Purim moves from wordless vocal soaring to lyrics in English and Portuguese, ballads to percussion-driven workouts.
Stories to Tell opens with a sense of ease and natural movement. You hear Flora Purim's voice first — sometimes pure and lyrical, sometimes split into layered harmonies, sometimes abandoned entirely for pure instrumental color. The band breathes around her: Airto Moreira on percussion, George Duke on synthesizer, Miroslav Vitouš on bass and synth, all of them responding to where her voice goes rather than dictating the terms. It's a vocalist's album, which means it's also a musicians' album — the arrangements make space.
Purim had spent years as a featured vocalist in fusion and jazz contexts, and by 1974 she knew exactly what she wanted to do. This record lets her move freely between idioms. There are up-tempo percussion-driven pieces where the rhythm section locks tight and everyone flies. There are ballads with just acoustic guitar — Earl Klugh or Oscar Castro-Neves — where her voice becomes the only real instrument. She sings in Portuguese, in English, wordlessly. The album doesn't need to resolve those choices into a single identity because the point is her ability to inhabit each one completely.
AllMusic reviewer Jim Newsom gave it four stars, and the assessment fits: this is Purim doing what she'd proven she could do, with musicians who understood how to support rather than overshadow. It's solid, confident work from early in her solo career — not a departure, not an experiment, but a statement of what a vocalist could accomplish when given real collaborators and real freedom.