4 Moons

On Friday, August 5, 2022, Chickasaw composer and U.S. Cultural Ambassador Jerod Impichchaachaaha' Tate will release a new album, Winter Moons, on Azica Records. Winter Moons is a ballet in four movements based upon American Indian legends from the Northern Plains and Rocky Mountains, performed with a live storyteller to guide the audience. The title of the ballet is derived from the ancient idea that American Indian stories - some serious historical narratives, and others lighthearted bedtime stories for children, but all usually carrying a moral - are best told during the full moons of the wintertime. Winter Moons was Tate's very first composition, commissioned by and dedicated to his mother, choreographer Dr. Patricia Tate. Spirit Chief Names the Animal People was part of the original version of Winter Moons and is now performed as a separate work with narrator.

Recorded at a low ebb in Nelson's career, the tracks here were never intended for solo release; instead, they were demos for a projected band called Perfect Serpents – a sort of Be Bop Deluxe Mark II. That project never managed to get off the ground, and Nelson issued this set, a rough snapshot of what might have been. Like most demos, it's rough; the drum machines used sound raw, and often too far in front, and the mixes aren't perfect (it's a shame, really, that he didn't go back and remix the tracks to do them more justice before releasing them). However, the Nelson guitar magic is there in abundance, multi-layered and glorious. His singing still remains a take-it-or-leave-it proposition, but those already converted will love it. As for the music, it's far more energetic and focused around songs than Nelson had been for a while.

This 1992 recording by the Garbarek Group has their customary blend of Norwegian folk themes and original compositions, with the leader's big-toned soprano and tenor saxophones at the heart of a music that combines cool lyricism and intense, if restrained, passion. It's the emotion that Garbarek can concentrate in a single note that distinguishes his work. His soprano is a keening wail in the unaccompanied introduction to "Brother Wind March," his high-register tenor an impassioned cry on "The Tall Tear Trees." Rainer Bruninghaus's piano provides a reflectively lyrical contrast, while the shifting rhythms of percussionists Manu Katche and Marilyn Mazur add variety to the reiterated themes. The CD is filled with distinctively Norwegian touches.

Jack Bruce must have enjoyed his 2005 get-together with Cream so much that, when Clapton and Baker were unwilling to continue the collaboration, he rang up Robin Trower to renew the brief power trio fling they had in the mid-'80s. The Trower-Bruce pairing had released only two albums, B.L.T. and Truce, and was dormant since 1982, so this 2007 reunion was somewhat of a continuation of the project, albeit one separated by a quarter century. The results impressively continue where Truce left off, as Bruce brings his distinctive croon/moan to bluesy, riff-oriented tunes dominated by Trower's silvery guitar runs. Gary Husband fills the drum slot adequately if inconspicuously, but his contributions are mixed so far under Bruce's vocals and Trower's guitar that they are secondary. The previous two releases called in Trower's old Procol Harum lyricist Keith Reid and Bruce collaborator Peter Brown to write the words, but Bruce and Trower pen these 11 songs without outside assistance.