Customer Reviews

Bill Charlap Plays George Gershwin

5 star:		(5)
4 star:		(4)
3 star:		(2)
2 star:		(3)
1 star:		(0)

 

 

It's interesting to hear Charlap leading a larger band than his usual trio, and the arrangements on the four septet tracks are quite effective; this album also features some very solid playing, particularly by Charlap himself, his bandmates Peter Washington and Kenny Washington, and guest alto saxophonist Phil Woods. However, for the most part the song selection is rather predictable, and in a few instances certain of the soloists sound slightly uninspired. This is a good album, and it contains some very fine moments, but taken as a whole it lacks the spirit, intensity, and sheer inventiveness that make Charlap's best work so exciting.

I also note that Charlap has now recorded at least four single-composer tribute albums (previous ones were devoted to Duke Ellington, Hoagy Carmichael, and Leonard Bernstein). Perhaps it's time to give that format a rest and try a different approach. A live concert recording by the trio would be an extremely welcome change of pace, and at this point in Charlap's career it would also seem to be long overdue.

This is okay but it is not the sterling brilliant work Charlap does on his three previous efforts at all. Get any of those instead of this one. Get Stardust. Get Somewhere. Get Written in the Stars. Any and all of those three instead of this one. Another warning...this Gershwin one has the annoying Copy Control demon on it so when you load it onto your mp3 it skips and jumps. most annoying. whatever happen to fair use by people who buy the music????

I sort of happened upon Bill Charlap when I heard "Somewhere" because there is a decided lack of exciting piano trios around, unless you still like the Keith Jarrett factory. Charlap is one of those guys who has incredible almost orchestral subtlety, and gets that sparkling sound out of his piano lines, but still makes it sound like he's not even trying very hard. But the addition of the horns on this CD ruins it for me - Charlap loses control, and the rest of the musicians turn this into a jam session with tunes that are, let's face it, not that exciting by themselves anymore. I like Payton's energy, but it doesn't seem to mesh with the group. Even when the horns are cut out, "Liza" seems hurried. "I Was So Young" is nice, but even that doesn't have the harmonic or compositional freshness of Charlap's full trio CDs. Compare Charlap plays Gershwin with the Fred Hersch Trio +2, a great example of a trio pianist really taking the time to flesh out and expand his ideas with wind instruments. I hope Charlap takes his time with his next CD, because he's capable of something original and fresh and that's so rare today.

I was excited when I saw this disc in the store the other day. With such a stellar lineup playing some of the most inventive and creative music on the planet, how could it miss? Well, sorry to say, it does.

It's not as if anyone's phoning their chops in; they're just being too reverential toward this material. After all, what we're dealing with here is George Gershwin, the Great American Renaissance Man as Musician. Can't play around too much with a cultural icon of that stature. To me, everything seems so danged precise, so well-crafted, so genteel. Where's the fire? Where's the wild energy? MIA, sorry to say. I'll grant them this: they've successfully evoked the spirit of Gershwin's world. But in doing so, they've, ironically, given the disc's subtitle (The American Soul), rendered it soulless.

Part of the problem, I think, is that Slide Hampton on trombone seems to have lost it. His ensemble playing's fine, but his solos lack distinction and invention, to the point of being soporific. Frank Wess on tenor is a shade better, but nothing he plays really catches fire either. Nicholas Payton, on the other hand, seems to be the only one who's really into it. His solos snap and pop with real conviction. And Phil Woods takes some nice choruses. Things come together, briefly, on "'S Wonderful," and the trio generally creates stylish renditions of the ballads. But overall, this disc just leaves me a little bit cold.

It pains me to write all this because I think Bill Charlap is a tremendous jazz pianist who has made many fine records, and I really wanted to like this disc. And his trio (Peter Washington, bass, and Kenny Washington, drums) is among the finest on the scene today--one might even go so far as to say among the greatest ever. It's just not happening here, at least to these ears.

I am not a professional musician but I know what moves me and this album surely did that. I was dancing and singing around the room every time I played it. It gave me a natural high.

Well, C.J., who was pretty harsh on the former reviewer,may dismiss me too...I am retired from 2 professions, one of which was as a professional jazz drummer for over 30 years. I have the time to write and submit reviews, but had not done so until now.I fear C.J. would think I need to "get a life", if I embark on giving my opinions on too many recordings. There are many of us who do have some expertise in this kind of music and if one wants to share that with others...what's the problem? Charlap is a uniquely gifted musician whom I've heard live as well as on recordings (most of which I own). I wasn't bowled over by this release and can understand one listener's mild disappointment. The arrangements are not wildly inventive, but have a certain West Coast Cool approach (think Dave Pell, Tom Talbert (who just died) or Marty Paich), which I tend to like It doesn't mean the recording isn't worth having (I bought it), but C.J. may want to consider that "different strokes for different folks" and diversity of opinion is to be expected in the arts.

Bill turns out another fine recording. His technique and style are excellent. I thought his song selection was fine and the addition of Slide Hampton,Phil Woods etc. added to the CD. I still miss Bill Evans but Bill Charlap is at the top of his game.

Charlap shows he's capable of producing elegant jazz with a larger combo. Be sure to catch Frank Wess's tenor solo on "Bess, You Is My Woman Now". It'll break your heart.

A breath of fresh air. his playing is so refreshing -- and stimulating.

One way of interpreting Gershwin is as jaunty and spiffy, and this recording is just that. The tunes bounce around merrily for the most part and make no pretense at great profundity.

There remains the question, however, as to just how inventive the horn soloists are.

Well, there is no truth to the charge that Slide Hampton's solos are not inventive. Here's a quiz: what is the tune that Mr. Hampton quotes in his solo on 'Somebody Loves Me'? Inventive or no? Ah, but first you have to recognize a quote when you hear it... Some subtleties go just above people's heads...