Hubbry Logo
MiltinhoMiltinhoMain
Open search
Miltinho
Community hub
Miltinho
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Miltinho
Miltinho
Miltinho
View on Wikipedia
from Wikipedia

Key Information

Milton Santos de Almeida (January 31, 1928 – September 7, 2014), known professionally as Miltinho (Miltiño in Spanish), was a Brazilian singer of samba, sambalanço, samba-canção[1] and bossa nova music.[2]

Early years

[edit]

Milton Santos de Almeida was born in Niteroi, Brazil a city with a lot of beaches belonging to the state of Rio de Janeiro located off the capital of Rio de Janeiro. He began his musical career in the forties integrating, along with other cariocas students, Cancioneiros do Luar group, who participated in the Tupi Radio program hosted by Ary Barroso.

Career

[edit]

He began his career in the 1940s as a member of several vocal groups: Anjos do Inferno (who came to travel to the United States following Carmen Miranda) Namorados da Lua, Quatro Ases e Um Curinga, Milionários do Ritmo, Cancioneiros do Luar. In 1960 he released his first solo album, "Um Novo Astro", starting a highly successful career in the early marked by his nasal voice, accustomed to samba-teleco teco and romantic songs. Was devoted to the success Mulher de 30. With this song he won a lot of money and public recognition. He received several awards, took part in the major television programs of the time.

In 1979 he represented Brazil in the eight edition of the OTI Festival which was held in Caracas, Venezuela. His competing song entitled "Conselho" (Advice) was critically well received in the festival. At the end of the show, he got a more than respectable fifth place tied with his Puerto Rican counterpart Ednita Nazario with 21 points.

In total, Miltinho recorded over a hundred albums, more in the 70s, with the decline of his musical genre, bowed out in the big cities, focusing their presentations in the inner cities. "Mulata assanhada", “Palhaçada”, “O Conde”, “Laranja Madura”, “Volta”, “Menino moça” "Meu Nome É Ninguém" e "Confidência" are his other successes, which earned him the nickname "King of Rhythm". Miltinho began from a very young age to sing sambas and play the tambourine. His career took off when the manager of RCA Victor, composer Jair Amorim, proposed to record in Spanish. Miltinho made ten LPs of Brazilian music and began to impose their songs in Spanish.

Death

[edit]

Miltinho suffered a cardiac arrest at the Hospital of Amparo in the north of Rio de Janeiro. Miltinho was hospitalized for two months for respiratory problems at the medical center. The funeral of the singer was held in the Memorial Chapel 3 do Carmo in the port area of Rio de Janeiro. Miltinho's daughter, Sandra Vergara told the international media that her father Miltinho had been retired for four years after being diagnosed with Alzheimers. The body of Miltinho was cremated in the Camaro Memorial in Rio de Janeiro. Miltinho always said that he had learned to make peace "with god". The funeral of Miltinho, who left three children and five grandchildren, was held in the Memorial Chapel 3 do Carmo, in the port area of Rio de Janeiro. Having had no teachers, he had been fixated on the tambourine (pandeiro) since boyhood and admired Silvo Caldas and Frank Sinatra. Miltinho left a wealth of songs, riding the great legacy of samba in Brazil.

Personal life

[edit]

Militinho has three kids named Milton Almeida and Sandra Vergara and has five grandchildren the third child name is unknown

