Customer Reviews

Double Portrait

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Double Portrait is a work of art. As a duo, Rosnes and Charlap know how to balance each other's voices so that the two piano format reveals a kind of three-dimensional listening experience. The sound is orchestral. How can two pianists, playing simultaneously, maintain such transparency? It is breathtaking and elevating. Each track sounds as though the pianists are the composers (true, of course, on one track)--and the CD rewards the listener time and time again--it is a master class on harmonic choices, listening, and time. Each pianist knows the music on the level of DNA, and the playing has the type of creative fervor, super-charged, of two people who know how to marshal creative powers to release an intimate magic--there is grace, effervescence, and a few moments where improvisation is taken to an almost manic edge. Both pianists' control of tone color is exemplary--listening to the artistry of Rosnes/Charlap can put one in the mindset of looking at a Monet. The first track is a desert island track--the listener can be reminded, even when alone and under that merciless sun, of the sheer joy two people can share when stars in the jazz firmament align. The CD would be a romantic gift extraordinaire for any music lover, but anyone who cares about the art of musical communication should buy it and listen very, very closely.

Double Portrait brings together two of the finest artists on the jazz scene today. Rene Rosnes and Bill Charlap create a blend of jazz styles that makes this album a potential classic remembered for years to come. I've seen Rosnes and Charlap perform both together and separately over the years. They have clearly pulled away from today's stable of jazz pianists to become musical icons. Simply put, this album is a gem.

Double Portrait is a exploration in musical sensitivity, musical virtuosity, musical subtlety and musical equality. Renee Rosnes and Bill Charlap, two of today's premier pianists in the world of jazz, have joined together to create a remarkable tour de force that is sometimes gentle, sometimes giant. It's seamless in every way often times defying classification as well as defying typical piano duo recordings. Like its title suggests, it is a true double portrait as each pianist shares in the others' repertoire and individual style. This project poses an important question though: Where does one pianist end and the other begin? Double Portrait then begs an even deeper question: Are there two pianos and four hands on this recording or is this really one pianist, one mind and soul? These are excellent questions that Charlap and Rosnes raise through their obvious passion. I recommended you give it a listen and try to answer for yourself. But, be warned: if this recording doesn't keep your interest, check your heart and make sure it still beats.

(By the way, highly recommended!)

Minutes ago, after their performance in our city's "West End Cultural Centre" (a small theatre with terrific acoustics) I spoke with Canadian-born Renee Rosnes and her American husband, Bill Charlap.

"I came here tonight to see YOU, Bill Charlap," I said, "having seen you in the (Clint Eastwood produced) Johnny Mercer television special - and having heard you interviewed just the other day by (NYC FM & Sirius Radio show host) Jonathan Schwartz. But I have to tell you," I said, "that like marriage itself - SHE's the `better half'!" Bill took it the right way, laughing and agreeing, "She really IS!"

I asked them the name of the remarkable song - a virtuosic powerhouse number "a fountain of sheer joy," I said with which they closed tonight's show; (it's track one on this CD). Repeating myself, I said it was "the most amazing, joyful outpouring of sound from two pianos that I could ever imagine! What's it called?"

"Chorinho," said Renee, spelling it for me and giving it the proper Brazilian (Portugese) pronunciation. "It's the first track on our latest CD," she said. "Wish we had a free copy for you," said Bill. "No, no," I said. "I insist, on principle, on purchasing my own copy!" (which I did, a few minutes later in the theatre lobby - purchasing their last copy as they were closing for the night).

"It sounded to me like a Clare Fischer composition," I said. "It was written by Lyle Mays," said Bill. "He is an amazing piano player who has worked with Pat Matheny."

I told my "new favorite piano duo" that "my previous standard for judging four-handed piano performances were the teams of Hank Jones & Tommy Flanagan, and Dave Grusin with Chick Corea."

"Well, we'd be honored," said Bill, "to be mentioned in company with those great players!"

"Really, I think you've raised the bar," I said. Then I asked them: "Do you think the fact that you are married, actually contributes in some way to the (amazing) `dynamic' of your playing together? Bill answered first: "The intimacy between us, definitely contributes" (to what's happening on stage). Renee agreed: "The intimacy we share (pausing to find the right words) "gives us courage, I think, to hear spaces (in the music) and not feel we HAVE to fill them!" It seemed a fitting way to describe the almost telepathic empathy with which they play.

For their show tonight, Renee (given first choice?) was seated at a battered old Baldwin concert grand, whose curved side was mated to a brand new Yamaha. The Baldwin sounded sweeter, I thought; the Yamaha had a more clear and concise sound - but with less `character.' [And listening now to this CD, I'm thinking --- "two Steinways from Astoria, and German mics" (Just checked the "special thanks" on the liner notes which includes kudos to "Steinway" and "to the estate of Marc Chagall" (for the album cover).

The recording quality is simply splendid, and the tracks here - like tonight's `live' performance -- provide the listener with such a lovely balanced program; no two songs had the same tempo. Their rendition of Jule Styne's "JUST IN TIME" (not included here) was the best piano performance of that show-stopper from "Bells Are Ringing" that I have ever heard.

When I mentioned Jonathan Schwartz and how much I enjoy his daily, satellite radio show, Renee said, with a big, beautiful smile, "One of the songs (here) was written by his father (Arthur) - "Dancing in the Dark." Listening to it now, an hour later, I'm thinking Arthur Schwartz would have LOVED Bill & Renee's rendition.

"New" melodies (new to my ears) featured here on this CD (and performed so magnificently on stage tonight) include "Wayne Shorter's tribute to his wife," ANA MARIA, as well as Gerry Mulligan's "LITTLE GLORY" -- two beautiful, strong melodies I'd not heard before -- and cannot imagine being rendered more beautifully than you'll hear on this CD. I note that this album closes with their show opener tonight - Frank Loesser's NEVER WILL I MARRY. Never will you hear (I predict) better `four-handed' piano virtuosity than here, in this magnificent "DOUBLE PORTRAIT."

Mark Blackburn

Winnipeg Manitoba Canada

This is a treat: 2 immensely skilled pianists/composers/performers who are a happy couple and play with distinction. Listen and be amazed that a marriage can be so satisfying. It gives us all hope.

I'm afraid this one is a major snooze-fest. The styles of the players don't

mesh at all, one being a sort of latter-day bopper and the other being a fairly

creative interpreter of songs. Charlap, clearly the superior pianist of the two, manages to

save the thing from being a total wash, but taken as a whole, the music is

airy and glib. Give it a pass.