Headliner Magazine “New Music” Interview

Karl Latham: Beating the Drum

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“I work with so many genres, man,” beams Latham, adding that this ties in with his ‘very interesting life’ and is also reflective of his personality. “I am a Gemini, so I play everything! Rock groups, latin jazz, brazilian jazz; somehow I ended up in the modern jazz area, as in the early ’90s I did the gig with the bassist of the Dizzie Gillespie Band. He is now leader of that band, and he was best man at my wedding, in fact! He tried to make me one of those great jazz drummers, but the thing is, I like Foos and Metallica as much as I like John Coltrane! [laughs] I grew up listening to a lot of European artists and avant-garde music, way more than bebop and straight ahead jazz.”

I ask Latham about some of his recording projects, which are eclectic, to say the least, and have often involved creating special adaptations of leading artists’ work.

“I have many classical influences, rock influences, and some improv, but not really american roots-based music, so I play with Mark Egan as a result, one of the best bassists in world,” Latham explains. “I am a serious Björk fanatic, and when her Volta album came out [in 2007] with Earth Intruders, and I See Who You Are, as soon as I heard it, I knew I wanted to cover it! I had covered Pagan Poetry on an earlier Björk record, but it was just a jazz treatment. So I waited until I found the collection of people that would resonate with her concepts, and didn’t let anyone know what songs we were recording. It was me and Mark, Nick Rolfe on keyboards, and then Ryan Cardiaux, a great trumpet player. So I got studio time here in the States, and sent the songs the day before the session! We went in, I played the songs on the iPhone in the middle of the big playing room, and said, ‘what do you want to make of this?’ And that was that. I wanted to capture the deeper, intuitive feelings within the music, as Björk speaks to me. She is my favourite female vocalist.”

This was back in 2013, and the project was called Constellations, a quite beautiful recording, well worth checking out. Latham describes the process as “getting that stream of consciousness, getting way out of the thinking mind”. He also believes that 100 years from now, people will look back and say Björk was, in fact, an oracle. This is one very spiritual and truly passionate musician.

Living Standards

We move onto Latham’s most recent recording project, Living Standards, an album he’s put together ‘for the people’, he explains.

“I want anybody that hears it to go, ‘yeah that’s cool’, and let it bring something to their life: a beauty, or maybe it just makes them move, or whatever,” he says. “Living Standards includes Day Tripper, Tax Man, Neil Young’s Cinammon Girl as an amazing waltz ballad – you gotta hear it! And White Rabbit on a mellow guitar, White Room, Us and Them by Pink Floyd, Riders on the Storm, Tomorrow Never Knows. Just amazing songs with amazing players, basically.”

Somewhat of a departure from the standards he’s played so many times, then? Or not…

“To me, Cinammon Girl and White Rabbit are standards, you know? Day Tripper has one of the greatest riffs you’ll ever here. What’s better?”

A fair point, well argued! So what about capturing the audio, then? Latham has already told me at this point that he has tie lines throughout his home, so the house is basically set up to record wherever he is.

“Yeah, the entire house is basically wired to record anywhere,” he confirms, with a smile. “I still use Pro Tools as my capture piece, and to mix, but whenever the first RME Fireface came out, I was front of the line to get one, and I have stuck with that brand ever since. I had the Fireface 800, and when I came into this house, which also has a recording studio designed by John Stork, I realised I could work anywhere. I have a huge mixing room, a loft with tie lines, a living room has tie lines, and there is also a booth.

“This Studio is a gift from the universe… Somehow, it came to me! So then I wanted to upgrade. Everyone was moving to the Universal Apollo [interface], and I have a great relationship with a music store called Alto Music out here in the US, so I called their tech guy and asked him what he thought. He said, ‘Karl, you’ll hear the latency in the Apollo, keep your Fireface.’ He said it’s only one in 10,000 people that would hear this problem, but I was one of them! [laughs] He said I would hear it as a phasing issue, so I thought, ok, I’ll talk to RME.”

So Latham sent a blind email to RME, explaining that he wanted to upgrade, that he loved their products, and that he was going to buy something anyway, but was there a chance of some kind of relationship? There was, of course.

“Richard de Clemente at RME sent me an email back saying he not only knew who I was, but he was a fan. I couldn’t believe it!” Latham laughs. “He sent me the Fireface UFX – and now the entire studio runs on it. I use it for a clock, and for all the recording.”

Living Standards was all recorded using the UFX, as will Latham’s next project, Big Funk. At any one time, he is running 20 channels, and he can get even more than that if he needs to.

