Milton Nascimento, whose first hit had been
Cancao do Sal (1966), interpreted by Elis Regina,
debuted with a hybrid style that combined elements of pop, samba and jazz. Milton Nascimento (1967), also known as Travessia, Courage (1969),
Milton Nascimento (1969) and Milton (1970) featured erudite
lyrics and arrangements derived from progressive-rock.
His classic style peaked with the double-album Clube Da Esquina (1972)
and its cycle of sophisticated ballads (Cais, Cravo e Canela).
His fluid and energetic vocal style lent itself naturally to jazz, as the albums
of the 1970s proved: Milagre Dos Peixes (1973), another classic of his soundpainting style (percussion, piano, strings, guitar, falsetto vocals, jungle sounds), Minas (1975), Native Dancer (1975), with saxophonist Wayne Shorter, Geraes (1976), which ranks as one of his best, Milton (1977), featuring Airto Moreira, Herbie Hancock, Raul de Souza and Wayne Shorter, the new double-album Clube Da Esquina 2 (1978).
The mediocre pop of Journey to Dawn (1979), Sentinela (1980), Cacador De Mim (1981) and Anima (1982)
was partially redeemed by the Missa Dos Quilombos (1982).
During the 1980s he continued to release collections of classy pop-jazz
Encontros E Despedidas (1985), Corazon Americano (1986),
A Barca Dos Amantes (1986), which is yet another collaboration with Shorter, Milton/RPM (1987),
Yauarete (1987), which is arranged like a Michael Jackson album,
Miltons (1988), Txai (1990).
In the 1990s, his music was mostly style, as if he had reached a
the live O Planeta Blue Na Estrada Do Sol (1992),
the live Amigo (1996),
His tribute to his own mother, Pieta` (2005), was one of the
most elegant of his latter-day recordings.
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