BassPlayer BP Recommends Unit1 March 2013 Issue

Review:Mark Egan, Karl Latham, John Hart
By CHRIS JISI
Mon, 11 Mar 2013

UNIT 1
[Wavetone Records]

Fretless master Mark Egan’s über-versatile trio (with guitarist John Hart and drummer Karl Latham) reimagines bebop classics live with an East Coast edge. Applying straight-16th grooves to the normally swung “Epistrophy,” “Bemsha Swing,” and “Mr. Clean” (also just covered by Marcus Miller) creates a fresh canvas for mind-locked interplay and Hart’s heavy blowing. Elsewhere, the standard “Old Folks” becomes a modal Afro-bossa with a killer outro, while the doubletime treatment of “Footprints” boasts Egan’s finest solo turn.

JazzTimes Review Mark Egan/Karl Latham/John Hart Unit 1

Cd_markegan_unit1_span3
05/21/13

Mark Egan/Karl Latham/John Hart
Unit 1
Wavetone Records

By Mike Joyce

Not that fans who’ve been following bassist Mark Egan’s long and remarkable career need reminding, but this leaderless ensemble’s recording debut is yet another illustration of just how well versed he is in the art of the electric trio.

While flashes of similarities to Egan’s work in like settings are inevitable, the performances captured on Unit 1 swiftly reveal a distinctive brand of jazz-funk propulsion and interplay, a match of wits featuring drummer Karl Latham and guitarist John Hart in equally prominent roles. Several jazz and pop standards, including tunes by Thelonious Monk, Ann Ronell, Wayne Shorter and Sonny Rollins, provide grist for the trio’s willfully out-of-kilter mill.

It’s a power-trio-generator, all right, but what often stands out amid the 16th-note rhythms, spiky harmonies and syncopated drive is a keen sense of dynamics, especially when the focus shifts to Hart’s feather-light phrasing, Latham’s deft brushwork and Egan’s fretless bass finesse. Although improvisation is the album’s primary thrust, with most of the tracks running between six and nine minutes, melodies linger and charm during “Old Folks,” “Willow Weep for Me” and “My One and Only Love.” What’s more, Hart’s sheer soulfulness and unmistakable blues affinity subtly complement Egan’s rippling undercurrents and Latham’s deep grooves.

Well worth the wait, Unit 1 was recorded five years ago at the club Bula in Newton, N.J. Here’s hoping Egan, Latham and Hart offer an update soon—in or out of the studio.

Unit 1 – Jazz Weekly Review

What a joy this last record is. Bassist Mark Egan, best known for his stint with Pat Metheny and his own band Elements, has one of the most identifiable and pleasant electric bass sounds around. Here, he teams up with kindred spirits John Hart/g and Karl Latham for a fresh look at jazz standards. Sure, you’ve heard material like “Old Folks,” “All Blues” and “My One and Only Love” a billion times, but these guys put an bit of funk and world music feel into the idiom, and it fits like a pair of blue jeans out of the dryer. The pair of Monk tunes, “Epistrophy” and “Bemsha Swing” have a sizzle that is irresistible, while “Footprints” has an alluring spacey-ness to it. Their interplay, particularly on the calypso “St. Thomas” is something that can only be achieved by artists who have this music in their dna. What a blast!!!

http://www.jazzweekly.com/2013/07/standards-done-two-ways-the-verve-jazz-ensemble-its-about-time-mark-egan-karl-latham-john-hart-unit-1/

Unit 1 Review – JazzTimes

markegan3Unit 1 has been described as a “jazz-funk power trio,” but it has a certain refinement that precludes bombast or overplaying, thanks to an acute rapport and the refreshingly original arrangements of well-known tunes on this live recording. Guitarist John Hart, an infrequent leader but sideman extraordinaire, gets a chance to shine and makes the most of it, and bassist Mark Egan and drummer Karl Latham more than hold their own, making for a well-balanced and always interactive musical flow. These three musicians’ past credits are impressively wide-ranging, from the Maria Schneider Orchestra, Jack McDuff and James Moody (Hart), to Pat Metheny, Sting, and Gil Evans (Egan), and Johannes Mossinger, Joe Lovano, and Johnny Winter (Latham). The striking music comes from three 2008 performances at the club Bula in Newton, NJ, but has only recently been released on Egan’s Wavetone label. Unit 1 should appeal to fans of jazz, funk, blues, and fusion alike.

Click here to read the full review

Unit 1 Review – Jazz Station

markegan3So far the best fusion album released this year, “Unit 1” was actually recorded live at the small Bula club (in Newton, New Jersey) from March to May 2008. Mark Egan & Co. taped three gigs and selected their favorite moments. The result is impressive, a fiery collection of jazz classics – from Thelonious Monk to Wayne Shorter to Weldon Irvine – performed by a power trio that combines creativity, energy, swing and great grooves; something very different from similar groups that seem able only to play loud and say nothing.

Click here for the whole review

Big Funk on O’s Place 2012 Best Contemporary Jazz List

2012 Contemporary Jazz Golden Selections
O’s 5-Rated Performances
Artist Title Label
Perf
Snd
Type
David Gilmore Numerology Evolutionary Music
5
4
Fusion
Aaron Hardin Coming Home For Christmas Grooveworks Entertainment
5
4
R&B Jazz
Axel Schwintzer Uncommon Sense Armored Records
5
4
Fusion
Esperanza Spalding Radio Music Society Heads Up
5
4
R&B Jazz
Bob Baldwin Betcha By Golly Wow Peak
5
3
R&B Jazz
Don Braden & Karl Latham Big Funk Creative Perspective
5
3
funky
Fo/Mo/Deep A Beautiful Bang RH Media
5
3
funky
Lee Ritenour Rhythm Sessions Concord
5
3
funky
Yonrico Scott Be In My World Blue Canoe
5
3
R&B Jazz

JazzTimes Review of Don Braden/Karl Latham “Big Funk”

10/23/12

Don Braden and Karl Latham
Big Fun(k) Live
Creative Perspective
By Owen Cordle

Big Fun(k) is a synchronized rhythm machine. Not that it sounds mechanical; rather, each player primarily emphasizes rhythm, and all the parts interconnect—drum backbeats, bass grooves, keyboard riffs and colors and (mostly) pentatonic tenor saxophone figures. Joining leaders Don Braden (tenor sax and alto flute) and Karl Latham (drums) on this live session are Nick Rolfe (keyboards) and Gary Foote (bass). Except for the Beatles’ “Lucy in the Sky With Diamonds” and Beyonce’s “Déjà Vu,” the compositions are originals.

The tunes invite macho tenor playing. Braden’s “The Funky View,” on which he solos with blitz-like swirling runs, is a technically dazzling example, as is his “Grover Miles,” which—you guessed it—mixes elements from Grover Washington Jr. and Miles Davis. There’s more Braden brilliance on “Having a Ball,” a solo tenor prelude to “Lucy in the Sky With Diamonds,” and the quartet gives the Lennon/McCartney classic a soulful treatment, with shimmering keyboard support. Rolfe’s “A Foote in the Door” features bassist Foote soloing with Jaco-like flamboyance. Throughout the album, Rolfe sparks the ensemble with a variety of keyboard effects and in-the-pocket jabs. Latham is an unshakable catalyst.

In the end, the album title is spot-on: This band is nothing if not fun—and genuinely cooperative. You get the picture that each player is listening to the others and responding for the benefit of the whole.

O’s Place Jazz Newsletter Review

O’s Place Jazz Newsletter Review

O’s Notes: Big Funk is exactly that featuring drummer Karl Latham leading a pumping rhythm section. They provide a solid landscape for Don Braden (sax, fl) to build upon. The program is mostly originals with a couple of complementary covers thrown in. Keyboardist Nick Rolfe shares the lead lines with Braden and bassist Gary Foote is right there with them as on “Deja Vu” and the explosive “A Foote In The Door”. Don shows his stuff on “Having A Ball” a solo prelude to “Lucy In the Sky”. Energy packed to get your head nodding and definitely funky!

SoulandFunkMusic.com Review

Review Don Braden and Karl Latham’s Big Fun(K)

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Don Braden​ And Karl Latham - Big Fun(k) Live The duo Don Braden and Karl Latham, as band Big Fun(K), recently released their same titled Live album Big Fun(k). The album has been recorded at Cecil’s Jazz Club and Restaurant on May 13-14 2009. The album includes ten instrumental jazz funk tracks. Don: The tunes on this album will be played different during other live sessions because our repertoire is still evolving.

Track #1 ‘High Rise’ starts with a slappin’ bass guitar followed by the Hammond and Sax. This tune is written on a flight home from the Netherlands where Don often performs. Don, when you are in the Netherlands give me call. The slappin’ bass is also starting on the second track ‘Deja Vu’. This 8:45 minutes long track which is based on Beyonce’s ‘Deja Vu’ from 2005 is very funky and energetic. Great Hammond and a bass solo at six minutes. Track number three ‘A Foote in the door’ starts with, i think, a well known melody line. Can’t figure it out what/who it is. It’s probably Don Braden and Karl Latham. ‘Having A Ball’ is a sax solo. ‘Lucy In The Sky With Diamonds’ is a down-tempo instrumental jazz tune from The Beatles with the sax in the lead. At 4 minutes the style changed to a very funky groove with great reeds solo. Don’t need to write anything about the track ‘The Funky View’ because it’s in the name. Slammin’ funky Hammond cords, sax, bass play. Don wrote this track during his days as composer for Bill Cosby and CBS from 1995-2000. ‘Heads Up’ is an example of evolving music. This tune was written as a ‘Smooth Jazz’ piece. My colleague listened to track #8 ‘Confusion’ and recognised some fragments from ‘Chick Corea’ and from Miles Davis his song ‘Jean Pierre’. ‘Song For Mother’ is a slow tempo jazz tune that Don dedicate to his mother. My favourite tune is the last track on this album ‘Grover Miles’ is very funky with fabulous synth sounds/cords, superb bass play and luckily last nine minutes. This tune is dedicated to the late Grover Washington Jr. and Miles Davis. The bass line is related to Miles’ Tutu, and the melody has elements of classic tunes from Grover’s recordings of the late 1970’s, early 1980’s.

