airto Moreira, Tite Curet Alonso
A2. “Sin Salida” (4:27) — Ruben Rada, Hugo Fattoruso
A3. “Jump” (4:10) — Jeff Elliot
A4. “The Return” (8:18) — Kei Akagi
B1. “Anatelio (The Happy People)” (4:42) — Airto Moreira
B2. “Sete Sementes” (4:14) — Geni da Silva
B3. “Tombo” (7:50) — Airto Moreira, Flora Purim

Airto recorded Latino: Aqui se puede in California with producer Flora Purim. Available credits also place Dennys Degher in the engineering role. Original copies came in a gatefold sleeve, and some copies carried a printed inner sleeve or a front sticker that listed featured artists.

Three-Way Mirror

Airto Moreira, Flora Purim, and Joe Farrell released Three-Way Mirror on October 27, 1987, on Reference Recordings.

Moreira places percussion and voice against Joe Farrell’s tenor and soprano saxophone and flute, then sets José Neto’s guitar against bass from Randy Tico and Mark Egan. Kei Akagi carries the keyboard chair, and the small ensemble keeps the record close to the trio core even when the rhythm bed thickens.

“Treme Terra” opens the album in a short form, “Misturada” and “The Return” widen the first half, and the title piece sits at the center. “São Francisco River” returns to Airto’s earlier book, “Começar de Nôva” cuts the sequence to a brief span, “Lilia” takes the longest stretch, and “Plane to the Trane” closes the set.

1. “Treme Terra” (4:04)
2. “Misturada” (6:15)
3. “The Return” (7:02)
4. “Three-Way Mirror” (5:10)
5. “São Francisco River” (4:45)
6. “Começar de Nôva” (3:45)
7. “Lilia” (12:52)
8. “Plane to the Trane” (9:20)

Airto, Purim, and Farrell recorded Three-Way Mirror at the Civic Auditorium in Oxnard, California, on May 5, 1985. Keith O. Johnson handled the recording, Airto Moreira produced the album, and J. Tamblyn Henderson and Marcia Martin served in executive-production roles. The release also served as a tribute to Farrell after his death in January 1986, ten months after the performance.

Discography: