Karl Latham: Living Standards – Jazz Guitar Life CD Review

Karl Latham: Living Standards – Jazz Guitar Life CD Review

If you’re aware of  powerhouse Jazz Drummer Karl Latham and wondering why he’s on Jazz Guitar Life? Well it’s simple. On Karl’s latest CD Living Standards, the guitar player featured is none other than the inimitable Vic Juris. Need I say more? Exactly! 🙂

Similar in nature to Herbie Hancock’s The New Standard, Latham’s CD showcases iconic pop/rock tunes – standards if you will in their respective genres – re-interpreted through the Jazz lens’ of Drummer Latham, Bassist Mark Egan of Pat Metheny and Elements fame and of course, Jazz Guitarist Vic Juris. A dynamic group of players who seemingly have one foot in the Jazz World and one foot in the Rock/Pop World. It is because of this that the tunes re-invented still retain their original oomph but with a much more sophisticated harmonic palette offered to the more refined listener.

Case in point is Jefferson Airplane’s “White Rabbit”. This version finds Vic on acoustic steel string gently transforming the familiar Grace Slick melody into a hauntingly beautiful finger-picked out-pouring of notes alongside Egan’s soulful – almost crying – fretless slides. This same treatment can also be found on Pink Floyd’s “Us And Them” where Vic – cascading artificial harmonics and all – presents the melody in a most moody fashion. Egan’s fretless “skating” also helps to create a melancholy vibe along with Latham’s minimalist manoeuvres on the traps. A unique take which I was not expecting. In fact there are many such interpretations on this CD that I wasn’t expecting.

For example, the group’s frenetic take on The Beatles’ “Day Tripper” reminded me of something that Bill Frisell would do. This tune definitely showcases Vic’s inventive improvisations as he dons the electric, slaps on some overdrive, and, when the time comes, wails in a Jazz/Rock fusion approach pulling out all the stops. He also delivers the same flat-out energy and intensity to – once again – The Beatles’ “Tax Man”. Of course, Latham’s muscular drumming and Egan’s dynamic bass lines add plenty of fuel to Vic’s fire. Egan also gets plenty of room to show off his chops in a most notable manner.

The Neil Young tune “Cinnamon Girl” also brings out the best in all concerned with Vic and Egan delivering superb solos as only they can. Latham also gets to shine throughout the outro as Vic and Egan play the opening riff in an ostinato fashion. These guys can really…rock!

And speaking of which, their treatment of the Blind Faith classic “Had To Cry Today” does exactly that…it rocks! Of course they personalize it with their distinctive voices allowing Vic to channel his inner Pat Martino through some overdriven guitar sounds that would make Clapton’s guitar gently weep! A great rendition as are their versions of “Low Rider” and the funkified “It’s Your Thing”.

Contrasting the rock and funk is another Beatles’ tune “Tomorrow Never Knows” and The Doors’ “Riders on the Storm” which take a bit of an interpretive left turn as they venture down exploratory paths bordering on Free playing. Definitely an interesting musical perspective and one that I think both John and Jim would appreciate…especially in their more mind altered states! 🙂

This brings me to the last cut on the CD, Cream’s “White Room”. Once again Vic takes out the acoustic steel string to re-envision the song his way. This sonic divergence and the way Vic phrases his lines, gives the tune a somewhat bluegrass feel before he delves into the improvisational passages where he bridges fleet fingered pentatonic lines with more advanced harmonic concepts. Both Egan and Latham give Vic plenty of room as they hold down the musical fort. A great tune to end the CD on!

If you’re looking to hear some iconic rock tunes re-imagined, or you’re a fan of Vic or Mark or Karl individually or as a group, then I think this CD definitely needs to be checked out. After all each of those players ARE Living Standards and should be heard as well as seen!

