Egan, Latham, Hart -Unit 1 WT8646 Wavetone Records is proud to present "Unit 1", the debut release for this power trio featuring Grammy Award winning bassist Mark Egan, drummer Karl Latham and guitarist John Hart. Embracing jazz, rock, Brazilian, funk and world music sensibilities, Unit 1 takes the listener on a highly improvisational journey creating modern interpretations of jazz Standards. This highly anticipated release features 70+ minutes of pure creative interaction. Featuring: Mark Egan Bass (Pat Metheny, Sting, Gil Evans, Arcadia, Bill Evans, Elements) Karl Latham Drums (Dave Valentine, Dave Samuels, Chuck Loeb, Claudio Roditi, Don Braden) John Hart guitar (Jimmy Smith, Jack McDuff, Jon Hendricks, Chris Potter, Randy Brecker) Jazz Times Review by Scott Albin Unit 1- Mark Egan / Karl Latham / John Hart Unit 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. Hart's twangy intro to 'Old Folks' converts into his more fine toned theme and variations probe of the melody, above Egan's occasional vamps and Latham's taut rhythms. Egan's solo is warmly lyrical, and is followed by the guitarist's dazzling, multi-faceted excursion, reminiscent of Mike Stern. A return to the theme only provokes still more breakneck flurries from Hart. The catchy vamp that began it all gets reworked in the end. A distortion laden opening by Hart sets up his unpredictable reading of 'Willow Weep For Me,' with shadings, asides, and rhythms that surprise and entice. Egan's thematic diversion is artfully emphatic. The concluding section finds the trio in the throes of contrapuntal banter, but like pieces of a puzzle fitting perfectly together. Two Thelonious Monk tunes are revitalized. For 'Epistrophy,' Latham's alluring back beat figures and Egan's stalking bass evolve into the theme as envisioned by Hart. The guitarist's solo explores the composition's harmonies and idiosyncrasies with dynamic flair, rocking out passionately in the best jazz-rock tradition. Egan and Latham's supporting rhythms elevate his soaring flight even more, and the bassist and drummer's improvisations are singular examples of their individually vibrant approaches. 'Bemsha Swing' is launched by Latham's jittery rhythms and Egan's fluctuating bass patterns, plus Hart's quick theme acknowledgement, in this overall unique treatment. Hart's ecstatic solo gets down and dirty with the blues, as Latham provides a variety of provocative cymbal colorations.