Bill Charlap Trio - And Then Again

Styles: Piano Jazz
Year: 2024
Time: 46:41
File: MP3 @ 320K/s
Size: 106,9 MB
Art: Front

(7:01) 1. And Then Again
(5:01) 2. All The Things You Are
(5:27) 3. 'Round Midnight
(6:22) 4. In Your Own Sweet Way
(6:05) 5. Darn That Dream
(7:23) 6. Sometimes I'm Happy
(4:03) 7. The Man I Love
(5:15) 8. (I Don't Stand) a Ghost of a Chance (With You)

Listening to pianist Bill Charlap is akin to hearing acoustic jazz in its purest form, and that's the overriding feeling you have while listening to his 2024 concert album And Then Again. Recorded live at the famed Village Vanguard in New York, the album features Charlap and his long-running trio with bassist Peter Washington and drummer Kenny Washington.

Together on and off since the '90s, they play with a swinging, urbane sophistication marked by a warm camaraderie and dancerly interplay. As a soloist, Charlap displays his deep grasp of straight-ahead jazz traditions, tackling a handful of gorgeous jazz standards. We get sparkling, brawny renditions of "All the Things You Are," "In Your Own Sweet Way," and "Darn that Dream." He also delves into Thelonious Monk's "'Round Midnight," evoking Monk's angular, cubist bop style but in his own nuanced way. In fact, what is so compelling about Charlap's playing is just how balanced it is.

He's clearly imbibed an array of influences, from Earl Hines and Teddy Wilson to Bud Powell and Bill Evans, yet he always sounds like himself and is never too indebted to any one performer. The album even opens with his title-track original, a spritely blues in the modern jazz tradition that finds him tumbling through a string of bebop and modal harmonies. Charlap closes out the evening with a dusky, harmonically lush take on "(I Don't Stand) a Ghost of a Chance with You," sinking into the song with a hushed reverie that clings to you long after the album ends.By Matt Collar
https://www.allmusic.com/album/and-then-again-mw0004313755#review

Personnel: Bill Charlap - piano, Peter Washington - bass, Kenny Washington - drums

And Then Again

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Tony Bennett & Diana Krall - Love Is Here To Stay (With The Bill Charlap Trio)

Styles: Vocal Jazz
Year: 2018
Time: 36:27
File: MP3 @ 320K/s
Size: 85,5 MB
Art: Front

(2:50) 1. 'S Wonderful
(2:48) 2. My One And Only
(3:05) 3. But Not For Me
(2:45) 4. Nice Work If You Can Get It
(4:26) 5. Love Is Here To Stay
(1:57) 6. I Got Rhythm
(3:40) 7. Somebody Loves Me
(2:53) 8. Do It Again
(3:58) 9. I’ve Got A Crush On You
(2:41) 10. Fascinating Rhythm
(3:23) 11. They Can’t Take That Away From Me
(1:56) 12. Who Cares?

Tony Bennett and Diana Krall's partnership didn't begin with the 2018 duets album Love Is Here to Stay. Krall popped up on two prior duets albums from Bennett and the pair toured at the dawn of the 2000s, but Love Is Here to Stay marks their first full record together, and it's an elegant affair.

Conceived as a tribute to George Gershwin, the album is filled with familiar tunes, but hints of imagination lurk around the edges, such as the revival of "Fascinating Rhythm," the tune Bennett recorded for his first single in 1949. Nearly 70 years separate that version of "Fascinating Rhythm" from this 2018 rendition, and while Bennett certainly sounds older his voice is slightly raspy, he can't hit the high notes the way he used to, nor does he sing with quite as much force he still sounds spry and commanding, happily dancing through these cozy melodies, singing with as much rhythm as lyricism. “

Krall responds in kind, trading staccato phrases that are slyly complementary to Bennett's own. In the Bill Charlap Trio, the pair have empathetic support, keeping the proceedings both light and lush, helping to turn this album into a charming testament to endurance endurance of the Gershwin catalog, the collaboration between Krall and Bennett, and, especially, how Tony Bennett can still sound completely committed to songs he's spent decades singing.By Stephen Thomas Erlewine https://www.allmusic.com/album/love-is-here-to-stay-mw0003196487#review“

Tony Bennett and Diana Krall's partnership didn't begin with the 2018 duets album Love Is Here to Stay. Krall popped up on two prior duets albums from Bennett and the pair toured at the dawn of the 2000s, but Love Is Here to Stay marks their first full record together, and it's an elegant affair.“

Personnel: Tony Bennett – vocals (tracks 1, 2, 4–12); Diana Krall – vocals (tracks 1–11); arrangement (track 3).

The Bill Charlap Trio: Bill Charlap – piano, arrangement (all tracks); Peter Washington – bass (tracks 1, 2, 4–12); Kenny Washington – drums (tracks 1, 2, 4–12)“

Love Is Here To Stay (With The Bill Charlap Trio)

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Ruby Braff - I Hear Music

Styles: Cornet Jazz
Year: 2001
Time: 60:58
File: MP3 @ 320K/s
Size: 140,1 MB
Art: Front

(11:12) 1. I Hear Music
(13:44) 2. Medley Chicago/My Kind of Town (Chicago Is)
( 7:45) 3. Baby Won't You Please Come Home
( 8:42) 4. Wouldn't It Be Loverly?
( 8:37) 5. Yesterdays
( 6:48) 6. (I Would Do) Anything For You
( 4:07) 7. We're All Through

Ruby Braff has compiled an album of sheer pleasure in quintet work. His well shaped cornet sound, and the interplay of the instruments through each cut is a shining example of mastery of pacing and a sense of timing. Within each of the cuts is a conversation between the instruments where each one says their version of the melody in turn. Cut 2, a medley of “Chicago” and “My Kind of Town” also has hints of Loesser’s “Baby, It’s Cold Outside.” Other fascinating takes on classic tunes include “Baby, Won’t You Please Come Home,” “Wouldn’t it be Loverly” and “I Hear Music.”

