Новый альбом американского джазового пианиста.
Mark Rothko once said “Silence is so accurate.” To understand the gravity of this statement, check out the accuracy of what happens in Make Me Rainbows about a minute and a half into the tune. There you will hear a small miracle of jazz telepathy; three musicians explore the depths of all they know by doing a jazz Buddhist nothing. And then they’re back, right in the groove they established from the start. Groove: that’s the word. The Bill Charlap Trio conjures a groove. I know there will be plenty of folks out there to run an exegesis on each track, each tune layered with the best history of jazz. These aren’t just “notes.” Notes from New York is a compendium. Charlap’s time is perfect, whether he’s crossing metrical figures, swinging, or dancing on the keys with the aplomb and grace of Fred Astaire. Listen to the rhythmic interplay in I’ll Remember April. Who makes such deft movements—dips and spins in time—possible? Answer: Kenny Washington. This is the best CD (superb engineering) made to hear and study Washington’s uncompromising artistry. The other answer: Peter Washington. The extended bass solo in Not a Care in The World is tasteful, heartfelt—soulful. Notes from New York also demonstrates that Bill Charlap is not just a key purveyor of jazz erudition, top hat, and New York street (and I mean street) from tune to tune, from downtown to uptown. Charlap creates two elegaic masterworks that are so powerful in concept and execution they give the CD a subtext of profound loss. There is No Music is one; and shockingly, On The Sunny Side of the Street is two—a devastating solo reinvention of this most American tune that puts the blues on slow parade with a tone and harmonic sense as rich as Rockefeller.
