The Village Vanguard, New York
November 2000
By David R. Adler
After years of sideman work and releases on independent labels, pianist Bill Charlap has "made it," issuing his Blue Note Records debut, Written In the Stars, and playing a week at the Village Vanguard with his superb trio. Along with bassist Peter Washington and drummer Kenny Washington, Charlap sticks to a simple format: all standards, all the time. At a time when young jazz artists are creating bold new music in large quantities, CharlapÃÂÃÂÃÂÃÂs bop classicism would seem to put him in the "purist" or traditionalist camp. Fair enough, but this is a purism that works. While itÃÂÃÂÃÂÃÂs certainly old school, thereÃÂÃÂÃÂÃÂs nothing formulaic about CharlapÃÂÃÂÃÂÃÂs approach. Even many of the tunes are rarities: Harold ArlenÃÂÃÂÃÂÃÂs "The Man That Got Away," Cole PorterÃÂÃÂÃÂÃÂs "Where Have You Been," GershwinÃÂÃÂÃÂÃÂs "Lorelei." And CharlapÃÂÃÂÃÂÃÂs magic touch, even with songbook staples like "The Lady Is a Tramp," elevates him far above the norm.
The trio opens with a solid runthrough of Horace SilverÃÂÃÂÃÂÃÂs "Ecaroh," then has its way with PorterÃÂÃÂÃÂÃÂs "In the Still of the Night," making the A sections float portentously and breaking into furious, uptempo swing on the Bs. "The Man That Got Away" and "Where Have You Been" ripple with exquisite dynamic control and a bone-deep sense of swing. A deliciously slow and smoky "One For My Baby" is sandwiched between the two show-stoppers, "The Lady Is a Tramp" and "Slow Boat to China," both of which explode with out-of-left-field modulations, tempo changes, full stops, and tightly woven ensemble passages. Charlap spreads solo room around generously, using both Washingtons to full advantage.
CharlapÃÂÃÂÃÂÃÂs single-minded focus on the Great American Songbook may prompt one to wonder whether heÃÂÃÂÃÂÃÂll sound as fresh in ten years. But today he is making beautiful music, while reminding us that there are still plenty of treasures buried within standards.