“I am bringing in eight channels of all these boutique preamps in through Lightpipe; I have five Neve clones, and five API clones, then I have two Graces, and a Focusrite four-channel,” Latham reveals. “I can put in another eight channels of Lightpipe if I need to, and what’s great about this unit is the piece in front, the total mix – this is the thing that separates it from other pieces, for me. Van Romaine (producer, and drummer for Enrique Iglesias) said the same to me – he uses it live on Enrique with Ableton Live.

“It’s so clear, intuitive, and logical; and you can keep splitting the signal with no degradation to set up as many cue mixes as you want: EQ, dynamic processing, and any number of different scenes. I have a tracking scene with a certain mix that goes to the mains, and all the different cue mixes. Then you can set up a playback scene, where you are just hearing what the tape return is. And then I can also set up separate scenes – for example, the next session I’m doing involves drums, bass, sax, and keys, so for overdubs I set it up so that nothing comes through except for whatever instrument is going to be overdubbed, and then the main mix goes to their cue mix. And for drummers in particular, it’s amazing: unlimited I/O, no latency, and you can use whatever pres you want: the ones on it are great, too.”


Latham is also a fan of RME’s super-portable Babyface Pro, which he describes as somewhat of a pocket-rocket:

“You can do an entire tracking session on the Babyface, and what’s so amazing about that is, it’s USB-powered, so you just plug it into your laptop,” Latham enthuses. “It has phantom power on two channels, and you have two other balanced channels, and then you can use a Lightpipe piece to get an additional eight channels. So you can track 12 channels on this piece that’s barely bigger than your wallet! The only reason I need to go to the UFX is that I like to throw room mics up, and my Yamaha sub kick to get the really low stuff if I want to dial it in. You can go as far out as you want.”

Latham also uses RME kit when recording overseas. He’s been working in Germany pretty constantly for the last 20 years, both as a touring musician, and recording artist.

“The last tour I did in Germany was in November, and we did three recordings. The only place they didn’t use full RME kit for the recording was at Bauer [Studios], which says it all – that’s a major facility with a great Neve console,” says Latham. “We also did a live video [in Germany] using 24 channels, and bearing in mind the guy that did it has a studio comparable to Bauer, his mobile rig is 24 channels of RME converters. Then there’s a place in Cologne called Loft where we record regularly, and again that is entirely an RME-based system.”

So it’s not a bad life then, is it, Karl? Travelling the world, playing drums, and making the music you want to make…

“[smiles] I set out with the goal to try to be true, and I realise every day that I have to wake up the next morning and look at myself in the mirror and ask, ‘did I achieve what I should have achieved in that day? Did I do well by people, myself, and my family?’ Man, I wish I had reached that zone in my 20s! [laughs]”

But then you wouldn’t have all the stories, would you?

“That’s also very true!”

Check Karl’s website out HERE for more information

Find out more about the RME kit HERE

Latham/Carniaux/Egan/Rolfe at BMW Welt Jazz Award 2016

It was such an honor to perform at BMW Welt in Munich, Germany February 28th at the BMW Welt Jazz Award 2016








Latham/Carniaux/Egan/Rolfe Feb 26 Der Pappelgarten

Friday Feb 26
Der Pappelgarten 



72760 Reutlingen

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BMW Welt Jazz Award Performance February 28th

Getting Ready for the BMW Welt Jazz Award Performance!Silberhorn2-16_p1 Silberhorn2-16_p2

#5 in the The 37th Annual Jazz Station Awards / The Best Jazz of 2015

The 37th Annual Jazz Station Awards / The Best Jazz of 2015 / Os Melhores do Jazz em 2015

These are the complete results of the 37th Annual Jazz Station Awards conducted by the Los Angeles-based jazz journalist, record producer, jazz historian & jazz educator Arnaldo DeSouteiro. Mr. DeSouteiro is a voting member of NARAS-Grammy, as well as of the Jazz Journalists Association and the Los Angeles Jazz Society. He has produced over 830 sessions, according to the All Music Guide website. For more details and a small bio, please check

