Miltinho

Miltinho rose to prominence during the 1950s through an extraordinary run of hits spread across more than one hundred albums, among them “Recado” and “Devaneio,” “Murmúrio” (Djalma Ferreira/Luís Antônio), “Eu e o Rio,” “Mulher de Trinta,” “Ri” (Luís Antônio), “Zé Marmita” (Luís Antônio/Brasinha), “Só Vou de Mulher,” “Meu Nome é Ninguém” (Haroldo Barbosa/Luís Reis), “Poema do Olhar” (Jair Amorim/Evaldo Gouveia), and “Mulata Assanhada” (Ataulfo Alves). His path began in the 1940s as an amateur vocalist with the group Cancioneiros do Luar. He made his professional bow on Rádio Tupi before entering the Namorados da Lua in 1946. The next year that ensemble supported singer Isaura Garcia on the hit “De Conversa em Conversa” (Lúcio Alves/Haroldo Barbosa), a song João Gilberto would revisit two decades afterward. In 1948 he moved to the Anjos do Inferno for a U.S. tour that accompanied Carmen Miranda, after which he spent two years working radio programs and nightclubs in Mexico. By 1952 he had become a member of Quatro Ases e Um Curinga, Orquestra Tabajara, and Milionários do Ritmo alike. His debut solo LP, Um Novo Astro, appeared on Sideral in 1960. Following 1966, four duet albums each with Elza Soares and Dóris Monteiro on Odeon also ranked among the best-selling releases of their time. In 1997 he returned to the format with Miltinho Sempre Sucessos (Globo/Columbia), sharing tracks with João Nogueira, Luís Melodia, João Bosco, Chico Buarque, Elza Soares, and additional guests. To mark fifty-four years in the profession he issued Miltinho Convida, featuring further duets with Chico Buarque, Fafá de Belém, Nana Caymmi, Doris Monteiro, Elza Soares, Martinho da Vila, MPB-4, João Bosco, Emílio Santiago, João Nogueira, and Tito Madi.