Through.” Guest Soloist Daryl Sherman makes the song with a vocal that conveys the message that is laced through this beautiful piece. Braff says in a quote from the liner notes that the lyrics were written the way you hear them because the song had the feel of the final piece for a club band. The result is a lyrically simple, yet elegant piece of work... an album that is well worth th time, particularly for those who favor smooth cornet work.By AAJ Staff

Personnel: Cornet – Ruby Braff; Bass – John Beal; Drums – Tony Denicola; Guitar – Bucky Pizzarelli; Piano – Bill Charlap; Vocals – Daryl Sherman (tracks: 7)
Recorded July 28, 2000.

I Hear Music

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Ann Hampton Callaway - Easy Living

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 57:28
Size: 132,2 MB
Art: Front

(3:52) 1. Easy To Love
(4:15) 2. Come Rain Or Come Shine
(5:50) 3. Skylark
(2:33) 4. Nice Work If You Can Get It
(5:32) 5. The Very Thought Of You
(5:59) 6. 'Round Midnight
(3:37) 7. Come Take My Hand
(5:42) 8. Easy Living
(3:25) 9. All Of You
(3:43) 10. Bluesette
(3:28) 11. It Had To Be You
(5:24) 12. In A Sentimental Mood
(4:03) 13. You Don't Know What Love Is

This is Ann Hampton Callaway's seventh recording, Easy Living, is one of her very best. It's a program of well-known standards and fairly stock arrangements, but in the middle is her pristine, well-defined, flexible voice. She retains a lower-end range in her style that suggests only one singer: Sarah Vaughan. She's joined by several different rhythm sections and soloists, including pianists Benny Green (six cuts), Bill Charlap (five), and Kenny Barron (two); bassists Peter Washington or Neal Miner; drummers Clarence "Tootsie" Bean and Lewis Nash; percussionist Jim Saporito; saxophonists Andy Farber, Nelson Rangell, and Gerry Niewood; and on three selections, trumpeter Wynton Marsalis.

A collection of love songs sung convincingly and with no frills, Callaway shows great depth in ballad singing. Hard evidence is presented in her takes of "Skylark" and "The Very Thought of You," with Charlap's glistening piano tones ringing bells for the singer and Farber's tenor sax replies. "'Round Midnight" is the penultimate interp with Barron's wistful piano and Marsalis' spare trumpet offering advice on ol' midnight. Callaway can swing well when she chooses; "Easy to Love" brings home her lower dulcet tones, while Farber's tenor cops a Stan Getz-Joe Henderson type plea bargain.

Green's intro to "Nice Work If You Can Get It" has a "Giant Steps" quote before the singer digs into this lyric. She scats a little during the middle of the program, on the melody line, and the coda, of "Bluesette," and more in the improvised bridge during "It Had to Be You." Bossa nova is always a sidebar for singers, and Callaway uses this Brazilian rhythm on an interesting arrangement of "You Don't Know What Love Is" spiked with high drama, Saporito's Latin percussion, Barron's deft piano, and Niewood's flavorful tenor.

The lone composition of the vocalist "Come Take My Hand" is also bossa, with Rangell's flute chirping on this definitive love anthem. Marsalis is also bolder on the stark ballad title track and a nice version of "In a Sentimental Mood," while it's the singer getting brash and daring in a lower tone than normal for perhaps the highlight "All of You," Green's piano matching the depths of Callaway's yearnings.

It's not hyperbole to understand this is the perfect singer with a perfect voice that sounds so effortless, mature, and flowing. Though the others six recordings are just fine, this one really hits the spot, especially instrumentally. Callaway proves up to the challenge with every measure, phrase, and inflection. By Michael G. Nastos
https://www.allmusic.com/album/easy-living-mw0000253203

Personnel: Vocals, Liner Notes – Ann Hampton Callaway; Alto Saxophone – Nelson Rangel; Bass – Neal Miner (tracks: 1, 4, 8, 13), Peter Washington (tracks: 2, 3, 5 to 7, 9 to 12); Drums – Clarence "Tootsie" Bean (tracks: 1, 4, 8, 13), Lewis Nash (tracks: 2, 3, 5 to 7, 9 to 12); Flute – Nelson Rangel (tracks: 3); Piano – Benny Green, Bill Charlap (tracks: 1, 4, 8, 11, 13), Kenny Barron (tracks: 2, 9); Tenor Saxophone – Andy Farber (tracks: 1, 6, 11, 13), Gerry Niewood (tracks: 6, 9); Trumpet – Wynton Marsalis (tracks: 2, 4, 8)

Easy Living

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Bill Charlap Trio - Live At Flushing Town Hall

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 65:36
Size: 152,4 MB
Art: Front

( 4:46) 1. Godchild
( 5:49) 2. All Through The Night
( 5:49) 3. Sophisticated Lady
( 6:09) 4. An Affair To Remember
( 5:53) 5. Not A Care In The World
(10:05) 6. Too Late Now
( 7:41) 7. In The Still Of The Night
( 5:22) 8. Groovin' High
( 3:18) 9. Body And Soul
( 3:24) 10. Stay Right With It
( 7:16) 11. What Are You Doing The Rest Of Your Life

Flushing Town Hall presents the GRAMMY award-nominated Bill Charlap Trio, with GRAMMY award-winning pianist Bill Charlap, bassist Peter Washington and drummer Kenny Washington. Praised by The Guardian as“one of the best piano trios ever,”the Bill Charap Trio which celebrates its 25th anniversary in 2022, is considered one of the leading jazz groups. The trio’s most recent recording features them with Tony Bennett & Diana Krall on the chart-topping, GRAMMY-nominated Love is Here to Stay. The Bill Charlap Trio tours all over the world, and their New York engagements include regular appearances at Jazz at Lincoln Center and the Village Vanguard.
https://www.wbgo.org/community-calendar/event/bill-charlap-trio-at-flushing-town-hall-13-12-2021-11-36-36

Personnel: Bill Charlap - piano; Peter Washington - bass; Kenny Washington - drums

Live At Flushing Town Hall

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Bill Charlap, Sandy Stewart - Love Is Here To Stay

Styles: Vocal And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 57:05
Size: 132,9 MB
Art: Front

(5:09)  1. Love Is Here To Stay
(5:35)  2. After You
(4:29)  3. The Boy Next Door
(5:44)  4. A Sleepin' Bee
(3:34)  5. Always
(5:18)  6. Here I Am In Love Again
(6:16)  7. I've Got a Crush On You
(4:38)  8. Where Is Me?
(5:05)  9. Dancing On The Ceiling
(7:34) 10. It Might As Well Be Spring
(3:36) 11. I'll Never Go There Anymore

It is unusual to hear a son and his mother record together in a jazz setting, but this collection of ballads by Bill Charlap and Sandy Stewart is a stunning duo date. Charlap is best known as the leader of a superb piano trio, along with having worked extensively with Gerry Mulligan and Phil Woods, but he may find himself in great demand by other vocalists following this CD. Stewart has recorded only sporadically over the years, though she has worked with her son on a number of club dates. Her instrument has mellowed like a fine wine, with a slight vibrato that adds to the intimacy of each performance. Charlap's interludes between phrases are lush yet never overdone, while he makes great use of space in his accompaniment.