2015 Drums: 1. Steve Gadd (“70 Strong” – BFM Jazz); 2. Akira Jimbo (“Jimbo de CTI” – Electric Bird); 3. Danny Gottlieb (“Directon Home” w/ Mark Egan – Wavetone); 4. Dan Brubeck (“Live From The Cellar” – Blue Forest Records); 5. Karl Latham (“Constellations” – Double Moon Records); 6. Antonio Sanchez (“The Unity Sessions” Blu-ray w/ Pat Metheny); 7. Jack DeJohnette (“Made In Chicago” – ECM); 8. Reggie Quinerly (“Invictus” – Redefinition Music); 9. Herlin Riley (“Live In Marciac” w/ Ahmad Jamal – Jazzbook/Jazz Village); 10. Harvey Mason (“Silver” w/ Fourplay – Heads Up); 11. Al Foster (“Heads Of State” w/ Gary Bartz – Smoke Sessions Records); 12. Joey Baron (“Sound Prints” w/ Joe Lovano & Dave Douglas – Blue Note); 13. William Kennedy (“Get Up!” w/ Bob Mintzer Big Band – MCG); 14. Bill Stewart (“Past Present” w/ John Scofield – Impulse!); 15. Anders Vestergard (“Lisbon Sessions” w/ Lupa Santiago & Anders Vestergard Quintet – Drum Voice Records)

2015 Keyboards: 1. Otmaro Ruiz (“Jimbo de CTI” w/ Akira Jimbo – Electric Bird); 2. Nick Rolfe (“Constellations” w/ Karl Latham, Ryan Carniaux & Mark Egan – Double Moon Records); 3. Larry Goldings (“70 String” w/ Steve Gadd Band – BFM Jazz); 4. Gary Husband (“Black Light” w/ John McLaughlin – Abstract Logix); 5. Chris Conway (“Out Of The Blue” – Oblong); 6. Chris Palmaro (“Gotcha Rhythm Right Here” w/ John Tropea – STP Records); 7. Jason Lindner (“Fast Future” w/ Donny McCaslin – Greenleaf Music); 8. François Faure (“Paris Songbook” w/ Stephanie Lottermoser – Downhill Records); 9. Stale Storlokken (“Silver Mountain” w/ Elephant 9 & Reine Fiske – Rune Grammofon/Cargo Records)

2015 Trumpet: 1. Anders Bergcrantz (“The Painter” – Vanguard Music Boulevard); 2. Randy Brecker (“Dearborn Station” w/ DePaul University Jazz Ensemble – Jazzed Media); 3. Lew Soloff (“Break Of Day” w/ Karin Krog & Steve Kuhn); 4. Ryan Carniaux (“Constellations” – Double Moon Records); 5. Brian Lynch (“Questioned Answer” w/ Emmet Cohen – Hollistic MusicWorks); 6. Nicholas Payton (“Numbers” – Paytone); 7. Ingrid Jensen (“Aglow: The Lyngor Project Volume 1” w/ Bjorn Vidar Solli – Lyngor Records); 8. Walt Fowler (“70 Strong” w/ Steve Gadd Band – BFM Jazz); 9. Eddie Henderson (“Collective Portrait” – Smoke Sessions); 10. Dave Douglas (“Sound Prints” w/ Joe Lovano – Blue Note)

2015 Engineer: 1. Rudy Van Gelder (“Something Personal” w/ Houston Person – HighNote);  2. Jeremy Gillespie/Fred Kervorkian (“Constellations” w/ Karl Latham, Ryan Carniaux & Mark Egan); 3. Victor França/Angelo Cioffi (“A Testa In Giù!” w/ Gabriele Mirabassi & Orquestra À Base de Sopro de Curitiba – EGEA); 4. Paul Wickliffe (“Call It What You Want” w/ Russ Nolan – Rhinoceruss Music); 5. Adam Thomas/Joel Fountain (“Live From The Cellar” w/ The Dan Brubeck Quartet – Blue Forest Records); 6. Jay Dudt/Rich Breen (“Get Up!” w/ Bob Mintzer Big Band – MCG); 7. Talley Sherwood/Tom McCauley (“Jimbo de CTI” w/ Akira Jimbo – Electric Bird); 8. Phil Magnotti (“Direction Home” w/ Mark Egan – Wavetone); 9. Aaron Nevezie (“Invictus” w/ Reggie Quinerly – Redefinition Music)

2015 Artwork: 1. EyeSoar Graphics (“Live From The Cellar” w/ The Dan Brubeck Quartet” – Blue Forest Records); 2. Knut Schötteldreier (“Constellations” w/ Karl Latham, Ryan Carniaux & Mark Egan – Double Moon); 3. Roger Huyssen (“Symphonic Arrangement – Suite For Flute And Jazz Piano Trio” w/ Hubert Laws, Steve Barta & Jeffrey Biegel – SBM); 4. Alessandro Scullari (“A Testa In Giù!” w/ Gabriele Mirabassi & Orquestra À Base de Sopro de Curitiba – EGEA); 5. Javier Chacin/Judy Kahn (“An Evening Of Indigos” w/ Bill Kirchner – Jazzheads); 6. Lauren Webster Mease (“Invictus” w/ Reggie Quinerly – Redefinition Music)

