Concert Review

Charlap transcends all with sheer poetry

By Tom Ineck

KANSAS CITY, Mo.—Some jazz pianists are merely technical virtuosi, while others delve deeply into the territory of blues and soul, but lack proficiency. Bill Charlap transcends all of them with a poetic sense that combines both technique and soul without exaggerating either. His first priority is to the song and the story it tells, as though in compensating for the absence of lyrics he waxes lyrical on the keys.

Indeed, Charlap seemed especially inspired Nov. 16 during a trio appearance at the beautiful Folly Theater. With his longtime, stalwart drummer Kenny Washington and bassist Sean Smith (instead of the other Charlap veteran, Peter Washington), the pianist delivered a confident, moving, often astounding performance. Having already witnessed Charlap several times in recent years at the Topeka Jazz Festival, his keyboard mastery came as no surprise, but it was dazzling nonetheless.

Charlap last appeared at the Folly Theater in 2002 with saxophonist Phil Woods, his employer at that time. Since then, Charlap has established his own reputation as a leader, with six recordings on the Blue Note label. His latest, “Live at the Village Vanguard,” was reviewed in the July 2007 issue of the BMF newsletter. Despite the difference in venues, it provided an obvious basis for comparison with the Folly concert.

The opener was George Wallington’s “Godchild,” also included in the Village Vanguard recording. Best known for its groundbreaking treatment by Miles Davis in his “Birth of the Cool” sessions, it was treated imaginatively with Charlap employing percussive block chords. Irving Berlin’s “The Best Thing for You” was an uptempo finger-bender that gave Charlap a chance to stretch out.

Charlap’s sheer poetry and emotive powers are most evident on ballads, like Vernon Duke’s “Autumn in New York,” which featured an exquisite solo piano interlude. “I’ll Remember April,” taken at a medium tempo, featured Washington’s sensitive brushwork. Another highlight was the Benny Carter ballad “Souvenir,” dedicated by Charlap to all of the many jazz greats who have passed on in recent years.

The music of George Gershwin has long been a favorite of Charlap, whose 2005 tribute to the composer was subtitled “The American Soul.” The trio performed four tunes from that recording, beginning with a mid-tempo “Somebody Loves Me,” featuring an inventive bass solo. Continuing with a super-fast “Nice Work If You Can Get It” and the touching ballad “I Was So Young and You Were So Beautiful,” the Gershwin set came to an end with an uptempo, but lyrical take on “S’Wonderful.”

The second set began with a nod to jazz pianist Horace Silver, combining his tunes “Ecaroh” and “Summer in Central Park.” Charlap introduced Jerome Kern’s “The Way You Look Tonight” with a long solo statement before the trio took it uptempo and Washington added a tasty drum solo on brushes. From the Leonard Bernstein songbook came “Glitter and Be Gay” from “Candide,” on which Charlap employed a unique, rolling-hands technique. Bernstein’s heart-wrenching ballad “Somewhere” segued into the grand finale, a devastating version of the classic love song “Body and Soul.”

The audience of several hundred wanted more, but how do you follow such brilliance? Charlap wisely declined.

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Concert Review

Cartwright confirms reputation as KC's best

By Tom Ineck

LINCOLN, Neb.—His blues-infused, post-bop technique and stylistic versatility have made Joe Cartwright Kansas City’s most sought-after jazz pianist for some 20 years, equally respected by vocalists and musicians. His appearance Oct. 9 as guest soloist with the Nebraska Jazz Orchestra confirmed that reputation once again.

Cartwright had ample opportunity to display his considerable keyboard chops to an audience of about 220 at the Embassy Suites ballroom in downtown Lincoln. Beginning with the uptempo swing of Neal Hefti’s “The Kid from Red Bank,” named for Count Basie’s New Jersey hometown, Cartwright drove the NJO with a full keyboard attack. Bobby Timmons’ “Moanin’” was the inspiration for an especially soulful piano solo, as well as moving solos by Scott Vicroy on baritone sax and Darren Pettit on tenor sax.

Working up a visible sweat, Cartwright dove into an amazing interpretation of Thelonious Monk’s “Well You Needn’t,” churning up the entire length of the keyboard with appropriate octave leaps and carefully timed fore arm smashes that dazzled the awestruck audience. It was a tour de force combining technique and pure emotion.

Most of the NJO left the stage so Cartwright, bassist George Bryan and drummer Greg Ahl could dig into a lush ballad rendition of Mal Waldron’s “Soul Eyes,” a Cartwright favorite and the title track of a recent CD. He proceeded to wring exquisite variations on the chord changes. The trio continued with “I’ve Never Been in Love Before,” a mid-tempo swinger from “Guys and Dolls.” It proved a perfect vehicle for Cartwright’s accelerating keyboard attack, as he finished with a rollicking intensity reminiscent of Oscar Peterson, Ray Bryant or Errol Garner. He’s that good.

The rest of the NJO returned for Benny Carter’s lovely ballad “Souvenir,” Fats Waller’s immortal “Jitterbug Waltz” and an uptempo take on the old standard “Yours is My Heart Alone.” Cartwright’s solo piano introduction on the last piece slyly quoted from “Jitterbug Waltz” before cutting loose with the entire band for a flag-waving finale.

The concert also featured an earlier selection of tunes arranged and conducted by special guest Eric Richards, a music teacher in Fremont who has impressive national credentials as well. Richards’ own composition “Synergy” kicked off the show with a subtle complexity. His whimsical arrangement of Sonny Rollins’ bluesy “Doxy” cleverly pitted Ed Love’s piccolo solo against Tim Dickmeyer’s bass trombone. “Ellesamba” was a gentle Latin tune lovingly dedicated to Richards’ wife.

Special guest vocalist Christine Hitt took the stage for Richards’ arrangement of Billy Strayhorn’s “Lush Life,” a difficult piece that Hitt handled with perfect intonation and intelligent phrasing. Paul Haar added a fine tenor sax solo to the band’s sensitive performance.

“The Crawfish Stomp” was Richards’ tribute to New Orleans funk, and his arrangement of Tadd Dameron’s bebop staple “Hot House” was turned into a funk frolic, the only disappointment of the evening.

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