While there are quite a few standards present, they also chose songs that have been unjustly neglected. "Here I Am in Love Again," written by the late Moose Charlap (the singer's husband and the pianist's father), is a hopeful song about love in its early stages, which they approach with tenderness. Another Charlap composition, "I Never Go There Anymore," is just the opposite, a sentimental look back at a distant past that can never be recaptured. The standards are just as enticing. Stewart restores the frequently omitted verse to a moving take of "Love Is Here to Stay" and perfectly captures the wistful air of "The Boy Next Door." Singer/pianist Barbara Carroll's engaging liner notes capture the essence of this very romantic CD. ~ Ken Dryden http://www.allmusic.com/album/love-is-here-to-stay-mw0000350948

Personnel: Bill Charlap (piano); Sandy Stewart (vocals).

Love Is Here To Stay

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Houston Person - The Art and Soul, Vol.1, Vol.2, Vol.3.

Album: The Art and Soul, Vol. 1
Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 52:52
Size: 121,5 MB
Art: Front

(4:51) 1. You Do Something To Me
(6:53) 2. I Don't Stand A Ghost Of A Chance
(3:54) 3. You're A Sweetheart
(6:49) 4. Maybe You'll Be There
(4:56) 5. All The Things You Are
(5:28) 6. You're My Everything
(5:39) 7. Skylark
(4:36) 8. I Only Have Eyes For You
(5:35) 9. Everything I Have Is Yours
(4:05) 10. Wonder Why

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Album: The Art and Soul, Vol. 2
Time: 54:34
Size: 125,4 MB

(5:50) 1. Do Nothing Till You Hear from Me
(5:05) 2. Here's That Rainy Day
(4:15) 3. Isn't It Romantic?
(5:48) 4. Fools Rush In
(6:36) 5. It Had to Be You
(6:13) 6. But Beautiful
(5:59) 7. For All We Know
(5:48) 8. Blue Moon
(4:42) 9. Bewitched
(4:13) 10. Don't Get Around Much Anymore

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Album: The Art and Soul, Vol. 3
Time: 55:20
Size: 127,2 MB

(6:07) 1. Sentimental Journey
(5:09) 2. Where Are You?
(4:32) 3. There's A Small Hotel
(6:43) 4. Tenderly
(6:06) 5. Be My Love
(6:08) 6. It Might As Well Be Spring
(5:05) 7. My Funny Valentine
(6:27) 8. Gentle Rain
(4:04) 9. Mack The Knife
(4:56) 10. The Very Thought Of You

The Art and Soul of Houston Person is an irresistible combination of the celebrated tenor saxophonist and the Great American Songbook. The 30 songs on this generous three-CD set were culled by Person from ten of his HighNote CDs, with the addition of four new songs recorded in spring, 2008. The songs feature an array of talented sidemen, including pianist Bill Charlap, bassists Ron Carter and Ray Drummond and drummer Grady Tate. If that isn't compelling enough, all the tracks were mixed, edited and mastered by the eminent Rudy Van Gelder in his legendary Englewood Cliffs studio.

The collection is full of high points, with several songs particularly worth noting. The upbeat opener, "You Do Something to Me," showcases Person's golden warmth and impeccable swing. The song also features John di Martino's exquisite touch on piano and John Burr's fluid bass. The same group shines on "I Don't Stand a Ghost of a Chance," elegantly capturing the song's quiet longing. Person exhibits a poignant tenderness and drummer Jerome Jennings adds just the right backup with incredibly spacious brushwork. "Sentimental Journey" is a joyful toe-tapper; "Here's That Rainy Day" explores the rich undertones of melancholy and "Blue Moon" is surprisingly upbeat, with Person's tenor fat and happy. And don't miss "Mack the Knife," a duet with Ron Carter where the two musicians turn the song inside out and trade lines with fluent ease.

In a 2004 interview, Person defined jazz as, "something that, when the end of the day comes, after a hard and frustrating day out in the world, relieves you. Relaxes you and makes you feel good." The Art and Soul of Houston Person is exactly that kind of music, a treasure chest of luscious, soothing sound. By Florence Wetzel https://www.allaboutjazz.com/the-art-and-soul-of-houston-person-highnote-records-review-by-florence-wetzel

Personnel: John di Martino: piano; Jon Burr: bass; Jerome Jennings: drums; Richard Wyands: piano; Ray Drummond: bass; Kenny Washington: drums; Russell Malone: guitar; Grady Tate: drums; Stan Hope: piano; George Kaye: bass; Chip White: drums; Ron Carter: bass; Peter Washington: bass; Paul Bollenback: guitar; Per-ola Gadd: bass; Bill Charlap: piano.

