Published on PostGenre
esperanza spalding has made no secret of her love for Milton Nascimento’s music. Her sophomore album features a spirited rendition of Nascimento’s “Ponta de Areia” - early evidence of her strong affinity with the Brazilian legend’s compositions. After having heard Nascimento and spalding on Milton + esperanza (Concord, 2024), listening to spalding’s “Ponta de Areia” makes the album feel like something that was destined to happen. Making an album with Nascimento is a dream come true for spalding, and with how impressive Milton + esperanza is, it definitely sounds like one.
Throughout the album, spalding and Nascimento excel at reimagining emblematic tunes. The duo, supported by their talented band, conjures fresh takes on classics by Nascimento and other seminal artists. spalding also contributes several originals, including the punchy, sunkissed soul of “Late September” and the gorgeous frenzy of “Wings for the Thought Bird”. “Cais” (Nascimento, Ronaldo Bastos), a highlight of Nascimento and Lô Borges’ Clube da Esquina (Odeon, 1972), is given a mesmerizing fusion-tinged remake. Guitar and piano embark on jagged ascending sequences as the duo beautifully lengthens the final word, giving way to a compelling melancholic ending.
“Cais”, the opening song and one of Nascimento’s finest, introduces a key strength of the album - the effective contrast between spalding’s bright voice and Nascimento’s baritone. The pair alternates between singing in unison and exchanging lines in their jazzy expansion of “Outubro” (Nascimento, Fernando Brant). “Outubro” has always been a moving song, but on what may be one of the last Nascimento albums, to hear him confidently sing “Minha história está contada, vou me despedir” (“My story is told, I’m going to say goodbye”) is particularly affecting. In this context, the song feels like a celebration of Nascimento, and with spalding’s passionate soaring vocals and brilliant solos by flutist Elena Pinderhughes, it has never sounded better.
“Outubro” is followed by another display of top-notch musicianship on “A Day in the Life” (John Lennon, Paul McCartney). The shifting, turbulent middle section is transformed by energetic jazz. Pianist Leo Genovese and drummer Justin Tyson drive the ensemble into a chaotic free romp that ends with Genovese supporting a rapid third verse with ragtime playing. “Saudade Dos Aviões Da Panair (Conversando No Bar)" (Nascimento, Brant) is updated in less rambunctious ways, keeping the warm nostalgia of the Minas (EMI, 1975) recording, but is no less captivating. Nascimento is surrounded by the lovely voices of spalding, Lianne La Havas, Maria Gadú, and Tim Bernardes, and flourishes of skillful improvisation from Shabaka Hutchings’ flute and Genovese’s Rhodes keys give the tune new life.
Although “A Day in the Life”, “Outubro” and “Saudade Dos Aviões Da Panair (Conversando No Bar)" are all very different songs, each evokes reflection in a way that is very fitting for such a strong late-career statement by Nascimento. The same can be said for “Morro Velho” (Nascimento), a poignant meditation on how a combination of time, race, and class can irrevocably change relationships that began in childhood. spalding’s arrangement removes the horns of the original 1967 recording and introduces gorgeous background vocals and an elegant new string arrangement played by Orquestra Ouro Preto. The strings gracefully move through delicate pizzicato, tremolos, and more elaborate motif support, and how Nascimento’s voice has roughened and deepened with age is a great fit for it all. The Brazilian’s sublime performance is a fine example of why he became so praised in the first place.
A significant part of Nascimento’s acclaim outside of Brazil began in 1975 after his appearance on Wayne Shorter’s Native Dancer (Columbia, 1975). Native Dancer is also one of the reasons why Milton + esperanza exists. spalding was first exposed to Nascimento’s music after listening to it in college. Shorter, a close friend to both Nascimento and spalding, was an incredible saxophonist and composer who passed away just before the duo began recording their album. With that in mind, there was no better way to close the record than with a triumphant, joyful interpretation of “When You Dream” (Shorter, Edgy Lee), which features Carolina Shorter, the late musician’s widow. Milton + esperanza is a radiant collaboration of chemistry that could only be cultivated by deep mutual admiration. It’s a fantastic album - a stunning reminder of spalding and Nascimento’s talents that should please fans and newcomers alike.
