In 1979, jazz was no longer George Duke's primary focus; his albums were emphasizing soul/funk, and many of the R&B fans who knew him for late '70s hits, like Dukey Stick, I Want You for Myself, and Reach for It, knew little or nothing about his work with Cannonball Adderley, Billy Cobham, or Jean-Luc Ponty. But Duke was still producing some jazz albums here and there, although they weren't necessarily straight ahead. Even though Flora Purim's Carry On, which Duke produced, is primarily a Brazilian jazz album, it isn't for jazz purists -- rather, Purim provides an eclectic blend of jazz, samba, R&B/funk, rock, and pop. Purim has many inspired moments on this LP and is joined by members of Duke's late '70s band -- bassist Byron Miller, drummers Ricky Lawson and Leon Ndugu Chancler, percussionist Sheila Escovedo (who became Sheila E after joining forces with Prince in 1984), keyboardist Bobby Lyle, trumpeter Jerry Hey, and saxman Joe Farrell. In addition to excelling on Duke's funky title song, Gilberto Gil's Sarara, and Toninho Horta's Beijo Partido, Purim really lets loose on Milton Nascimento's From the Lonely Afternoon. Those who associate From the Lonely Afternoon with Wayne Shorter's superb Native Dancer album will find Purim's interpretation to be faster and more intense. ~ Alex Henderson, Rovi

1		Sarara
2		From the Lonely Afternoon
3		Niura Is Coming Back
4		Once I Ran Away
5		Carry On
6		Love Lock
7		Corine
8		Islands In the Sun [Interlude]
9		Beijo Partido (Broken Kiss)
10		Freeway Jam

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