Wagner Tiso can be an internationally renowned musician whose accomplishments add a having a good effect on the rise of main vocalist Milton Nascimento, a thorough group of composed soundtracks for films, a single discography comprising 28 albums, and shows with jazz giants such as for example Edison Machado, Paulo Moura, Ron Carter, Johnny Alf, and many more. He frequently performed in the very best Western jazz festivals such as for example Montreux, Berlin, Montmartre (Denmark), and Great and the primary concert halls in Greece, Italy, France, Austria, and Germany. Tiso was a self-taught musician in his little town, dropped behind the mountains of Minas Gerais. He quickly formed an organization that performed in little community parties, later on playing in regional nightclubs. They passed Luar de Prata and afterwards as the W’s Young boys, from 1958 to 1961. As his lifelong partner and friend, Milton Nascimento accounts about his very own first open public appearance, at 14. “I used to be a neighbor of Tiso’s and we utilized to perform jointly. Because we had been underage, when the inspectors emerged, we used to perform for your kitchen, where we’d beverage guaraná and consume chips.” Shifting to Belo Horizonte, from 1962 to 1964 he performed using the Berimbau Trio. In 1964, he shifted to Rio, signing up for the Sambacana group, documenting on their behalf for the very first time through Odeon. From 1964 to 1965, he was the pianist for the renowned Edison Machado Quartet. Using the renowned clarinetist/conductor Paulo Moura, he proved helpful from 1965 to 1967 within a lucrative association where he found that music may be instrumentally performed without vocal support. In 1967, he published the musical set up for the starting from the main Carioca showroom Canecão, for any Maysa Matarazzo display aimed by Paulo Moura. As an accompanist, he worked well in this era for several best singers, such as for example Cauby Peixoto and Marcos Valle. In 1969, he became a member of the Som Imaginário, an organization focused on accompany Milton Nascimento in saving classes and live shows. In that 12 months, he performed thoroughly overseas, in Athens, Greece, and Montreux, Switzerland. In the U.S., he performed with Ron Carter, Flora Purim, and Airto Moreira, together with his displays with Milton. In 1969, he also made up the soundtrack for Ruy Guerra’s film Operating-system Deuses e operating-system Mortos. In 1970, the Som Imaginário documented their first LP for Odeon. For the reason that 12 months, with Milagres dos Peixes Ao Vivo, Tiso began his career like a conductor inside a duet with Milton Nascimento. He was granted as Greatest Arranger from the São Paulo Artwork Critics Association and Greatest Arranger from the Folha de São Paulo, Jornal perform Brasil and O Globo papers. The next season, they documented the Som Imaginário II for the same label. In 1972, they documented the Cabeça de Porco record, honored as Greatest Record with the São Paulo Artwork Critics Association so that as Greatest Record with the Jornal perform Brasil paper. In 1974, he done the LPs Flora Purim in Montreux and Wayne Shorter’s Local Dancer. In 1975, Tiso was honored as Greatest Arranger for Milton/Fafá de Belém/Gal Costa’s recordings. In 1977, he had written the soundtrack for Lyra dos Deuses, Walter Lima, Jr.’s film. In 1978, he released the single LP Wagner Tiso, through Odeon, and was honored for Greatest Record with the São Paulo Critics Association. The specific press also voted him among the all-time greatest of Brazilian music. Within the next season, he released Assim Seja, also through Odeon. In 1980, he had written the soundtrack for Ferreira Gullar’s play Poema Sujo, and documented Trem Mineiro for Odeon, that was honored as Greatest Record and Greatest Show with the Jornal perform Brasil paper in 1981. Also in 1981, he published the soundtrack for Walter Lima, Jr.’s film Inocência (granted as Greatest Musical Path in the Brasília Film Event of 1983), was granted as Greatest Arranger from the Brazilian Information Association for his focus on Milton’s Sentinela, and documented Toca Brasil (Ariola/Barclay). For the same label, he documented within the next 12 months Wagner Tiso ao Vivo na Europa and in 1983, Todas as Teclas, with César Camargo Mariano, was granted as Greatest Instrumental Record by the next magazines and papers: Isto É, Domingo, Veja, Playboy, Jornal perform Brasil, O Globo, Folha de São Paulo, O Estado de São Paulo, and was also among the best-selling instrumental information in Brazil. Tiso was also granted as Greatest Arranger and Greatest Keyboardist (Playboy, 1983) for the recording. In 1984, he had written the soundtrack for Walter Lima, Jr.’s film Chico Rei (honored as Greatest Soundtrack on the Colombia Film Celebration of 1987) and Silvio Tendler’s documentary Jango, that was honored as Greatest Soundtrack on the Gramado Film Celebration. The next season, he documented two albums, Coração de Estudante (Barclay) and Operating-system Pássaros (Odeon). Coração de Estudante was honored as Greatest Show and Greatest Record with the press of Rio de Janeiro and Greatest Music, Greatest Musician, and Greatest Record by Rádio Tupi (1985). In 1986, he had written the soundtrack for Ramalho Júnior’s film Besame Mucho and cleaning soap opera Dona Beija. For the reason that 12 months, he documented two albums, Branco & Preto — Preto & Branco (granted as Greatest Arranger Villa-Lobos Honor — A.B.P.D., 1987, so that as Greatest Orchestrator: Villa-Lobos Award A.B.P.D. 1987), and Giselle, both through Polygram. With João Carlos Assis Brasil and Ney Matogrosso, he documented A Floresta Amazônica with music by Villa-Lobos, in 1987. In 1988, he published the soundtracks to both Osvaldo Caldeira’s film O Grande Mentacapto as well as the Primo Basílio Television series. Also in 1988, he documented Manu-çaruê (Polygram) and Coração Imprevisto, and with Eugênia Melo e Castro, he documented through the Portuguese label Valentim de Carvalho. In 1989, he was commissioned by Portugal’s education cupboard to create the soundtrack for six documentaries and released a compilation, Cine Brasil (Polygram), and Só Louco (with Nana Caymmi, for EMI). He also published other soundtracks for documentaries for the reason that period. In 1990, he documented Baobab for Polygram. In 1992, Tiso documented Wagner Tiso — Profissão: Música, also for Polygram. For the label Trem Mineiro, he documented O Livro de Jó in 1993. In 1995, he documented the live recording Wagner Tiso ao vivo com Rio Cello Outfit (BMG). Tom Brasil’s series Brasil Musical brought 1995’s Wagner Tiso e Orquestra de Cordas Brasileiras. The same series brought Wagner Tiso e Paulo Moura (1996). In 1997, Tiso documented Brazilian Moments for the French label Kardum/Iris Musique. In 1997, Tiso documented the Compact disc A Ostra e o Vento for Rob Digital, and in 1999, Debussy e Fauré Encontram Milton e Tiso, for Visom.