Discography

[edit]
  • Billo-Miltiño- Doctores en Ritmo (1959) with Billo Frómeta
  • Um Novo Astro (1960)
  • Diploma do Astro (1960)
  • Miltinho (1961)
  • Poema do Olhar (1962)
  • Poema do Adeus (1962)
  • Tá Bien (1963) with Pocho Perez Y Su Orquestra
  • Os Grandes Sucessos de Miltinho (1963)
  • Miltinho É Samba (1963)
  • Eu...Miltinho (1963)
  • Mi Propio Yo (1963) feat. Pocho Perez
  • Bossa & Blanço (1964)
  • Canção do Nosso Amor (1964)
  • Incomparable (1964) feat. Pocho Perez
  • Dulce Veneno (1964)
  • Reprise De Sucessos (1964)
  • El Diablo y Yo (1965)
  • Poema do Fim (1965)
  • Ao Vivo (1965)
  • Su Estilo Y Su Canciones (1966)
  • Samba + Samba= Miltinho (1966)
  • Amor de Pobre Rocío (1967)
  • Tu Imagen (1967)
  • Amor de Pobre (1967)
  • Elza, Miltinho e Samba (1967)
  • Quanto Mais Samba Melhor (1967)
  • Canta En Castellano (1968)
  • As Mulheres de Miltinho (1968)
  • Elza, Miltinho e Samba Vol.2 (1968)
  • Os Grandes Successes do Miltinho Vol.2 (1968)
  • El Rey Del Fraseo (1969)
  • Hablemos de Amor Otra Vez (1969)
  • Samba & Cia (1969)
  • El Rey Del Fraseo Vol.2 (1970)
  • Palabras (1970)
  • Dóris, Miltinho e Charme (1970)
  • El Rey Del Fraseo Vol.3 (1971)
  • Novo Recado (1971)
  • Dóris, Miltinho e Charme Vol.2 (1971)
  • Dóris, Miltinho e Charme Vol.3 (1972)
  • Dóris, Miltinho e Charme Vol.3 (1973)
  • Miltinho (1973)
  • Miltinho (1974)
  • Mulher de Trinta, Ri, Menina Moça, Eu E O Rio, E Outrus Sucessos de Miltinho (1974)
  • Corazón Vagabundo (1975)
  • Miltinho (1976)
  • Grandes Éxitos (1977)
  • Mis Primeros Éxitos (1981)
  • Ansias (1982)
  • Helena De Lima E Miltinho- Gala Super Apresenta do Melha de Helena de Lima E Miltinho (1982)
  • Inverno e Verão (1986)
  • Miltinho Sempre (1987)
  • Miltinho Convida (1998)
  • Seleção de Ouro (1998)
  • No Palco Ao Vivo (2000)
  • Retratos (2004)
  • Miltinho, Samba e Balanço (2008)
  • Como Un Perro (2009)
  • Cancion Del Alma (2009)
  • Estoy Pensando En Ti (2009)
  • Bossa Nova Hits From Brazil- Agustinho, Simonetti, Maysa, Miltinho (2011)
  • Em Tempo De Bolero (2012)
  • Boleros (2013)
  • Essential Hits (2014)
  • Essential Hits of Miltinho (2014)
  • Hits (2014)
  • O Melhor de Miltinho (2016)

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Miltinho

View on Grokipedia
from Grokipedia
''Miltinho'' is a Brazilian singer known for his romantic ballads and prominent contributions to samba-canção, bossa nova, sambalanço, and samba music. Performing under the stage name Miltinho, his real name was Milton Santos de Almeida, and he was regarded as one of Brazil's great romantic balladeers with a career rooted in the radio singer era. Miltinho achieved significant success in the 1950s with popular songs including "Recado," "Devaneio," and "Murmúrio." His versatile style and emotive delivery made him a key figure in mid-20th-century Brazilian popular music, where he recorded extensively and influenced the romantic samba tradition. He continued performing and recording for decades, leaving a lasting legacy in Brazilian music until his death in 2014.

Early Life

Birth and Family

Miltinho was born Milton Santos de Almeida on January 31, 1928, in Rio de Janeiro, Brazil. He grew up in one of the city's working-class communities, where samba and other forms of popular music formed a central part of social and cultural life. This environment, rich in musical traditions and community gatherings, shaped the early context of his identity before his professional involvement in music began.