The 38th Annual Jazz Station Awards / The Best Jazz of 2016

The 38th Annual Jazz Station Awards / The Best Jazz of 2016

The Best Jazz of 2016! – Os melhores do jazz em 2016

2016 Drums: 1. Zé Eduardo Nazario (“Uma Lenda Ao Vivo” w/ Grupo Um – Selo Sesc); 2. Steve Gadd (“Way Back Home – Live From Rochester, NY” – BFM Jazz); 3. Billy Hart (“The Broader Picture” – Enja); 4. Mauricio Zottarelli (“Chromatic Dialogues” w/ Gustavo Assis-Brasil – Anamria Records); 5. Drori Mondlak (“Of Mystery And Beauty” w/ Karolina Strassmayer – Lilypad Music); 6. Bobby Previte (“Early Americans” w/ Jane Ira Bloom – Outline); 7. Karl Latham (“Living Standards” – Dropzone Jazz Records); 8. Brian Andres (“This Could Be That” – Bacalo Records); 9. Joey Baron (“At This Time” w/Steve Kuhn – Sunnyside); 10. Jack DeJohnette (“In Movement” – ECM); 11. Peter Erskine (“All L.A. Band” w/ Bob Mintzer – Fuzzy Music); 12. Reggie Quinerly (“Avid Admirer – The Jimmy Knepper Project” w/ Reggie Watkins – Bynk Records); 13. Nate Smith (“Randy Pop!” w/ Randy Brecker – Piloo Records); 14. Jerome Jennings (“The Beast” – Iola Records); 15. Eric Harland (“1954” w/ Ricardo Grilli – Tone Rogue Records); 16. Bill Stewart (“Country For Old Men” w/ John Scofield – Impulse!)

The Best 25 Instrumental Jazz CDs

Randy Brecker: “Randy Pop!” (Piloo Records)

Dave Liebman & Richie Beirach: “Balladscapes” (Intuition)

Shunzo Ohno: “ReNew” (Pulsebeats Records)

Karolina Strassmayer & Drori Mondlak – Klaro: “Of Mystery And Beauty” (Lilypad Music)

Francisco Fattoruso: “Khronos” (Agadu/Cíclope)
Karl Latham w/ Mark Egan & Vic Juris: “Living Standards” (Dropzone Jazz Records)

Grupo Um: “Uma Lenda Ao Vivo” (Selo Sesc)

Wadada Leo Smith: “America’s National Parks” (Cuneiform Records)

Jane Ira Bloom: “Early Americans” (Outline)

Reggie Watkins: “Avid Admirer – The Jimmy Knepper Project” (Bynk Records)
Lupa Dantiago 4teto + Ed Neumeister: “Ubuntu” (Soundfinger)
Carlos Franzetti: “Argentum” (Sunnyside)

The Brecker Brothers Band Reunion: “The Heavy Metal Bebop Tour ’14 In Japan” – Ward Records)

Brian Andres And The Afro-Cuban Jazz Cartel: “This Could Be That” (Bacalo Records)

Peggy Stern: “Z Octet” (Estrellas)

Andrea Brachfeld: “Lotus Blossom” (Jazzheads)

Gustavo Assis-Brasil: “Chromatic Dialogues” (Anamaria Records)

Russ Nolan: “Sanctuary From The Ordinary – Live at Firehouse 12” (Rhinoceruss Music)

Roberta Piket: “One For Marian – Celebrating Marian McPartland” (Thirteenth Note Records)

Mark Little & Joe Caploe: “The Shed” (Windmill Valley Recording)

Alphawellenreiter: “Evolution” (Phonector)

Richie Cole: “Plays Ballads & Love Songs” (RCP)

Jerome Jennings: “The Beast” (Iola Records)

Ricardo Grilli: “1954” (Tone Rogue Records)

Jarrett Cherner Trio: “Expanding Heart” (Bald Hill Records)

2016 Electric Bass: 1. Mark Egan (“Living Standards” w/ Karl Latham – Dropzone Jazz Records); 2. Neil Jason (“The Heavy Metal Bebop Tour ’14 In Japan” w/ The Brecker Brothers Band Reunion – Ward Records); 3. Steve Swallow (“Andando El Tiempo” w/ Carla Bley – ECM); 4. Francisco Fattoruso (“Khronos” – Agadu/Cíclope); 5. John Patitucci (“Randy Pop!” w/ Randy Brecker – Pillo Records); 6. Aaron Germain (“This Could Be That” w/ Brian Anders And The Afro-Cuban Jazz Cartel – Bacalo Records); 7. Anthony Jackson (“Spark” w/ Hiromi – Telarc); 8. Matthew Garrison (“In Movement” w/ Jack DeJohnette – ECM); 9. Jimmy Johnson (“Way Back Home – Live From Rochester, NY” w/ Steve Gadd Band – BFM Jazz); 10. Dezron Douglas (“Wax & Wane” w/ Brandee Younger – Revive Music); 11. Tony Grey (“Chromatic Dialogues” w/ Gustavo Assis-Brasil – Anamaria Records)

