Biography
Milton de Oliveira’s name remains linked to enduring masterpieces in Brazilian music, particularly those festive carnival marches. At sixteen he composed his very first piece, “Já Mandei, Meu Bem.” Working alongside Djalma Esteves in 1934, he produced “És Louca,” which Jaime Vogeler later recorded. Together with Max Bulhões he created the two 1937 classics “Não Tenho Lágrimas” and “Sabiá Larangeira,” both introduced by Patrício Teixeira; the former eventually received more than fifty interpretations, among them readings by Nat “King” Cole and Xavier Cugat. That same year he entered a lasting collaboration with Haroldo Lobo that generated numerous carnival successes, including “Porteiro, Suba E Veja!,” “Caiu O Pano da Cuíca,” “Néris de Tristeza,” “Pele Vermelha,” the 1940 hit “O Bonde do Horário Já Passou” sung by Patrício Teixeira, “Quebrei a Jura,” “Miau... Miau...,” “Passarinho do Relógio” popularized by Araci de Almeida during the 1940 carnival, “Miserê,” the 1941 success “Passo do Canguru” also delivered by Araci de Almeida, “A Marcha dos Índios,” “A Mulher do Leiteiro” again featuring Araci de Almeida in 1941, and “Tem Galinha no Bonde.” One Lobo partnership, “Eu Quero É Rosetar,” faced censorship yet achieved strong results when Jorge Veiga recorded it in 1947. In 1945 Linda Batista scored with the waltz “Baile na Roça,” while Jorge Veiga scored the following year with “Vou Sambar em Madureira.” Milton placed second in the 1948 mayoralty contest with the Lobo composition “Não Vou Morrer,” performed by Jorge Veiga. Two further Lobo hits followed in 1949: “Quem Chorou Fui Eu” recorded by Jorge Veiga and “O Passo da Girafa” sung by Araci de Almeida. The 1941 duo effort “Pra Seu Governo” captured first place in the Carioca Carnival contest under Gilberto Milfont’s interpretation. Jorge Veiga scored again in 1944 with the march “A História da Maçã,” another Lobo collaboration. Additional Lobo pieces included “A Maria Tá,” recorded by Walter Levita in 1960, and “Índio Quer Apito,” cut by the same singer in 1961. Ari Cordovil enjoyed a 1964 success with the Lobo composition “Pistoleira.” Observers have long suggested that Milton himself may never have penned a lyric or note, receiving co-credit simply because he functioned as an effective promoter of material on the radio.
Albums