The Art and Soul,Vol.1,Vol.2, Vol.3

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Gene Bertoncini With Bill Charlap & Sean Smith - Gene Bertoncini

Styles: Guitar And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 77:59
Size: 180,2 MB
Art: Front

( 8:28)1. Japanese Maple
(9:39) 2. Medley; Lullaby Of The Leaves/Summer Night
(9:45) 3.Ellington,StrayhornMedley; Lush Life/Chelsea Bridge/In A Sentimental Mood
( 9:34)4. Dream Dancing
(10:10)5. You Can't Go Home
( 9:42)6. Emily
( 9:30)7. My Funny Valentine
(11:07)8. Medley; Sophisticated Lady/ All The Things You Are

The Floating Jazz Festival, organized by Chiaroscuro owner Hank O'Neal, has produced many outstanding live sessions, this trio date takes its place among the very best. Not satisfied with just tackling familiar standards, guitarist Gene Bertoncini's group opens with bassist Sean Smith's captivating ballad "Japanese Maple." The leader's classically flavored arrangement of "My Funny Valentine" is refreshing. Several tracks are devoted to long but well played medleys. Pianist Bill Charlap rounds out this outstanding trio, whose playing throughout seems to have mesmerized the audience into devoted silence, less they miss a moment of music. ~ Ken Dryden http://www.allmusic.com/album/gene-bertoncini-mw0000047219

Personnel:  Bill Charlap (piano), Gene Bertoncini (guitar), Sean Smith (bass).

Gene Bertoncini

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Bill Charlap Trio - Street of Dreams

Styles: Piano Jazz
File: MP3@320K/s
Time: 45:34
Size: 105,0 MB
Art: Front

(6:48) 1. The Duke
(6:17) 2. Day Dream
(4:49) 3. You're All the World to Me
(5:15) 4. I'll Know
(4:00) 5. Your Host
(5:27) 6. Out of Nowhere
(7:34) 7. What Are You Doing the Rest of Your Life?
(5:20) 8. Street of Dreams

Celebrating 24 years together, pianist Bill Charlap’s trio with the Washingtons (bassist Peter and drummer Kenny no relation) comes as close as any piano trio can to batting a thousand. Even their less inspired efforts, whether onstage or on record, still bear the marks of high-level professionalism and empathy that only a long-lived and prolific ensemble can develop.

And Street of Dreams is not one of their less inspired efforts. If anything, the degree of inspiration on opener “The Duke” alone could carry the whole album. Charlap finds new reserves of depth and nuance in the fond reverence of Dave Brubeck’s paean to Ellington, and that’s without considering the rhythmic oneupmanship of his and Kenny Washington’s interplay during the pianist’s solo.
~ Michael J.Westhttps://jazztimes.com/reviews/albums/bill-charlap-street-of-dreams-blue-note/

Personnel: Bass – Peter Washington; Drums – Kenny Washington; Piano – Bill Charlap

Street of Dreams

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Brian Lynch - Brian Lynch Meets Bill Charlap

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 62:28
Size: 143,2 MB
Art: Front

(7:58)  1. On Green Dolphin Street
(7:34)  2. Autumn Nocturne
(6:38)  3. My Heart Stood Still
(5:46)  4. Cheryl
(8:23)  5. Before the First Cup
(6:44)  6. Atras da Porta
(4:54)  7. On the Dot
(6:34)  8. Come Rain or Come Shine
(7:53)  9. Blues for Gilad

While he adroitly blows his way through a couple of medium-to-up tempo tracks with the edgy assurance of a veteran bebopper, the largest part of trumpeter/flugelhornist Brian Lynch’s latest disc on Sharp Nine Records displays a temperate approach to the music. A welcome relief from the clamor that characterizes a lot of today’s jazz, Lynch’s moderation as a player and bandleader is evident in a number of ways. He knows that melodies are to be relished instead of glossed over; tempos other than rapid ones make a positive impression; and music that breathes easily can be as effective as rough-hewn, densely textured sound.Lynch possesses ample technique and a full, warm tone on the horn, but it’s his ability to imbue every note with an emotional weight (minus any mawkishness) that makes this record special. For example, the splendor of his rendition of the ballad “Autumn Nocturne” makes time stand still; and the way he subtly invokes a feeling of yearning during the bossa “Atras da Porta.” Accordingly, Lynch’s solo lines favor measured, linear development over fireworks and showy gestures. Moreover, his bandmates, pianist Bill Charlap, bassist Dwayne Burno, and drummer Joe Farnsworth are all on the same wavelength, ably balancing the roles of support and self-expression, following or inducing subtle shifts in emphasis, and nudging the music forward in ways more fluid than forceful.

The record opens with Lynch’s treatment of “On Green Dolphin Street.” He revitalizes this warhorse by recasting it in 7/4 time. The arrangement centers around a nice, easy rolling vamp played by the piano, bass, and drums, and the bridge has a conventional jazz feel. In particular, the contrast between the broad click of Farnsworth’s rim knocks and portions of triplets to the tom-toms gives the music an irresistible, dancing movement. Beginning the round of solos, Charlap initially takes his time playing around Farnsworth’s and Burno’s variations of the vamp and then becomes more expansive over their straight-ahead groove. Utilizing a mute throughout, Lynch’s turn starts by lazily building melodic lines that float over the rhythm section. A shooting double-time phrase toward the end of his first chorus signals change as he digs in and becomes more dynamic, all the while prodded by Farnsworth’s brusque snare drum fills. The drummer’s decidedly non-linear solo is structured but not hemmed in by the vamp. He offers a loose yet calculated configuration of rhythmic fragments, such as a stick to the bell of the cymbal, long, rigid rolls to the snare and toms, and poking, three and four stroke shots to all the drums, some of which are mindful of Burno and Charlap’s persistent accompaniment, and others that chafe against it. Combining a strongly accented ostinato and a pensive melody, Lynch’s waltz “Before the First Cup” may not be a lyric writer’s dream; nonetheless the tune holds up well in comparison to the record’s selections from the American Popular Songbook (including “Autumn Nocturne,” “On Green Dolphin Street,” “My Heart Stood Still,” and “Come Rain or Come Shine”). Farnsworth keeps things from getting too settled by creating a choppy undercurrent with the boot of his bass drum, martial snare drum triplets, and irregularly timed cymbal crashes. Never straying from a romantic vein, the composer’s solo gradually moves from a dreamlike state to something grittier, as he increases the length and velocity of his lines.