The Best Jazz Instrumental CDs 

Hubert Laws/Steve Barta/Jeffrey Biegel: “Symphonic Arrangement – Claude Bolling’s Suite For Flute And Jazz Piano” (SBM)
Bob Mintzer Big Band: “Get Up!” (MCG)
Akira Jimbo: “Jimbo de CTI” (Electric Bird)
Anders Bergcrantz: “The Painter” (Vanguard Music Boulevard)
Pat Metheny, Jan Garbarek, Gary Burton: “Hommage À Eberhard Weber” (ECM)
The Dan Brubeck Quartet: “Live From The Cellar – Celebrating The Music and Lyrics of Dave & Iola Brubeck” (Blue Forest Records)
Karl Latham, Ryan Carniaux & Mark Egan: “Constellations” (Double Moon)
Mark Little: “Suite Mother” (Caralittle Music)
Akua Dixon: “Akua Dixon” (Akua’s Music)
Mark Egan: “Direction Home” (Wavetone)
Lupa Santiago & Anders Vestergard Quintet: “Lisbon Sessions” (Drum Voice Records)
Carlos Franzetti: “In The Key Of Tango” (Sunnyside)
Alan Chan Jazz Orchestra: “Shrimp Tale” (Crown Heights Audio)
The Gabriel Alegría Afro-Peruvian Sextet: “10” (Zoho)
Bjorn Solli: “Aglow: The Lyngor Project Volume 1” (Lyngor Records)
Mark Wade Trio: “Event Horizon” (Mark Wade Music)
Kamasi Washington: “The Epic” (Brainfeeder)
Lupa Santiago & Paulo Braga: “Manhã” (Sound Finger)
Isaac Darche: “Team & Variations” (Challenge Records)

Jazzenzo Jazz Magazine Review of “Constellations”

Karl Latham, Ryan Carniaux, Mark Egan – Constellations

“Constellations” **** Review at The Spill Magazine

The Spill

Karl_Latham_Ryan_Carniaux_And_Mark_Egan Karl Latham, Ryan Carniaux & Mark Egan
Double Moon Records

Constellations, the jazz/funk interpretation of Björk’s 2007 Volta, goes beyond categorizations. Drummer Karl Latham, trumpeter Ryan Carniaux, bassist Mark Egan, and guest keyboardist Nick Rolfe teamed up to perform 12 songs from the Icelandic avant-garde pop star’s seventh studio album, truly reflecting the nature of the iconic pop artist.

From the opening track “Hope,” there are shades of free-flowing funk with the intense percussion, funky bass lines, sparse keyboards, and free-blowing trumpet. It gets into more out-of-space territory through its longer tracks, especially on “Desired Constellation,” which opens with nearly five minutes of atmospheric synthesizers before locking into a funk groove.

The album uses the influences of later Miles Davis and (to an extent) Ornette Coleman’s Prime Time to create otherworldly landscapes that take the listener into a different world. It highlights how unconventional Björk is in her musical career by constantly redefining and reshaping her music and creativity to take it to new levels and territories. But be forewarned: ‘Constellations’ is not your traditional jazz-fusion record with the expected constant grooves and singable melodies. It’s a record that carries you into another world, challenging your musical sensibilities as it takes you on the journey. Constellations is part of the new jazz movement that is shaping how we listen and evolve our music sensibilities in the 21st century and beyond.

– Conrad Gayle (Twitter @CON_RADICAL)


Bass Musician Magazine Review of “Constellations”

Latham/Carniaux/Egan Release Constellations, Featuring Bassist Mark Egan

Constellations, Featuring Bassist Mark Egan

Bassist Mark Egan, in collaboration with drummer Karl Latham, trumpeter Ryan Carniaux, and special guest keyboardist Nick Rolfe, has released Constellations.

On this album, the group’s interpretations of the music of Icelandic pop star Björk come together to create a restless, probing exploration of textures and harmonies.