Don Braden grew up in Louisville, Kentucky in the 1970’s. He has toured the world and recorded with many Jazz giants, including Wynton Marsalis, Tony Williams, and Freddie Hubbard among others. Karl Latham grew up in Northwest New Jersey. He broke on the NYC jazz market with an RCA/Novus artist in the late 80’s, played in many groups including the Fantasy Band. Since 1993 his career makes a move in the European Jazz scene.
Buy This CD Now!

Don Braden/Karl Latham: “Big Fun(k) Live” JazzHistory Review

Don Braden/Karl Latham: “Big Fun(k) Live” (Creative Perspective 3001)
by Ellen Johnson
Don Braden and Karl Latham’s new album, “Big Fun(k) Live” explores new territories in jazz and funk with hard-hitting grooves, clever riffs and sophisticated harmonies. The project was recorded over three nights at Cecil’s Jazz Club in West Orange, New Jersey. Saxophonist Braden cut his teeth early on playing instrumental funk and jazz of the 1970s and then became one of the “young lions” of the 1980’s touring with Betty Carter, Wynton Marsalis, Tony Williams, Freddie Hubbard and Roy Haynes. Drummer Latham broke out on the New York jazz scene in the late 1980s, and since 1993 has gravitated to the European jazz scene sharing the stage with Joe Lovano, John Lee, and Boris Kozlov. Keyboardist Nick Rolfe shines on every track with synthesizer grooves, neo-soul and world beat chops. But it is bassist Gary Foote’s pure funk solos and perfectly pocketed grooves with Latham that fuels the excitement of the band. The master bassist is best known for his 20-year plus association with Blood, Sweat and Tears as well as with Billy Cobham. “The main difference with our music now is that we probably use more non-diatonic harmony than our predecessors,” said Braden. “That’s not an innovation per se; we’re just using material from our experience with today’s modern jazz, so naturally it will sound different than the 1970s. I’m not as concerned about moving the style forward as I am interested in the potential for creating expressive music and magical moments in real time.”

The first track, “High Rise” sets the mood and groove one would expect from this high caliber group. Foote’s solo eight bar intro reminds us of all the things we love about funk like strong riffs and lines with “popped” high notes and thumb-slapped bass.The drums and Fender Rhodes piano join in the next eight bars, leading to the sultry melodic line carried by the saxophone. There is a seamless mix of funk and jazz textures that work exquisitely together. According to Braden, the unison ensemble section was inspired by Stevie Wonder’s “Sir Duke”. The band reaches into the pop world as they re-create the Beyoncé tune, “Déjà vu”. Braden adds his own flair by changing the key from the original recording and including jazz harmonies in the melody sections, which contrast with the solo sections (there is a vamp in E-flat minor that modulates to e minor on a smoking bass solo and back to E-flat minor on the return to the vamp). On “Having A Ball,” the only song on this set that features just the saxophone, Braden’s technical prowess assists in telling his soulful story. Braden’s sax solos are always on target throughout this project because he understands the importance of conveying the message of each phrase. “Having a Ball” is actually the intro to a gospel tinged funk interpretation of “Lucy in the Sky with Diamonds.” Braden remarks “I was looking to combine the two songs and I thought of Lucille Ball which made the perfect connection.”

One of my favorite tracks is “A Foote in the Door” because it is reminiscent of the great jazz-fusion from early groups such as Weather Report.
This piece clearly demonstrates the interrelation between complex harmonic melodies and solid syncopations. The solo section has minor chords moving down in minor thirds (G minor, E minor, C# minor), which makes for an interesting sound yet a definite improvisational challenge. However, with this group of exemplary musicians, each one brings a visceral level of spontaneity that demonstrates their effortless musicality and skill. Although “The Funky View” is one of the most harmonically and melodically simple tunes on the disc, it is still hard-grooving and danceable. Originally conceived as a “smooth jazz” piece, “Heads Up” contains a fairly intricate melodic and harmonic feel, losing itself in a trance-like improvised section. “Confusion,” contains a minor-tinged main melody with a solo section similar to the Jaco Pastorius tune, “The Chicken,” and a challenging time signature of 13/8. “Song for Mother” is a dedication to Braden’s mother and one of the most beautiful songs on the recording. It begins in a slow tempo with the alto flute playing the melody accompanied by ostinato bass. The alto flute creates an ethereal quality supported by Rolfe’s complimentary string sounds and synth solo. The ability to switch from the hard-hitting grooves of the previous tracks to the sublime treatment of this sensitive song is another reason to appreciate the talents of these fine musicians. The rousing finale to this set is a tune called “Grover Miles,” in tribute to the bands all-time favorite musicians, Grover Washington, Jr. and Miles Davis. The bass line is related to the Davis composition “Tutu” and the melody has elements of classic Washington tunes from recordings of the late 1970s and early 1980s.

The more I listen to this infectious recording, the more I love it. It’s questionable that anyone could sit still listening to the killer grooves on this project, which is why this is a funk lover’s dream! This tasty recording belongs in any serious funk, jazz-fusion, and soul collection.

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