Pete Whitman is a saxophonist, flutist, clarinetist, composer, arranger, and educator based in the Minneapolis/St. Paul area. As a freelance musician, Whitman performs in a wide range of musical styles and contexts that include Jazz, Classical, Pop, dance bands, etc. He has performed with such distinguished groups as the Minnesota Orchestra, Jack McDuff, Curtis Fuller, the Woody Herman Orchestra, the Jazz MN Big Band, The Glenn Miller Orchestra, The Temptations, and The Midtown Men. Whitman has recorded extensively as a sideman and has three CD’s under own name. "Where's When" is his third, released via Artegra label. It features the Pete Whitman's X-tet - a ten-piece ensemble, which received a four-star rating by DownBeat Magazine.

Pete Whitman is a saxophonist, flutist, clarinetist, composer, arranger, and educator based in the Minneapolis/St. Paul area. As a freelance musician, Whitman performs in a wide range of musical styles and contexts that include Jazz, Classical, Pop, dance bands, etc. He has performed with such distinguished groups as the Minnesota Orchestra, Jack McDuff, Curtis Fuller, the Woody Herman Orchestra, the Jazz MN Big Band, The Glenn Miller Orchestra, The Temptations, and The Midtown Men. Whitman has recorded extensively as a sideman and has three CD’s under his name. "The Sound Of Water", his second, was originally released in 2001 via Artegra label. It features numerous originals by Laura Caviani, Phil Hey and Pete Whitman, plus cleverly arranged standards performed by as outstanding quintet.

Nominated as ‘Album of the Year’ in the 2008 BBC Jazz Awards, and as ‘Best Ensemble’ in the UK Parliamentary Jazz Awards, this debut album from Arnie Somogyi's Ambulance immediately caught the jazz world’s attention. The album features five of the UK's most exciting young jazz musicians, in collaboration with U.S. jazz legend, trumpeter Eddie Henderson. The majority of ‘Accident and Insurgency’ was completed during one four-hour live session thus capturing the essence and live energy of the band. Tracks combine traditional jazz instruments and improvisation as well as modern electronic techniques and soundscapes of local noises creating a new innovative sound.

Medeski, Martin & Wood had already created a series of fine albums and a fervent following before they were signed to Blue Note, one of the most prestigious labels in jazz history. But rather than taking it easy after having made it in the jazz world, MM&W actually pushed the envelope even further during the Blue Note years, continually challenging their listeners as well as themselves. Note Bleu: The Best of the Blue Note Years: 1998-2005 compiles tracks from all five Blue Note albums, and does an excellent job of summarizing their label tenure. The Tonic recording was something of an anomaly. Self-produced and entirely acoustic, it's represented by only one track: a beautiful, slow interpretation of "Hey Joe." As nice as it is, it just doesn't fit with the rest of the material and breaks the flow just a bit.

Serge Gainsbourg's "Aux Armes Et Caetera", his biggest commercial success, was recorded in Jamaica with reggae greats Sly and Robbie and vocalists from the I Threes including Rita Marley. The first of two reggae albums from Gainsbourg, it sold over 400,000 copies within months of its release in March 1979 and yielded several big hits, including the controversial (at the time) title song, a reggae version of the French national anthem "La Marseillaise".

Since more than 40 years, Sylvia Vrethammar sings all around the world. She lives in Europe but in her heart is in Brazil. With this album, the Sweden star presents an own personal homage to this land and its music.

After receiving worldwide praise and a GRAMMY for Best Jazz Vocal Album for her 2011 disc, "The Mosaic Project", drummer extraordinaire Terri Lyne Carrington releases its hotly anticipated follow-up, "The Mosaic Project: Love And Soul". Like its predecessor, "The Mosaic Project: Love And Soul" presents Carrington leading a rotating cast of superb female instrumentalists and vocalists that includes Oleta Adams, Natalie Cole, Paula Cole, Lalah Hathaway, Chaka Khan, Chanté Moore, Valerie Simpson, Nancy Wilson, Jaguar Wright and Lizz Wright, as well as saxophonist Tia Fuller, trumpeter Ingrid Jensen; bassists Meshell Ndegoecello and Linda Oh; and keyboardists Geri Allen, Patrice Rushen and Rachel Z.

Recorded live at the Barbican Centre in November 2007, Richard Hickox conducts Carl Orff’s immensely popular dramatic cantata Carmina Burana with the London Symphony Orchestra and Chorus and soloists, Barry Banks, Laura Claycomb and Christopher Maltman. The score’s combination of gloriously infectious vulgarity interspersed with moments of genuine beauty has assured it an unquestionable position as one of the most popular of all twentieth-century choral works.

“Encounter” is a colorful term. The English word stands for encounter, meeting, collision, unexpected, touch. Our program also speaks of this diversity of meaning. It lives from vital exchange, from resistance, dangers and surprises, and not least from risk. Our soloist commissioned three of the pieces specifically for this purpose. They were tailor-made for him, although not bite-sized. On the contrary: they challenge you and want to leave your comfort zone.

The pinnacle of Renaissance music and its practice was forged in an incessant coming and going, a constant journey of musicians and musical chapels through courts or noble, royal, ducal, and papal houses throughout Europe. From the Middle Ages to the Renaissance, musicians from far and wide gathered in Flanders to catch up on musical material, sent by kings, dukes and counts from all over Europe. Some musicians called these gatherings “the schools.” These meetings served, in addition to learning things about their Art, as a kind of market for musicians. Musicians from the Franco-Flemish regions brought their polyphonic compositions and most refined musical skills to other countries like Italy or Spain.

On his new album, Samurai, Lupe retreats inward to give fans one of his most personal albums in his deep catalog. “I sometimes get tagged by my fans as not doing personal records,” Lupe says, “but I always tell people there's me in there if you listen closely enough. This album is one of my more personal records to date. It's not a full biography, but my personal experiences are tied up in all of my music. A lot of the records are me. Some are from the POV of a character. and some are me. The album weaves things from my life as an artist, touching on things other artists go through.

SUSS’ fifth release, Birds & Beasts, on Northern Spy Records, finds the New York-based ambient trio digging deeper, populating its stark, ethereal soundscapes with primal currents of sound inspired by the cycles and rhythms of the world around us. But while conveying the power of natural forces, it also embraces occasional warm rays of hope and humanity.

Boulevards, also known as Jamil Rashad, returns with Carolina Funk: Barn Burner On Tobacco Road. Teaming up with funk producer Sergio Rios (Orgone, Say she she, Neal Francis). Taking notes from rare funk records and blaxploitation, Carolina Funk: Barn Burner on Tobacco Road is a raw, muddy, infectious, live testament to the funk with infectious hooks, syncopated basslines, tight drums and classic horns that bring a punchy and soulful element.

This is some of the music composed for the Laserium, a sound to light extravagance that I have been working on over the last year. The Laserium is a method of using sound to drive lasers that are refracted or reflected to corresponding individual voices in the music. It's all very psychedelic but without a drug. Very strange.

Bad Cameo is a collaborative studio album by British musician James Blake and American rapper Lil Yachty. It was released on June 28, 2024, by Quality Control Music, Motown, and Republic Records. When deciding on what kind of music the duo wanted to make, Yachty told Blake that he'd worked on enough hip hop music in his career and that Yachty wanted them to work on something completely different. Blake responded by showing Yachty some ambient music he'd been working on around the same time as his prior album Playing Robots into Heaven, and Yachty played his own music which matched the mood of Blake's.