Mark’s playing is superb on this album, manically jumping through deep, dark pedal patterns, ambient harmonics, and soaring countermelodies. One notable track is “Wanderlust”, where Mark and Karl Latham weave fascinating rhythmic lines together to create a complex pulse:

The release notes for the album offers, “…the group draws from a wide palette of influences ranging from Miles Davis’ Live-Evil to open ended impressionistic variations.” This description rings true, as the tracks often push the boundaries to explore flights of improvisation. Mark’s connection to, and communication with, the other musicians speaks to his command of harmonic interplay, as in the track “Alugsukat”:

Mark comments, “Constellations is a very special and creative project for me and unlike anything I’ve ever recorded.

Latham Carniaux EganFrom the inspiration and inception of drummer Karl Latham, an avid Björk fan, we recorded our impressions of some of her songs as well as crafted some of our own compositions in the spirit of Björk. During the two days of recording at Barber Shop Studios in New Jersey, engineered by Jeremy Gillespie, we ventured into some very inspired and multifaceted music territories.

Both my 5 string fretless and fretted Pedulla basses were used on the sessions as well as multi-effects on many of the tracks. I created a lot of undercurrents with multilayered delays such as on track #4-“Desired Constellations”, track #5-“Freyja”, track #8-“Gohdi”, track #9-“I See Who You Are”, and track #11-“Huldu Folk”, which created very haunting atmospheres. Most of the music that you hear on this recording was done live. We would first set up some ambient undercurrents through the effects that had separate stereo outlets and then play on top of these loops with another stereo set of outputs. The multi-effect unit that I used is an old Korg 300B for extra delays, chorus and reverb. From the Korg I then went stereo into two Lexicon PCM 42 delays with expanded time delays up to 24 seconds at 16bit resolution.

What made these sessions so special is the level and chemistry of the players and the interplay between Karl, Ryan, myself, and Nick. This is a stream of consciousness recording.”

The album is available through iTunes, Amazon, and Allegro Music. More information about this project can be found online at desiredconstellations.net.

Click to read Mark’s Bass Musician Magazine July 2014 cover interview

Steve Gregory

About Steve Gregory

Steve is a graduate of the prestigious Berklee College of Music and serves as the bass player and assistant band director for the Highlands Fellowship (Abingdon campus) praise band.  Much of his time is dedicated to exploring bass in the praise and worship setting while working to dispel the myth that worship bass is boring, bland, and musically unfulfilling.  Steve also enjoys playing for a wide variety of musical opportunities, in both live and studio settings.

CD of the Month – “Karl Latham, Ryan Carniaux & Mark Egan: Constellations”



Sunday, March 8, 2015

CD of the Month – “Karl Latham, Ryan Carniaux & Mark Egan: Constellations”

Instrumental Jazz CD of the Month
Karl Latham, Ryan Carniaux & Mark Egan: “Constellations” (Double Moon) 2015

Rating: ***** (musical performance, sonic quality & artwork)

Produced by Karl Latham
Recorded & Mixed @ Barbershop Studios (Lake Hopatcong, NJ) by Jeremy Gillespie
Mastered @ Kevorkian Mastering/Avatar Studios, NY by Fred Kevorkian
Cover Artwork: Knut Schötteldreier

Featuring: Karl Latham (drums & percussion), Mark Egan (electric bass), Nick Rolfe (Rhodes & keyboards) & Ryan Carniaux (trumpet & flugelhorn)

Track Listing: Hope; Draco Rexus; Wanderlust; Desired Constellation; Frejya; My Juvenile; The Dull Flame Of Desire; Godhi; I See Who You Are; Alugsukat; Hulda Folk; Ostara.
Total Time 72:17
“Constellations” is the debut recording from Karl Latham, Ryan Carniaux and Mark Egan with special guest Nick Rolfe featuring their creative interpretations of the music from Icelandic iconoclastic pop star Bjork. And this is iconoclastic jazz, indeed. Everything sounds unorthodox, unexpected and oustanding.

On this 72-plus minute highly adventurous improvisational outing, the group draws from a wide palette of influences ranging from Miles Davis’s “Live Evil” and “Bitches Brew” (updating Miles’ early 70s aesthetic to the 21st Century) to open ended impressionistic variations. They have selected six Bjork’s songs, complemented by other six tunes written collectively by Latham, Egan, Carniaux & Rolfe.

The Icelandic singer Bjork has created her own universe with her music and performances that are both exciting and original, but have not found a better jazz interpreter until now with “Constellations.” Curiously, I was expecting to find songs from Bjork’s early solo albums as “Debut”, and mainly from the mid- to late 90s Deodato-arranged trilogy of “Post,” “Telegram” and “Homogenic” (to which Brazilian genius Eumir Deodato added sumptuous orchestral arrangements). Things like “Isobel,” “Hyper-Ballad” and “Possibly Maybe.” Instead, Latham opted for more recent tunes.