The set’s closer “Blues For Gilad” is significant for the ways in which the rhythm section supports the soloists. During Lynch’s first two choruses, Farnsworth’s relaxed rim knock and tom-tom combinations provide an undemanding cushion. Conversely, there’s nothing rote about Charlap’s comping, as he moves from carefully chosen chords that mirror the drummer’s relaxed feel to those that shoot up and abruptly break off all without disturbing the trumpeter’s flow. At the beginning of Lynch’s third chorus, Burno starts walking for the first time and Farnsworth begins to keep straight time on the ride cymbal and the hi-hat. The music immediately begins to jump and the trumpeter swings harder and plays with more raw emotion. Burno and Farnsworth adopt a similar strategy for Charlap’s penetrating turn. Farnsworth serves up a slightly different rhythmic quality toward the end of Burno’s solo when he plays the lightest of shuffle beats, and carries it over into Lynch’s single chorus, right before the band takes the tune out.~David A.Orthmann https://www.allaboutjazz.com/brian-lynch-meets-bill-charlap-by-david-a-orthmann.php

Personnel:  Brian Lynch—trumpet/flugelhorn; Bill Charlap—piano; Dwayne Burno—bass; Joe Farnsworth—drums.

Brian Lynch Meets Bill Charlap

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Randy Sandke - Trumpet After Dark

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 67:11
Size: 155,3 MB
Art: Front

(3:47) 1. Quiet is the Night
(5:45) 2. Nocturne
(4:36) 3. Being Human
(4:41) 4. Goodbye For Now
(4:41) 5. Star Crossed Lovers
(4:16) 6. Etude in E
(4:06) 7. Le Jour Ou La Colombe
(4:43) 8. Monk's Mood
(5:04) 9. A Blues Serenade
(3:19) 10. Can She Excuse My Wrongs
(6:16) 11. Lullabye for Karen
(4:58) 12. Blues for Sandy
(5:38) 13. Lush Life
(5:15) 14. Soul Eyes

There is much to admire in this album, subtitled Jazz In A Meditative Mood. Trumpeter Randy Sandke has been actively recording since 1985, largely in a postwar swing and mainstream style, although Mainstream Meets the New Music, his 2002 venture into free jazz, raised some eyebrows and garnered new fans. Sandke is comfortable working in a "jazz with strings" setting, and his arrangements here are quite attractive. Many of these selections recall the albums that cornetist Ruby Braff made under a "Mood Jazz" heading with strings or brass ensembles during the 1950s. However, Trumpet After Dark improves on the past. Sandke's jazz quartet features pianist Bill Charlap, bassist Greg Cohen, and drummer Dennis Mackrel. He has chosen a viol quartet, Parthenia, and it is likely that this is the first instance in which the viola da gamba has been used in a jazz context. Parthenia's deep sonorous timbre, as heard in the opening of "Being Human,"sounds like Renaissance music before Sandke's clarion melody statement, without seeming out of place.

Randy Sandke has contributed five originals, of which two, "Quiet Is The Night" and "Nocturne," were written specifically for this album. Both "Nocturne" and and "Lullabye For Karen" are standouts. Most of these tunes are performed in ballad or mid-tempo with, oddly enough, the swingingest track being Chopin's "Etude In E." I enjoyed the eclectic choice of material from a variety of sources, such as a song taken from a Nana Mouskouri album, another from English composer John Dowland, and a piano duet with Charlap on "Monk's Mood." In addition, the standards "Lush Life" and "Star Crossed Lovers" blend in well. Throughout the album, Bill Charlap provides his usual sensitive accompanist role, as well as soloing to match Sandke's lyrical trumpet work.~ Michael P.Gladstone https://www.allaboutjazz.com/trumpet-after-dark-randy-sandke-evening-star-records-review-by-michael-p-gladstone.php

Personnel: Randy Sandke: trumpet; Bill Charlap: piano; Greg Cohen: bass; Dennis Mackrel:drums; Rosamund Morley: treble viol; Beverly Au: treble and bass viol; Lawrence Lipnik: tenor viol; Lisa Terry: treble and bass viol.

Trumpet After Dark

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Bill Charlap, Ted Rosenthal - Gerry Mulligan Songbook

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 70:31
Size: 162,7 MB
Art: Front

(7:19)  1. Line For Lyons
(5:40)  2. Walkin' Shoes
(7:47)  3. Song For Strayhorn
(2:52)  4. Bark For Barksdale
(7:16)  5. Curtains
(4:49)  6. Rocker
(5:44)  7. Lonesome Boulevard
(5:49)  8. Festive Minor
(7:48)  9. Noblesse
(6:02) 10. Wood On Wood
(9:24) 11. Jazzspeak

Although Gerry Mulligan was once famous for his celebrated "pianoless" quartets, the maestro in later years hired two exceptional, young pianists, Bill Charlap and Ted Rosenthal. The pianists, along with two other Mulligan alumni, bassist Dean Johnson and drummer Ron Vincent, celebrate the memory of their old boss in these bright, spirited, often-witty renditions of 10 of his jazz songs. Charlap and Rosenthal are most empathetic collaborators. Their overlapping voicings are often deliciously reminiscent of Bill Evans' overdubbing of himself on "Conversations with Myself" and "Further Conversations with Myself." The more overlapping, the more interactive and contrapuntal sounding it gets, the more exciting it gets. The music has a spontaneous edge, but never sinks into chaos or the clatter of keyboards colliding. These are high-quality, tasteful servings, certainly not some sort of Mulligan stew casually tossed on the listener's plate. The pianos come out roaring on Mulligan's "Line for Lyons," the opening tune for the session ranging from "Walkin' Shoes" to "Song for Strayhorn." Chiaroscuro's Hank O'Neal has long provided a haven for fine piano music, whether it's Dave McKenna's or Jess Stacy's. Charlap and Rosenthal, although from a much-younger generation, fit into O'Neal's piano pantheon. Anyone, in fact, who likes good piano music, whether jazz or classical, can derive much pleasure from this piano songbook. On the CD's last selection, Jazzspeak a regular feature on Chiaroscuro, in which musicians speak of art, life or whatever the four ex Mulliganites recall their boss/mentor rather fondly, even when acknowledging he was a demanding taskmaster who wanted things done right. Right, they agree, was Always his way. https://www.courant.com/news/connecticut/hc-xpm-1997-07-31-9708010828-story.html

Personnel:  Bill Charlap, Ted Rosenthal, piano; Dean Johnson, bass; Ron Vincent, drums

Gerry Mulligan Songbook

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Bill Charlap - Stardust: The Music Of Hoagy Carmichael

