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Crooner

Editorial Reviews

Barnes & Noble - Mark Schwartz
After two albums celebrating the percussive side of Brazilian music, 1997's NASCIMENTO and '98's TAMBORES DE MINAS, the internationally celebrated vocalist and songwriter returns with a quixotic collection of string-drenched standards. Milton's longtime affiliation with Wayne Shorter and other American jazzmen makes the leap into champagne ballads unsurprising, and Brazil's love of glitzy production numbers makes these swollen arrangements also somewhat ruefully predictable. On Brazilian classics like Jorge Ben's "Mas Que Nada," "Certas Coisas" and "Aqueles Olhos Verdes," Milton skillfullly treads ground covered by his fellow demigods Caetano Veloso and Gilberto Gil, ...
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Editorial Reviews

Barnes & Noble - Mark Schwartz
After two albums celebrating the percussive side of Brazilian music, 1997's NASCIMENTO and '98's TAMBORES DE MINAS, the internationally celebrated vocalist and songwriter returns with a quixotic collection of string-drenched standards. Milton's longtime affiliation with Wayne Shorter and other American jazzmen makes the leap into champagne ballads unsurprising, and Brazil's love of glitzy production numbers makes these swollen arrangements also somewhat ruefully predictable. On Brazilian classics like Jorge Ben's "Mas Que Nada," "Certas Coisas" and "Aqueles Olhos Verdes," Milton skillfullly treads ground covered by his fellow demigods Caetano Veloso and Gilberto Gil, adapting his fragile, high tenor to dapper, languid arrangements. And it's a plane for which he's remarkably well-suited -- Milton's always possessed a truly alien, airy instrument, and given the transcendent beauty of some of these songs, the cloudlike spell of his vocals remains unbroken. Except when Nascimento's own taste flags -- his singing in heavily accented English on "Only You" is not really anyone's idea of crooning, and the less said about his ill-advised descent through Michael Jackson's "Beat It" and the Five Stairstep's "Ooh Child" the better. What remains, though, includes his delectable explorations of Jobim's "Lamento No Morro," the rousing Spanish bolero "Frenesi," and Milton's own "Barulho de Trem" will delight Nascimento fans as we await more of his songwriting genius.
All Music Guide - John Bush
Surely one of the world's most distinctive crooners, Milton Nascimento prepared an album of pop songs he's known for years, performed early in his career when he played innumerable Brazilian clubs, including the first song he ever wrote, "Barulho de Trem," as well as a range of pop classics from Brazil and America. Nascimento also looks back to his early years with his collaborators, including Bebeto from Tamba Trio on the chestnut "Mas Que Nada," his Clube da Esquina companion Lô Borges on "Resposta," and the bossa nova collective Os Cariocas on "Rosa Maria" and "Lamento No Morro." The arrangements by longtime friend Wagner Tiso are very sympathetic, and Nascimento's voice is just as full of power and grace as it was 20 years ago. The cover of Michael Jackson's "Beat It" may have been a mistake, but the rest of Crooner is a tribute to Nascimento's brilliant range of material and singing style.
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Product Details

  • Release Date: 12/1/2000
  • Label: Wea Brazil
  • UPC: 685738337125
  • Catalog Number: 3833712

Tracks

Disc 1
  1. 1 Aqueles Olhos Verdes (3:22)
  2. 2 Certas Coisas (4:21)
  3. 3 Only You (3:43)
  4. 4 Mas Que Nada (4:33)
  5. 5 Frenesi (3:01)
  6. 6 Nao Se Dancar (4:07)
  7. 7 Resposta (4:28)
  8. 8 Beat It (3:23)
  9. 9 Se Alguem Telefonar (3:15)
  10. 10 Rose Maria (4:56)
  11. 11 Castigo (4:01)
  12. 12 O-o-h Child (3:46)
  13. 13 Iagrima Flor (3:24)
  14. 14 Barulho de Trem (3:13)
  15. 15 Iamento No Morro (4:04)
  16. 16 [Untitled] (3:07)
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Album Credits

Performance Credits
Milton Nascimento Primary Artist, Primary Artist, Viola, Vocals
Victor Biglione Guitar
Wagner Tiso Keyboards, Musical Direction
Luís Alves Bass, Acoustic Bass, Low Vocals
Ronaldo Barcellos Background Vocals
Mark Berrow Violin
Roger Chase Viola
David Emanuel Violin
Marizza Fossa Background Vocals
Roger Garland Violin
Wilfred Gibson Violin
Walmir Gil Metales, Metais
John Heley Cello
Paul Kegg Cello
Martin Loveday Cello
Pauline Lowbury Violin
Rita Manning Violin
Marco Pereira Viola
Anthony Pleeth Cello
Maciej Rakowski Violin
Johnathan Rees Violin
George Robertson Viola
Stephen Tees Viola
Kate Wilkinson Viola
Gavyn Wright Spala
Dermot Crehan Violin
Frank Nolan Flute
Michael Stirling Cello
Peter Lale Viola
Patrick Kiernan Violin
Boguslaw Kostecki Violin
Jonathan Snowden Flute
Andrew Parker Viola
Rico Lins Capa
David Daniels [cello] Cello
William Benham Viola
Lincoln Cheib Drums, Snare Drums
Benedict Cruff Violin
Philip Dukes Viola
Milton Guedes Soprano Saxophone, Background Vocals
James McLead Violin
Nina Pancevski Background Vocals
Chris Tomblin Violin
Michael McMenemy Violin
William Hawkes Viola
Marco Lobo Percussion
Lourenco Olegario Background Vocals
Joao de Barro Versao
Alberto Continentino Bass, Low Vocals
Ralf Wilson Violin
Perry Mason Violin
Gareth Hulse Oboe
Vittor Santos Trombone, Metales
Antonia Fuchs Violin
Nick Barr Viola
Bebeto Flute, Vocals
Raquel Byrt Viola
Sergio Chiavazolli Viola
Dunga Bass
François Metales
Luciano Iorio Viola
Lain King Violin
Marcio Lomiranda Keyboards
Nahor Oliveira Metales, Metais
Paulo Paturza Viola
Ana Zinger Vocals, Background Vocals
James Gregory Flute
Timothy Grant Viola
David Woodcock Violin
Jonathan Evans-Jones Violin
Ivo Jan van der Werff Viola
Robert Hill Clarinet
Technical Credits
Milton Nascimento Art Direction, Concept
Wagner Tiso Arranger, Orchestration, keyboard arrangements
Michael Thompson Contributor
Richard Clews Contributor
Sergio Ricardo Engineer
Guto Graça Mello Producer
Marilene Gondim Executive Producer
Tom Capone Art Direction
Alberto Dominguez Composer
Nick Wollage Engineer
Leonard Whitcup Composer
Ricardo Garcia Mastering
Hugh Seenan Contributor
Dave Lee Contributor
Stephen Bell Contributor
Marcio Lomiranda Programming, drum programming
Nahor Oliveira Contributor
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