Early Musical Influences and Beginnings

Miltinho developed a deep interest in music from childhood in Rio de Janeiro, where he became fixated on the pandeiro and taught himself to play the instrument without formal instruction. He credited his distinctive rhythmic sense to divine inspiration, stating that he learned it "com Deus" rather than through any teacher. Among his key early influences were the singers Sílvio Caldas, known for his emotive samba interpretations, and Frank Sinatra, whose crooning style impacted his approach to romantic phrasing. In his teenage years during the 1940s, Miltinho began participating in the local music scene as an amateur singer and pandeirista with vocal groups in Rio. He started with the group Cancioneiros do Luar and made his debut as a singer on Rádio Tupi. He later joined Namorados da Lua in 1946, contributing as a vocalist and rhythmist to their work, including accompanying Isaura Garcia on the 1947 hit "De Conversa em Conversa". In 1948 he became a member of Anjos do Inferno, performing with them on an international tour in the United States backing Carmen Miranda. These informal and semi-professional experiences with prominent vocal groups exposed Miltinho to the harmonies and rhythms of samba and popular Brazilian music in Rio's vibrant scene, laying the groundwork for his later development as a solo artist.

Career

Entry into Professional Music

Miltinho entered professional music in the 1940s by participating in vocal groups in Rio de Janeiro, beginning with the amateur ensemble Cancioneiros do Ar, where he appeared on Ary Barroso's talent program on Rádio Tupi. In 1946, he joined the second formation of the established vocal group Namorados da Lua alongside Lúcio Alves, contributing as a vocalist and pandeirista while participating in a recording accompanying singer Isaurinha Garcia on the Victor label with the samba "De conversa em conversa" (Lúcio Alves and Haroldo Barbosa). By 1948, Miltinho had moved to the renowned group Anjos do Inferno, touring extensively across Brazil and internationally—including stints in Bolivia, Uruguay, Paraguay, Argentina, Chile, Mexico, and the United States, where he accompanied Carmen Miranda—and performing on radio programs dedicated to Brazilian music. After returning to Brazil in 1951 and briefly holding a government position, he continued his professional trajectory with the group Quatro Ases e Um Coringa as vocalist and pandeirista. From 1950 to 1957, Miltinho worked as a crooner for major orchestras, including Severino Araújo's Orquestra Tabajara and Djalma Ferreira's Milionários do Ritmo, performing in prominent Rio venues such as the Vogue and Monte Carlo boates. His first documented recordings as a featured vocalist came in 1958 and 1959 with Milionários do Ritmo on the Drink label, including the LP Drink and 78 rpm singles featuring interpretations of Djalma Ferreira compositions such as "Lamento," "Recado," and "Nosso samba." These early engagements as a group vocalist and crooner established his presence in the Brazilian music scene before his transition to a solo career in 1960.

Breakthrough and 1950s Success

Miltinho gained prominence in the Brazilian music scene during the 1950s primarily through his work as a crooner for leading orchestras and musical groups. His distinctive nasal timbre became firmly established in the 1950s through his interpretations of sambas de teleco-teco and romantic compositions. This vocal style set him apart and built his reputation as an emerging romantic samba interpreter, even while working within ensemble formats. His consistent presence on radio broadcasts and in live performances with these prominent acts contributed to his growing recognition across Brazil throughout the decade, paving the way for his later transition to solo stardom.