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 67:56
Size: 156,3 MB
Art: Front

(3:11)  1. Jubilee
(6:38)  2. I Get Along Without You Very Well
(7:19)  3. Rockin' Chair
(5:00)  4. I Walk With Music
(6:35)  5. Two Sleepy People
(7:27)  6. The Nearness Of You
(6:46)  7. One Morning In May
(5:54)  8. Blue Orchids
(5:41)  9. Georgia On My Mind
(9:24) 10. Stardust
(3:56) 11. Skylark

Although he had made a few records previously, by the time that pianist Bill Charlap cut All Through the Night in 1997, it was obvious that the connection established with trio mates Peter and Kenny Washington was a special one, capable of great finesse and intuitiveness. People in the upstairs offices at Blue Note also must have known a good thing when they heard it because it wasn’t long before Charlap was inking his first major label deal. Written in the Stars would be his initial Blue Note offering, and there was much to recommend, however Stardust strikes a sophisticated pose that ups the ante even further. The American Popular Song has always been Charlap’s fodder (no surprise there considering that his father composed for the Broadway stage), however there’s a new concept at play with Stardust in that the entire program consists of Hoagy Carmichael originals. “The Nearness of You,” “Georgia On My Mind,” “Skylark,” and the title track are the most widely known items, balanced very astutely by some equally beguiling, if lesser known, chestnuts. ”I Get Along Without You Very Well” is a masterpiece of invention and surely one of the greatest lines that Carmichael ever penned and guest Tony Bennett’s rendition is fine enough, even if the vocalist’s pipes are not quite what they used to be. 

Shirley Horn’s husky whisper envelops “Stardust” and again nothing much all that revelatory occurs. It’s with the instrumental numbers that things really begin to coalesce. Frank Wess gets that breathy swagger going and things start to swing as “Rockin’ Chair” reaches for that ‘adult tempo’ (as Kenny Washington calls it) that puts a smile on one’s face. Jim Hall’s appearance on “Two Sleepy People” helps to paint additional hues on an already panchromatic view of another obscure gem. Really only “Jubilee” and “I Walk With Music” get above a slow ballad tempo, but it’s that opportunity to luxuriate in the wide open spaces that helps Charlap get his point across in a way that’s deeply satisfying. Classy and accessible, Stardust is piano trio jazz that’s right up there with as good as it gets. ~ C.Andrew Hovan https://www.allaboutjazz.com/stardust-bill-charlap-blue-note-records-review-by-c-andrew-hovan__10339.php

Personnel: Bill Charlap (piano), Peter Washington (bass), Kenny Washington (drums)

Stardust: The Music Of Hoagy Carmichael

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Marvin Stamm - Mystery Man

Styles: Trumpet Jazz
Year: 1993
File: MP3@320K/s
Time: 66:05
Size: 152,6 MB
Art: Front

(6:40)  1. Mark Time
(6:33)  2. Influence
(6:54)  3. Marionette
(7:51)  4. Man With the Cucumber (Mannen Med Gurkan)
(6:10)  5. Re-Re
(7:34)  6. Giuseppe
(6:07)  7. Old Ballad
(8:15)  8. Mystery Man
(6:13)  9. A Method To The Madness
(3:45) 10. My Funny Valentine

Trumpeter Marvin Stamm, rather than drag out the usual bebop standards, mostly introduces new material on his CD. Four songs are played by Berg's quartet with pianist Bill Charlap, bassist Mike Richmond, and drummer Terry Clarke; six add Bob Mintzer's tenor, and of those songs, three find Bob Malach (on tenor and soprano) making the band a sextet. Because Stamm paid as much attention to varying tempos and moods as he did to changing the instrumentation, this set holds one's interest throughout, swinging hard in a modern fashion. ~ Scott Yanow https://www.allmusic.com/album/mystery-man-mw0000619145

Personnel: Trumpet, Flugelhorn – Marvin Stamm;  Bass – Mike Richmond; Drums – Terry Clarke; Piano – Bill Charlap; Tenor Saxophone – Bob Mintzer , Bob Malach

Mystery Man

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Bill Charlap - All Through The Night

Bitrate: MP3@320K/s
Time: 47:13
Size: 108.1 MB
Styles: Straight ahead jazz, Piano jazz
Year: 1998
Art: Front

[8:53] 1. All Through The Night
[5:22] 2. Roundabout
[4:30] 3. Put On A Happy Face
[5:14] 4. It's So Peaceful In The Country
[4:11] 5. The Best Thing For You Would Be Me
[3:15] 6. Pure Imagination
[3:53] 7. Nobody's Heart
[6:24] 8. Dance Only With Me-Dream Dancing
[5:28] 9. I've Just Seen Her

This trio outing by pianist Bill Charlap (with bassist Peter Washington and drummer Kenny Washington) is a superior modern mainstream set. Charlap's boppish yet melodic style (which is championed by George Shearing in the liner notes) is pleasing, swinging and just unpredictable enough to hold one's interest. He mostly performs lesser-known standards such as Vernon Duke's "Roundabout," Irving Berlin's "The Best Thing For You Would Be Me" and the Rodgers and Hart classic "Nobody's Heart." An enjoyable outing. ~Scott Yanow

All Through The Night mc
All Through The Night zippy

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VA - Oscar, With Love: The Songs Of Oscar Peterson

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 178:47
Size: 412,8 MB
Art: Front