2016 Electric Guitar: 1. Barry Finnerty (“The Heavy Metal Bebop Tour ’14 In Japan” w/ The Brecker Brothers Band Reunion – Ward Records); 2. Vic Juris (“Living Standards” w/ Karl Latham – Dropzone Jazz Records); 3. Pat Metheny (“The Unity Sessions” – Nonesuch); 4. Ricardo Grilli (“1954” – Tone Rogue Records); 5. Lupa Santiago (“Ubuntu” – Soundfinger); 6. Gustavo Assis-Brasil (“Chromatic Dialogues” – Anamaria Records); 7. Dirk Bell (“Evolution” w/ Alphawellenreiter – Phonector); 8. Peter Bernstein (“Let Loose” – Smoke Sessions); 9. John Scofield (“Country For Old Men” – Impulse!); 10. Eric Susoeff (“Plays Ballads & Love Songs” w/ Richie Cole – RCP); 11. Fabrizio Sotti (“Forty” – Sotti Entertainment)

“Living Standards” Mike Dolbear Review

Living Standards (CD) – Karl Latham, Mark Egan & Vic Juris

Featuring three incredible musicians and veterans of their instrument, ‘Living Standards’ is an 11 track compilation of some of the 20th centuries finest songs, but in a jazz fusion arrangement.

Opening with a version of the Beetles classic ‘Day Tripper’, there is also a reworking of Princes’ Cinnamon Girl, as well as ‘Riders on the Storm’ from the Doors, finishing with the Cream Classic, ‘White Room’.

I found some of the tracks were more instantly recognisable than others, which in some ways is rather nice; it’s not meant to be a straight cover of these songs after all, but a jazz fusion interpretation and I feel the band really delivered; not that you would expect any less!

Not only was Karl playing the drums for this release but he is also credited as the producer, once again proving that drummers can have a lot more input than just hitting the skins.

It’s a great release and if you’re into jazz/fusion music it’s one that’s well worth a look.

Rob Crisp

KIOS “Last Call Best of 2016”

Last Call Best of 2016

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Fusion CD of the Month – “Karl Latham, Mark Egan & Vic Juris: Living Standards”

Jazz Station – Arnaldo DeSouteiro’s Blog (Jazz, Bossa & Beyond)

Sunday, May 1, 2016

Fusion CD of the Month – “Karl Latham, Mark Egan & Vic Juris: Living Standards”

Fusion CD of the Month
Karl Latham, Mark Egan & Vic Juris: “Living Standards” (Dropzone Jazz Records DJZ 201601) 2016 

Produced & Recorded by Karl Latham @ Firefly Studios (Warwick, NY)
Mixed & Mastered by Paul Wickliffe and Karl Latham @ Skyline Productions (Warren, NJ)
Additional Engineering by Mark Egan & Jeremy Gillespie
Photos: Stephanie Sapio
Artwork: John Earley

Karl Latham’s latest release, “Living Standards” features bassist Mark Egan and guitarist Vic Juris performing iconic pop standards from the ’60s and ’70s. The trio, led by world renown drummer Latham, takes you on an adventurous jam band/jazz journey, exploring smash pop, rock and soul hits that have become modern standards, overlapping generations of listeners.

Karl’s latest trio follows the critically acclaimed Egan/Latham/Hart “Unit1” and Latham/Carniaux/Egan “Constellations,” a fantastic jazzy tribute to Bjork. With the inclusion of virtuosic guitarist Vic Juris, “Living Standards” clearly draws from the interpretive spirit of those above mentioned albums providing a rhythmic and harmonic adventure in a vehicle of iconic pop standards.

Featured tracks include The Beatles’ “Day Tripper”, “Tax Man” and “Tomorrow Never Knows”, Neil Young’s “Cinnamon Girl”, stirring ballads “White Rabbit” and “Us and Them” and extended improvisations on the Doors “Riders on the Storm”, and the War classic “Low Rider”.

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

#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