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This item usually ships in 1-3 days 01. Aqueles Olhos Verdes 02. Certas Coisas 03. Only You 04. Mas Que Nada 05. Frenesi 06. Não Sei Dançar 07. Resposta 08. Beat It 09. Se Alguem Telefonar 10. Rosa Maria 11. Castigo 12. Ooh Child 13. Lagrima Flor 14. Barulho De Trem 15. Lamento No Morro 16. Pout-Pourri - (hidden track)   Mas Que Nada (mp3)   Frenesi (mp3)   Ooh Child (mp3)   Barulho de Trem (mp3) Personnel: Milton Nascimento (vocals, guitar), Victor Biglione (guitar), Wagner Tiso (keyboards, arranger), Marcio Lomiranda (keyboards, drum programming), Dunga, Alberto Continentino, Luís Alves (bass, vocals), Lincoln Cheib (drums), Marco Lobo (percussion), Robert Hill (clarinet), Gareth Hulse (oboe), Milton Guedes (soprano sax, vocals), Jonathan Snowden, James Gregory, Frank Nolan (flute), Bebeto (flute, vocals), Vittor Santos (trombone), François, Nahor Oliveira, Walmir Gil (horns), Marizza Fossa, Ronaldo Barcellos, Ana Litzinger, Lourenco Olegario, Nina Pancevski (background vocals) Strings: Michael McMenemy, Chris Tomblin, James McLead, Benedict Cruff, Patrick Kiernan, Boguslaw Kostecki, Roger Chase, David Emanuel, Roger Garland, Wilfred Gibson, Pauline Lowbury, Dermot Crehan, Dave Woodcock, Rita Manning, Maciej Rakowski, Ralf Wilson, Perry Mason, Johnathan Rees, Mark Berrow, Jonathan Evans Jones, Lain King, Antonia Fuchs (violin), William Hawkes, Ivo Jan Vanderwerff, Nick Barr, Raquel Byrt, Sergio Chiavazolli, Luciano Iorio, Paulo Paturza, Philip Dukes, William Benham, Andrew Parker, Peter Lale, Tim Grant, Marco Pereira, George Robertson, Stephen Tees, Kate Wilkinson, (viola), John Heley, Paul Kegg, Martin Loveday, David Daniels, Michael Stirling, Anthony Pleeth (cello), Gavyn Wright (spala) Produced by Guto Graca Mello

At the turn of the millennium, Milton Nascimento takes us into his past by letting his alter-ego, Bituca, a small boy and crooner, a skinny kid of the sixties, a bass player and singer of the most requested songs, take over the show. Bituca has always been in the shadows of Milton's passion and performance, now he comes out to take the stage and take a bow and give us insight into his famed counterpart Milton. On a unique trip, reflecting his deepest emotions and fondest memories, Milton has given a great gift to us: ‘Crooner’ was meant to be the program for the Grand New Year's Eve Ball that took us into the year 2000. It contains no big or small political-ideological considerations, no subtle or crude socio-ecologic tints; and most of all, no mystic, religious revelations of any kind or magnitude-just good old songs for dancing close together, as they used to do at parties at the Levy building and the Pampulha nightclub-straight out of the tunnel of time. These are augmented with a few more recent requests from the floor as evidenced by selections such as Michael Jackson's "Beat It." Mostly, ‘Crooner’ pays tribute to the great names and classic tunes that Bituca/Milton has always looked up to, from Dolores Duran and the Tamba Trio, from "Frenesi" (Alberto Domingues) to the do-wop of "Only You". It celebrates the tunes he began to sing in the fifties, when he played a rather limited four-bass button accordion that forced him to fake the missing notes with his voice, and his very first song "Barulho de Trem," We’ve heard the many musical sides from Milton Nascimento over the years – he has an unique ability to transcend commercialism by creating artistic treasures, or at a turn, produce pop albums that sell to a global fan base. An international superstar with more than 30 albums to his credit, Milton Nascimento constantly challenges himself, vocally, lyrically and stylistically. On ‘Crooner’ he returns to World Pop with many of the songs he performed at dancehalls and nightclubs during his earlier years. He also stretches out by singing in English, including versions of the modern standards "Only You" and "Ooh Child." He may have his roots in Brazil but Nascimento reaches audiences around the world. And finally – a word or two of context. The late 90’s were difficult years for Nascimento, whose health concerns at this time were the subject of wild speculation. During this time, this recording and the tours surrounding it was delayed at several points. When this album was finally released, some critics unfairly seized upon it as another indication of Nascimento’s weakened state. As the years have passed and Nascimento has fully recovered both personally and professionaly, ‘Crooner’ stands as his ‘comeback’ recording and a wonderful testament to his unmatched talent as one of Brazil’s top performers.