(6:18)  1. The Contessa (Makoto Ozone)
(3:39)  2. Blues For Smedley (Robi Botos)
(5:43)  3. Celine's Waltz (Oliver Jones, Dave Young)
(5:11)  4. Bossa Beguine (Gerald Clayton)
(3:31)  5. Cool Walk (Benny Green)
(8:16)  6. Dream Of Me (Michel Legrand)
(4:34)  7. Sushi (Renee Rosnes, Bill Charlap)
(3:00)  8. If I Love Again (Ramsey Lewis)
(3:49)  9. On Danish Shore (Justin Kauflin)
(8:51) 10. Ballad For Benny Carter (Kenny Barron)
(2:28) 11. A Little Jazz Exercise (Makoto Ozone)
(5:56) 12. Tranquille (Monty Alexander, Dave Young)
(4:58) 13. Take Me Home (Hiromi)
(3:35) 14. Announcement (Bill Charlap)
(5:20) 15. If You Only Knew (Benny Green)
(6:39) 16. Love Ballade (Renee Rosnes)
(5:22) 17. The Gentle Waltz (Monty Alexander, Dave Young)
(6:14) 18. Summertime (Justin Kauflin)
(6:22) 19. Laurentide Waltz (Ramsey Lewis)
(4:58) 20. Morning (Gerald Clayton)
(7:59) 21. Harcourt Nights (Michel Legrand)
(4:19) 22. Wheatland (Robi Botos)
(5:11) 23. Why Think About Tomorrow (Oliver Jones, Dave Young)
(6:28) 24. One For Oscar (Chick Corea)
(5:06) 25. The Smudge (Kenny Barron)
(4:58) 26. Sir Lancewell (Lance Anderson)
(4:13) 27. Dear Oscar (Makoto Ozone)
(6:03) 28. I Remember OP (Oliver Jones, Dave Young)
(4:03) 29. Oscar's New Camera (Hiromi)
(2:38) 30. OP's Boogie (Lance Anderson)
(4:28) 31. Trust (Monty Alexander, Dave Young)
(4:03) 32. Emmanuel (Robi Botos)
(3:13) 33. Look What You’ve Done To Me (Audrey Morris)
(3:16) 34. Goodbye Old Friend (Dave Young)
(5:18) 35. Hymn To Freedom (Gerald Clayton)
(2:29) 36. When Summer Comes (Robi Botos)

To mark the ninetieth anniversary of the legendary jazz pianist Oscar Peterson's birth (August 15, 2015), Peterson's widow, Kelly Peterson, produced a tribute album for the ages: Oscar, with Love, a marvelous three-disc set comprising ten never-before-recorded Peterson compositions, nineteen of his better-known works and seven compositions written especially for him, performed by sixteen contemporary piano masters on Peterson's personal Boesendorfer Imperial piano at his private studio in Mississauga, Ontario, Canada. Makoto Ozone has the honor of opening Disc 1 with a warm-hearted reading of Peterson's lovely ballad, "The Contessa." He is followed, in order, by a veritable who's who of noteworthy (no pun intended) keyboard artists: Robi Botos, Oliver Jones, Gerald Clayton, Benny Green, Michel Legrand, Renee Rosnes, Bill Charlap, Ramsey Lewis, Justin Kauflin, Kenny Barron, Monty Alexander, Hiromi, Chick Corea, co-producer Lance Anderson and Peterson's close friend, Chicagoan Audrey Morris. While most tracks showcase the solo piano, Peterson's longtime bassist, Dave Young, accompanies Jones ("Celine's Waltz," "Why Think About Tomorrow," "I Remember OP"), Alexander ("Tranquille," "The Gentle Waltz") and performs alone on "Goodbye Old Friend." Morris plays and sings on "Look What You've Done to Me," while Charlap and Rosnes appear separately on "Announcement" and "Love Ballade," respectively, and together on "Sushi."

The songs written for Peterson include Corea's earnest "One for Oscar" (composed especially for this album), and his bravura performance, which leads off Disc 3, is one of the set's myriad highlights. As for others, any song on which Barron, Jones, Legrand, Lewis, Charlap or Rosnes are in the driver's seat is almost by definition a highlight, and none of them is less than inspired, nor are Ozone, Alexander, Anderson, Botos, Clayton, Green, Hiromi, Kauflin or Morris. Jones, who like Peterson was born in Montreal, is closest to his fellow Canadian in spirit, and even though he was roughly eighty years old when the album was recorded, plays with the agility and vigor of someone many years his junior. Lewis, another newly minted octogenarian, shows no deference to Father Time on his opulent features, "If I Love Again" and "Laurentide Waltz," while the (now) eighty four year old Legrand is sublime on "Dream of Me" and "Harcourt Nights." That's not to demean the (relatively) younger lions Botos, Clayton, Hiromi and Kauflin each of whom makes an auspicious impression. And for brio emblematic of Peterson himself, dig Ozone's busy fingers on "Dear Oscar" and "A Little Jazz Exercise." This is an album on which every participant seems entirely aware that he or she is not merely playing another song but is offering his or her homage to one of the most renowned jazz pianists who ever lived. That fondness and appreciation are palpable from start to finish, which is one (of many) reasons why Oscar, with Love is an album to be applauded and treasured. Others include immaculate sound, splendid packaging, erudite and inclusive liner notes by Basie trumpeter Scotty Barnhart, and warm personal remembrances by Peterson's daughter, Celine. An exemplary tribute worthy of the name and the monarch to whom it is inscribed. ~ Jack Bowers https://www.allaboutjazz.com/oscar-with-love-oscar-peterson-two-lions-records-review-by-jack-bowers.php

Personnel: Monty Alexander: piano; Lance Anderson: piano; Kenny Barron: piano; Robi Botos: piano; Bill Charlap: piano; Gerald Clayton: piano; Chick Corea: piano; Benny Green: piano; Hiromi: piano; Oliver Jones: piano; Justin Kauflin: piano; Michel Legrand: piano; Ramsey Lewis: piano; Audrey Morris: piano, vocal; Makoto Ozone: piano; Renee Rosnes: piano; Dave Young: bass.

