Yana Purim: A Short Overview

During my first visit to Rio de Janeiro, way back in 1983, I was wandering through the record stores, looking my eyes out. So much music! Suddenly I noticed an LP by Yana Purim. Would she be related to Flora Purim? The possibility alone, made me buy the album. It was Flora Purim, together with Airto (Guimorvã) Moreira, who, in the 1970’s, introduced me to the sounds of Brazil. Without internet existing, I had to wait until being back home to find out more about Yana Purim. The self-titled album sounded great. Hints in the voice confirmed a close relationship with Flora Purim. I noticed Yana participated on Flora’s album Everyday-Everynight(1980) as well. It turned out Yana was the (younger) sister of Flora. Her self-titled LP showed the crystal clear voice of a wonderful singer. More relaxed than the voice of Flora with a more traditional repertoire. And with a most remarkable list of musicians. What to think of giants like guitarist Victor Biglione, pianist João Donato, drummer Pascoal Meirelles, saxophonist Nivaldo Ornelas, bassist Alex Malheiros (Azymuth) and many others? Among the repertoire are respectful renditions of “Segue” (Moacir Santos), “Até quem sabe” (João Donato) and “Canto triste” (Edu Lobo/ Vinícius de Moraes). But also some serious jazz with “Trane’s Soul Eyes” by pianist legend Mal Waldron. Yana wrote lyrics for that song. A surprising album, released in 1982 with liner notes by Herbie Hancock. Yana Purim already had a life in the USA before that. In 1977 she moved to LA and worked with trombone player Frank Rosolino, saxophonist Joe Farrell and others. She wrote lyrics for the music of Mal Waldron, Joe Sample, Chick Corea and Thad Jones, to name a few. In the 1990’s Yana moved to Paris, where she still resides now.

In 1986, she released the album For a Distant Love, which featured no one less than guitarist Luiz Bonfá! Brother-in-law Airto also has a prominent role on the album, along with guitarist Toninho Horta, Pascoal Meirelles (also on electronic drums!). The repertoire follows the one of her first albums: a mix of bossa and jazz. Highlights are “Manhã de Carnaval” (Luiz Bonfá), “Bebe” (Hermeto Pascoal), “For a Distant Love“ (Luiz Bonfá/Yana Purim), Chick Corea’s “Spain” and “Serenade” (Toninho Horta). Well, let’s say: this album only has highlights! The album was released again in 1989 as Bird of Brazil.

From 1987, the LP Harvest Time had a little change in repertoire, more jazz influences. Featured musicians are Herbie Hancock, Eumir Deodato, Alphonso Johnson (bass) among many others.

For me, her most beautiful album came out in 1994, Brasilyanas vol 1. It’s a duet album with the wonderful guitarist Heraldo do Monte (Recife, 1935). The voice of Yana plays in a fragile way with Brazilian standards. Including a surprising English version of “Atrás da Porta”. The performance of “Romance de Amor” is amazing. Heraldo do Monte is the perfect accompanist for Yana. His solo’s are well thought of and nothing short from masterful. He’s given a generous time to solo. The track list of this beauty is as follows:

Luíza (AC Jobim)
Atraz da Porta (Francis Hime – Yana Purim)
Romance de Amor (Public Domain – Yana Purim)
Isto Aqui o Que É (Ary Barroso)
Pra Você (Sylvio Cesar – Yana Purim)
Eu e a Brisa (Johnny Alf)
Canção do Amanhecer (Edu Lobo – Vinicius de Moraes)
My Foolish Heart (Ned Washington – Victor Young)
O Que Tinha de Ser (Tom Jobim)
Amor Amigo (Yana Purim)
Samba da Pergunta (Pingarilho – Marcos Vasconcelos)
Retrato em Branco e Preto (Tom Jobim)

There’s a new album Baladas, also a duo album, this time with pianist Jean Yves Candola. It’s the perfect follow up for Brasilyanas. Accompanied by the acoustic piano, Yana’s voice sounds a bit more expressive.

Yana Purim certainly deserves more attention with such a state of musical achievements. She’s a born bossa singer. Maybe it’s because her sis gained so much popularity and unwillingly threw a shadow over Yana’s vocal skills. But it’s never too late to get to know the work of Yana Purim!