Sings Milton Nascimento (MZA 037)
I first met Milton Nascimento in 1964, when I went to the city of Belo Horizonte to participate in the inaugural show of their first local television station, TV Itacolomi.
My career was just beginning and I could not afford to take my own trio from Rio, so I decided to go one day earlier and look for the best musicians I could find locally. When I approached O Ponto Dos Musicos (the Musician's Station) at Avenida Affonso Pena, I looked around and tried to spot somebody that looked musical, since the place was really a bar/restaurant, where all kinds of artists would hang out.
Luck was on my side. The first person I talked to was Paulo Horta, a
wonderful bass player, whose little brother Toninho was quickly
becoming one of the most sought- after composer, guitar player and
singer. Paulo Horta heard my story and immediately said "Don't worry,
I've got what you need". In about ten minutes I was surrounded by ten
or more of the top musicians in town, and among them was Milton
The television show went well, and I was going back to Rio very happy
the next day. Right after the show, Milton, whom we affectionately call
Bituca, approached me with a cassette and very shyly and humbly asked
me If I could take a listen to one of his first compositions entitled
"Barulho de trem ". And that was the beginning of a long lasting
In 1974, I was already in New York recording with jazz greats such as
Chick Corea, Duke Pearson's big band and one of my best friends and
mentor the composer and arranger Gil Evans, when I received an
invitation to sing at the Montreux Jazz Festival. My producer at the
time was Orrin Keepnews and I recalled asking him if I could invite
somebody that I would love to interact with musically, to go to
Montreux with us. Orrin made my dream come true, Milton became my guest
at the Montreux Jazz Festival in 1974. He brought keyboardist and
arranger Wagner Tiso and the great drummer Robertinho Silva along with
When we started preparations for pre-production, such as coordinating
flights, rehearsals and choosing the music, I received a phone call
from saxophonist Wayne Shorter. The conversation went like this, "Hi
Flora, I've just heard you were bringing Milton Nascimento to the US
and I have a proposition for you. What if we could share the costs of
his flight to US, so I can use him on my next record? My budget
wouldn't allow me to do this on my own and I would really love to
record some of his music".
I had discussed the matter with Orrin Keepnews, who really fought for
me with the record company, arguing that it would cut at least in half
the costs of transatlantic tickets and "voila", we won, Orrin won. From
this little story, two classic albums were born. Wayne Shorter's Native
Dancer and Flora Purim's 500 Miles High, live in Montreux.
Somebody else was born, my daughter with Airto Moreira, Diana, who had a song named after her on Wayne's Native Dancer.
Flora Purim sings Milton Nascimento. I would like to call this record, CD, DVD, THE TWO OF US, because Bituca has been and will always be a very big part of my life story. After going through literally hundreds of songs either written by him or sung by him, I selected the ones that made this album, with the help of Luiz Avellar, my arranger and keyboardist for this project.
The song NÓS DOIS, which means the two of us, was co-written by Milton and Luiz Avellar and has the only guest appearance made by George Duke on piano and synthesizer along with Luiz Avellar's original piano.
This CD has a steady team of musicians that helped me to create the colours and sounds for all the selected music. I must make clear that this is a true story, based on my own perception of the facts.
This record is not a tribute to Milton, but a declaration of unconditional love.
Track Listing (30 Second Samples)
1. Maria Très Filhos
2. Encontros E Despedidas
3. Tudo Que Voce Podia Ser
4. Nuvem Cigana
5. Canto Latino
6. Nada Sera Como Antes, Amanhã
7. Gira Girou
8. Nós Dois
9. Cravo E Canela