Peter Wholleben

Peter Carlsohn’s new album; Out of the Blue is his debut album as a solo artist, but there are quite some years of experience behind this project.

Part jazzy, part bluesy, Cobb’s Pocket is the 2019 album release by NYC based recording artist Hendrik Meurkens. Backed up by a fine band, including Peter Bernstein (guitar), Mike LeDonne (organ) and Jimmy Cobb (drums), the all-instrumental album is the perfect showcase of Hendrik’s harmonica work, which is the key instrument showcased on the eight cut, 50 minute album. Post-bop jazz at its finest, Cobb’s Pocket features Hendrik and company romping through an album of cover tracks, including originals by Herbie Hancock, Slide Hampton, Henry Mancini, Sam Jones and Jimmy Van Heusen. The title track, track four “Slidin” and the CD closer “A Slow One” were written by Hendrik. The sound of the album showcases the steady interaction between the harmonica, electric guitar, organ and drums, which is a rarely heard combination of instruments. Jimmy Cobb is a jazz drumming legend that played with Wes Montgomery and in the spirit of Wes, Cobb’s Pocket is “in the pocket jazz” at its finest.

"Peter Cetera", released in September 1981, is the self-titled first solo release by then-Chicago bassist and lead vocalist, Peter Cetera. A much more rock-oriented album than Chicago had been producing at the time, Cetera released the album in September 1981 while still a member of the band. Released on Full Moon Records, a subsidiary of Warner Brothers (reissued in 2004 on Wounded Bird Records), the album was not commercially successful, peaking at #143 on the Billboard 200 chart in March 1982, after making its first appearance on the Billboard 200 chart on January 23, 1982 at #192.

After experimenting with randomness and electronic transformation (see Empty Orchestras – 2014), Peter Orins returns this time with his only drum set, and some objects, bowls, wood, shells… As an improviser, he is interested in sound textures, the ambiguity of timbres and their production, the saturation of sounds or the harmonics specific to each instrument: make it possible to hear both the “microscopic” noises of skins or metals rubbed, struck, prepared, at very low power, and the acoustic pressures felt at high volume.

It was a simple idea; to create a festival out of all the brilliant music and art made all over the world, stuff made outside of the mainstream – music that wasn’t getting on the radio and was even harder to find in record stores…