Peak Years and Major Recordings

Miltinho's peak years unfolded in the 1960s, particularly from 1960 to 1965, when he transitioned from his earlier work as a crooner and group vocalist to become one of Brazil's leading interpreters of romantic samba-canção and sambalanço. His prolific output during this period, marked by numerous album releases on labels such as Sideral, RCA Victor, and especially RGE, solidified his reputation for expressive phrasing and sentimental ballads. He also continued collaborations into the late 1960s and 1970s, including three albums with Elza Soares (1967–1969) and four with Dóris Monteiro (1970–1973). He launched his solo career with the successful LP Um Novo Astro (Sideral, 1960), which featured his biggest commercial hit, "Mulher de Trinta" by Luiz Antônio. That same year, he released O Diploma de Astro (Sideral), followed by recordings for RCA Victor in 1961 that included notable tracks such as "Murmúrio" by Djalma Ferreira and Luiz Antônio. After joining RGE, he achieved major acclaim with the 78 rpm single "Poema do Adeus" / "A Canção que Virou Você" (both by Luiz Antônio) in 1961, leading to the landmark LP Poema do Adeus (RGE, 1962), which included the title track as a classic of his discography and the iconic "Palhaçada" by Luiz Reis and Haroldo Barbosa. Throughout the early to mid-1960s, Miltinho maintained a steady stream of major recordings on RGE, including Poema do Olhar (1963), Miltinho é Samba (1963), Canção do Nosso Amor (1963), Eu... Miltinho (1964), Bossa & Balanço (1964), and Poema do Fim (1965), many of which emphasized his romantic style with compositions by frequent collaborators such as Luiz Antônio, Haroldo Barbosa, Jair Amorim, and Evaldo Gouveia. Additional successes from this era featured tracks like "Estou Só" by Benil Santos and Raul Sampaio, "Meu Nome é Ninguém" by Luiz Reis and Haroldo Barbosa, and "Ri" by Luiz Antônio. By the mid-1960s, he had established a catalog of enduring romantic samba hits that defined his commercial and artistic high point.

Later Career and Activity in Portugal

Miltinho's later career saw a gradual reduction in visibility compared to his prolific 1960s and 1970s period, as shifts in musical tastes diminished demand for his romantic samba style in Brazil's major cities. He continued performing mainly in smaller towns across the Brazilian interior, maintaining a connection with loyal audiences through nostalgia-focused shows. In 1998, he released the collaborative album Miltinho Convida, featuring guest appearances by prominent artists including Chico Buarque, Elza Soares, Martinho da Vila, and João Bosco, which highlighted his enduring influence. Additional releases included No Palco! in 2000 and Retratos in 2004, though these efforts received mixed reception and reflected a more subdued phase of his output. Some of his recordings gained distribution in Portugal through labels such as Decca Portugal, contributing to a modest international footprint in the Portuguese-speaking market. Health challenges led him to retire from performing around 2010, and he died in Rio de Janeiro on September 7, 2014, at age 86.

Film and Television Work

On-Screen Appearances

Miltinho made limited but notable on-screen appearances in Brazilian film and television, primarily in guest or cameo capacities that leveraged his fame as a singer. He appeared in the films Briga, Mulher e Samba (1960), O Vendedor de Linguiça (1962), and the 1974 comedy film O Jeca Macumbeiro, directed by and starring Amácio Mazzaropi. He later had a guest role in the popular telenovela Pantanal (1990), credited as Cantor in one episode. These appearances reflected his status in Brazilian popular culture during and after his peak music career, often featuring him in musical or cameo contexts. In his later years, Miltinho was profiled and appeared in the 2008 documentary short No Tempo de Miltinho, directed by André Weller.

Soundtrack and Music Contributions to Media

Miltinho contributed to Brazilian cinema soundtracks with his performance of the song "Poema do Adeus" in the comedy film O Vendedor de Linguiça (1962), directed by and starring Amácio Mazzaropi. The song, composed by Luiz Antonio, was incorporated as a musical number in the production. This appearance marked one of his known engagements in film music, aligning with his established reputation as a samba and samba-canção interpreter during that era. Additional soundtrack contributions include performer credits for songs in films and TV such as A Grande Família: O Filme (2007) and Dear Friends (2008), as well as writing "Mal de Raiz" for Roque Santeiro (1985–1986). Limited information is available on further soundtrack contributions to film or television, with his primary legacy centered on studio recordings and live performances rather than extensive media scoring work.

Musical Style and Repertoire

Signature Sound and Genres

Miltinho's signature sound is defined by a smooth, velvety vocal delivery that emphasizes emotive phrasing and subtle dynamics, ideally suited to conveying deep romantic sentiment. His primary genres were samba-canção and romantic samba, where he blended the rhythmic foundations of samba with slower, more lyrical structures that allowed for extended emotional expression. Bolero influences are evident in his approach to melody and tempo, contributing a melancholic and passionate quality that distinguished his interpretations from more upbeat samba styles. This emotive and restrained vocal style emerged prominently in his early career during the 1950s, as he honed a technique focused on warmth and intimacy rather than technical virtuosity or dramatic intensity. As his career progressed, Miltinho maintained the core elements of this sound while adapting to different performance contexts, preserving the romantic essence that defined his work throughout his life. His distinctive delivery became emblematic of mid-century Brazilian romantic music, influencing how later artists approached sentimental repertoire in samba-canção.