Oscar, With Love: The Songs Of Oscar Peterson

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Bill Charlap Trio - Uptown, Downtown

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 54:27
Size: 125,9 MB
Art: Front

(7:00)  1. Curtains
(7:54)  2. Spring Can Really Hang You Up The Most
(6:00)  3. Uptown, Downtown
(5:01)  4. The One I Love Belongs To Somebody Else
(7:28)  5. I'm All Smiles
(6:41)  6. There's A Small Hotel
(4:18)  7. Satellite
(6:46)  8. Bon ami
(3:16)  9. Sophisticated Lady

Bill Charlap is one of the strongest mainstream jazz pianists on the scene and one of the most gifted interpreters of standards. He grew up in a musical household, as the son of Broadway songwriter Moose Charlap and singer Sandy Stewart. Taking to the piano at a young age, he went on to study at New York's High School of Performing Arts. He then entered college, but rather than finishing, opted to practice and gig on his own. Pianist Bill Mays soon took up Charlap's cause, recommending the young man as his replacement in the Gerry Mulligan Quartet. During this time, Charlap also worked with Benny Carter, Clark Terry, and Frank Wess, and was sought after as an accompanist for singers such as Tony Bennett, Carol Sloane, and Sheila Jordan. In 1995, he secured one of the most coveted piano chairs in jazz, with the Phil Woods Quintet. All the while, Charlap showed steady development as a leader. His debut came in 1994 with Along with Me, followed by Souvenir in 1995 and Distant Star in 1996. His 1997 release, All Through the Night, was the first to feature his current trio, with the redoubtable (and unrelated) Washingtons, Peter and Kenny, on bass and drums respectively. In 2000, this lineup had its major-label breakthrough with the highly acclaimed Blue Note disc Written in the Stars. Two albums appeared in 2001: 2Gether with Warren Vaché and Contrasts with Jon Gordon. 'S Wonderful hit the shelves in 2002, as did Stardust, which began a series of albums that focused on a single composer. Stardust featured the music of Hoagy Carmichael, 2004's Somewhere was an all-Leonard Bernstein affair, while 2005's Plays George Gershwin featured ten songs by the man Charlap considers "the American soul." Also in 2005, he released an album with vocalist Sandy Stewart, Love Is Here to Stay. The concert album Live at the Village Vanguard appeared in 2007. In 2010, Charlap joined pianist Rene Rosnes for the duo effort, Double Portrait. Two years later, he reunited with Stewart for Something to Remember. In 2015 he collaborated with legendary vocalist Tony Bennett for Silver Lining: The Songs of Jerome Kern. ~ David R. Adler, Rovi  https://itunes.apple.com/us/album/uptown-downtown/id1265237243

Uptown, Downtown

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Phil Woods - Mile High Jazz: Live in Denve

Styles: Saxophone Jazz 
Year: 1996
File: MP3@256K/s
Time: 63:53
Size: 117,2 MB
Art: Front

(10:40)  1. Blues for K.B.
(12:30)  2. Song for Sass
(10:27)  3. Harlem Nocturne
( 7:12)  4. Godchild
(11:47)  5. Walkin' Thing
(11:16)  6. Clairevoyance

Altoist Phil Woods and his 1996 quintet (which includes trumpeter Brian Lynch, pianist Bill Charlap, bassist Steve Gilmore and drummer Bill Goodwin) jam on six lengthy numbers on this live performance from Denver. Highlights include the exciting up-tempo "Blues For K.B.," George Wallington's classic "Godchild" and Benny Carter's relaxed "Walkin' Thing." With Lynch (who successfully keeps up with Woods) and Charlap contributing some fine solos, Phil Woods has come up with another highly recommended and creative combo date that keeps the spirit of bop alive while avoiding the cliches. ~ Scott Yanow http://www.allmusic.com/album/mile-high-jazz-mw0000086949

Personnel: Phil Woods (alto saxophone); Brian Lynch (trumpet); Bill Charlap (piano); Steve Gilmore (bass); Bill Goodwin (drums).

Mile High Jazz: Live in Denve

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Bill Charlap Trio - 's Wonderful

Bitrate: MP3@320K/s

Time: 56:26

Size: 129.2 MB

Styles: Piano jazz

Year: 1999/2014

Art: Front

[6:33] 1. Time After Time

[6:04] 2. My Shining Hour

[4:33] 3. The Blue Room

[4:15] 4. Boy, What Love Has Done To Me

[6:14] 5. Isfahan

[5:16] 6. Lover

[6:50] 7. Something To Live For

[5:02] 8. 's Wonderful

[6:50] 9. Summer Serenade

[4:48] 10. Only The Lonely

Bass – Peter Washington; Drums – Kenny Washington; Piano – Bill Charlap.

Best known for his work with Gerry Mulligan and later Phil Woods during the 1990s, pianist Bill Charlap was clearly developing rapidly on his own record dates. Beginning with a crisp rendition of "Time After Time," Charlap, with a formidable rhythm section of bassist Peter Washington and drummer Kenny Washington, explores a nice mix of standards and jazz classics. His refreshing approach to "Lover" initially adds a Latin rhythm to the sprightly waltz before launching into overdrive. The less familiar material, including a jaunty take of George & Ira Gershwin's "Boy, What Love Has Done to Me" and a breathtaking solo interpretation of Jimmy Van Heusen's dreamy ballad "Only the Lonely," is equally rewarding. The sound on this studio date is so intimate that it sounds as if the listener is sitting right next to the piano. This exquisitely packaged Japanese release is very highly recommended.

's Wonderful

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Phil Woods - The Thrill Is Gone

Bitrate: MP3@320K/s
Time: 53:54
Size: 123.4 MB
Styles: Bop, Saxophone jazz
Year: 2003
Art: Front

[8:21] 1. And When We're Young
[4:54] 2. I Get Along Without You Very Well
[5:25] 3. You Go To My Head
[8:53] 4. It Never Entered My Mind
[4:47] 5. The Thrill Is Gone
[4:15] 6. Easy To Love
[5:53] 7. The Nearness Of You
[5:35] 8. If I Should Lose You
[5:48] 9. Solitude

Phil Woods is right at home during these 2002 sessions at Red Rock Recording Studio near his home in Delaware Water Gap, Pennsylvania. With his regular group (Bill Charlap, Steve Gilmore, and Bill Goodwin) minus trumpeter Brian Lynch, Woods adds strings conducted by his old friend Eric Doney on this collection of ballads. "And When We're Young" is the alto saxophonist's tribute to the late Senator Robert F. Kennedy, who was assassinated around the time it was written. The leader's lush alto gives way to a brisk Latin-flavored passage featuring powerful solos by violinist Andy Stein and Charlap on piano, while Woods humorously detours into "Nature Boy" upon his return. The strings introduce a lively arrangement of "It Never Entered My Mind," and another favorite of the alto saxophonist, "If I Should Lose You." Unlike many jazz recordings with strings, they complement rather than overwhelm the musicians. But it is almost impossible for a Phil Woods-led date to turn out less than excellent. ~Ken Dryden

The Thrill Is Gone

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