Narrated by Jay Haley, this 60-minute documentary offers an intimate and far-reaching portrait of this remarkable individual's life and work. You'll learn how Erickson overcame numerous adversities in his early life - dyslexia, complete paralysis from polio at age 17, and chronic pain - and how these events formed the genesis of his development as an innovator in hypnosis and therapy. Featuring abundant footage of Erickson during interviews and therapeutic sessions, many of which have never been previously released, you'll learn more about the man and his work through fascinating interviews with his colleagues, students, patients, and family members. This inspiring portrait of one of the most humane therapists of our time will enrich the lives of anyone interested in the extraordinary potential of the human spirit.
"Txai" is described as a term of respect for those who are allies of the forest – and such is the focus of this concept album, the end result of a fact-finding voyage through part of the northern Brazilian watershed. Utilizing forces ranging from a simple dialogue between Milton Nascimento's baritone and percussion to a large orchestra and chorus (often arranged by Wagner Tiso), Nascimento shares his thoughts about the rivers and nature, ultimately warning us not to let the forces of capitalism destroy the Amazon rain forest (reinforced by a spoken passage written and narrated by actor River Phoenix). The songs are separated by wild-sounding interludes of folk music from the peoples of the region, and there is a fascinating vocal/percussion arrangement of Heitor Villa-Lobos' "Nozani Na."
Although several of Nascimento's most familiar songs are contained in this debut American release, Milton (Minas) (referring to his home state of Minas Gerais) is a remarkably cohesive piece of work that stands as one of his finest. It includes famous tunes "Carvo e Canela" and "Nada Sera como Antes."
It's been far too long since the great Nascimento released an album of new material, but on the basis of this, he's completely on form, not losing his golden touch at all. Dedicated to his late stepmother, it finds Nascimento mining the themes of childhood and love that have always been the very heartbeat of his music. And to help him explore them, he's used some colleagues from the days of the classic Clube Da Esquina, people like Lô Borges and Eumir Deodato. While most of this album is made up of songs, letting Nascimento's brilliantly luminous voice shine, there's also an instrumental excursion, "Cantaloupe Island," that brings in American jazzers Herbie Hancock and Pat Metheny. It's pleasant, but hardly up to the high standards of the rest of this disc, such as the glowing saudade of "Tristesse," as powerful a song as any in Nascimento's excellent canon.