Master drummer Karl Latham has been a Bjork fan for many years. Karl’s “Resonance,” released by Dropzone Jazz Records in 2007, included a cover version Bjork’s “Pagan Poetry.” Her “Volta” album was released that same year, and triggered an urgent desire in Latham not just to cover the songs but also to create compositions inspired by Bjork, which the group Constellations created for this first release, packaged in a beautiful artwork by German artist Knut Schötteldreier, who have prepared the covers for several productions I did for Verve.

Latham shared his thoughts and plans originally with his long-time friend and colleague bassist Mark Egan, his partner on the “Unity 1” trio project (with guitarist John Hart). His enthusiasm was contagious and they considered who else could fit into this creative concept. They found another partner during a recording session with the up and coming virtuoso trumpet player Ryan Carniaux, a rising star that follows a more “European style,” with a loud a clear open sound, something that is a blessing in an era of so many bop rooted trumpeters.

It soon became apparent that master keyboardist Nick Rolfe, whom Karl and Mark knew from many joint performances, would be a perfect choice for the project. Rolfe, that often uses Rhodes, knows how to work with “sound colors” and paints many exhilarating landscapes. When the universe aligned in the Spring of 2013, with sound engineer Jeremy Gillespie on board, they created these groundbreaking interpretations of Bjork’s musical cosmos.

A fascinating portrait of a singer and her music emerged from these sessions. My personal favorite tracks are the opener “Hope,” “Wanderlust” — the perfect synthesis of Bjork in a jazzy vision as well as of “jazz meets drum ‘n’ bass,” with Nick using Rhodes sounds and a Nord organ that sounds like an Arp Strings synth, while Ryan applies electronic devices to his trumpet –, the 11-minute long track “Desired Constellation” (where the Zawinul textures, reminiscent of his work with Miles, become more evident), “The Dull Flame of Desire” (I only regret the fade-out), the ambient mood journey of “I See Who You Are,” the Moog adventure on “Alugsukat” and the way Egan’s fretless sings on “Ostara.” But the whole album is a highlight, certainly one of the best releases of the year.

The bass lines, with Egan’s signature fluid sound on his fretted and fretless green Pedulla 5-string basses, at times repetitive and then again free flowing, weave through the solid creative grooves created by Latham’s masterful drumming. The powerful trumpet playing by Ryan Carniaux interprets Bjork’s voice but never mimics it literally. The multi-layered keyboards of Mr. Rolfe support the quartet like a flying sound carpet. The combination of all four musicians creates the hovering thick atmosphere of the “Nordic” sound, which reminds you incessantly of Bjork and her performances.

Karl Latham, initiator of the project, is a world-class drummer who has performed and recorded with Don Braden, Joel Frahm, Andy Snitzer, Claudio Roditi, Clark Terry, Joe Lovano, Michal Urbaniak and rock icon, Johnny Winter. He tours internationally with the group Unit 1 and can be heard on numerous CDs.

Mark Egan is one of the top contemporary bassists. A disciple of Jaco Pastorius and for many years a member of the original Pat Metheny Group as well as of The Gil Evans Orchestra. Egan has also performed and recorded with David Matthews, Joe Beck, Chroma, Pat Martino, Larry Coryell, John Abercrombie, Bill Evans, Randy Brecker, Lew Soloff, the Elements group that he co-leads with drummer Danny Gottlieb, and most recently with the CTI All-Stars band. He has also recorded with Sting, Joan Osborn, John McGlaughlin and Marc Cohen, among others.

Ryan Carniaux from Providence, Rhode Island, studied music at Berklee in Boston. He currently lives in Cologne, tours throughout Europe and the USA and is considered a rising star among young trumpet players. He is Professor of Jazz Trumpet at the Folkwang University of the Arts. He has played with numerous German musicians including Wolfgang Lackersmid and internationally with Dave Liebman, Jerry Bergonzi, Mark Murphy and Benny Golson.

Nick Rolfe was born in Philadelphia, Pennsylvania, and grew up in Seattle, Washington. He started classical piano lessons when he was six years old. He studied in New York and has been seen and heard time and again with musicians from Slide Hampton to Roy Hargrove as well as Lizz Wright, India Arie and Nona Hendryx. He is also a successful actor and has appeared in various TV and film productions.