Notable Songs and Repertoire

Miltinho's most notable songs often featured romantic samba-canção, with several recordings becoming major hits in Brazil during the 1950s and 1960s. He achieved success with songs such as "Recado," "Devaneio" (Djalma Ferreira / Luís Antônio), and "Murmúrio" (Djalma Ferreira / Luís Antônio) in the 1950s. Other important recordings include "Mulher de Trinta," "Poema do Olhar" (Jair Amorim / Evaldo Gouveia), and "Mulata Assanhada" (Ataulfo Alves), showcasing his ability to interpret classic samba and romantic material. Miltinho had significant collaborative relationships through duet albums with Elza Soares (starting in 1967) and Dóris Monteiro (starting in 1970), recording material that reflected the era's samba tradition.

Personal Life

Family and Relationships

Miltinho had a son named Milton Nunes de Almeida. At the time of the singer's death in September 2014, Milton spoke publicly about the profound loss, describing it as that of both a father and a major idol in Brazilian music. He was survived by three children, including his son Milton Nunes de Almeida and his eldest daughter Sandra Vergara, as well as five grandchildren. Family members and friends attended his funeral to pay their respects, reflecting the personal impact of his passing beyond his artistic legacy. Limited public information is available regarding Miltinho's marriages or other relationships, as he maintained a relatively private personal life focused primarily on his musical career.

Health Challenges

In his later years, Miltinho faced significant health challenges that curtailed his performing career. Around 2010, he was diagnosed with the onset of Alzheimer's disease, which led him to retire from live performances after several decades of active singing. According to his daughter Sandra Vergara, this condition prompted the end of his shows approximately four years before his final hospitalization. By mid-2014, Miltinho developed a pulmonary condition that required prolonged medical care. He was hospitalized at Hospital do Amparo in Rio de Janeiro from late July 2014 until his death to treat this respiratory issue. These health difficulties contributed to a marked reduction in his professional activity during his final years.

Death

Final Years and Passing

In his final months, Miltinho was hospitalized starting in July 2014 at the Hospital do Amparo in Rio Comprido, Rio de Janeiro, where he received treatment for a pulmonary condition. He remained in the hospital for approximately two months under medical care. On September 7, 2014, Miltinho suffered a cardiac arrest and died at the age of 86 while still at the Hospital do Amparo. His daughter Sandra Vergara reported that the singer passed away around 4 p.m. during visiting hours. The wake was held the following day, September 8, 2014, from 9 a.m. to 5 p.m. at Capela 3 of the Memorial do Carmo in Rio de Janeiro's port zone, followed by a private family cremation ceremony. Prior to this terminal hospitalization, Miltinho had withdrawn from public performances several years earlier due to the onset of Alzheimer's disease.

Legacy

Miltinho played a pivotal role in popularizing the romantic samba-canção genre during the 1950s and 1960s, bringing emotional depth and melodic sophistication to Brazilian popular song through his smooth vocal delivery and interpretive style. His work helped emphasize sentimental themes and intimate arrangements in samba-canção, contrasting with more upbeat samba forms. His collaborations, particularly the acclaimed albums with Elza Soares such as Elza, Miltinho e Samba, highlighted his ability to blend traditional samba elements with romantic expression. Miltinho's recordings and performances contributed to the enduring appeal of romantic samba-canção, setting a standard for emotional authenticity in the genre.

Posthumous Recognition

After his death in 2014, Miltinho's recordings continued to be reissued in compilation albums featuring classic Brazilian music, keeping his repertoire accessible on digital platforms. His legacy endures in samba circles as a key figure in the romantic samba-canção tradition.
Add your contribution
Related Hubs
User Avatar
No comments yet.