CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Bill Charlap
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City/Place:
New York City
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Country:
United States
Life
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Bio:
Grammy award winning pianist Bill Charlap has performed with many of the leading artists of our time including Phil Woods, Tony Bennett, Gerry Mulligan, Wynton Marsalis, Freddy Cole and Houston Person.
Born in New York City, Charlap began playing the piano at age three. His father was Broadway composer Moose Charlap, whose credits include Peter Pan, and his mother is singer Sandy Stewart, who toured with Benny Goodman, and was a regular on the Perry Como show. She earned a 1963 Grammy nomination for her recording of “My Coloring Book." In 2005, Charlap and Stewart released the acclaimed CD, Love Is Here To Stay (Blue Note).
In 1997, Charlap formed his trio with bassist Peter Washington and drummer Kenny Washington, now recognized as one of the leading groups in jazz. In 2000, he was signed to Blue Note Records and received two Grammy Award nominations, for Somewhere: The Songs of Leonard Bernstein and The Bill Charlap Trio: Live at the Village Vanguard. He is known for his interpretations of American popular song.. Time magazine wrote, “Bill Charlap approaches a song the way a lover approaches his beloved…no matter how imaginative or surprising his take on a song is, he invariably zeroes in on its essence.”
In 2016, Tony Bennett & Bill Charlap: The Silver Lining, The Songs of Jerome Kern, was awarded a Grammy for Best Traditional Pop Album. In April, the Bill Charlap Trio released, Notes from New York, their debut recording for the Impulse label. Alan Morrison's five-star review in Down Beat stated that the new recording is "a masterclass in class."
In 2019 Charlap celebrated his 15th year as Artistic Director of New York City’s Jazz in July Festival at 92Y. He has produced concerts for Jazz at Lincoln Center, New Jersey Performing Arts Center, Chicago Symphony Center and the Hollywood Bowl. Charlap is married to renowned jazz pianist and composer Renee Rosnes, and the two artists often collaborate in a duo piano setting.
In 2010 Charlap and Rosnes released Double Portrait (Blue Note). Bill Charlap is currently the Director of Jazz Studies at William Paterson University in Wayne, New Jersey.
Contact Information
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Contact by Webpage:
http://www.billcharlap.com/contact
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Management/Booking:
FOR ALL BILL CHARLAP BOOKINGS,
& THE BILL CHARLAP / RENEE ROSNES DUO
PLEASE CONTACT:
JACK RANDALL
President, The Kurland Agency
173 Brighton Avenue
Boston, MA 02134-2003
[email protected]
TEL: +1 617 254 0007
Domestic Fax: +1 617 782 3577
International Fax: +1 617 782 3524
http://www.thekurlandagency.com
My Recordings
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For Audio, Visual:
Bill Charlap & Sean Smith (Progressive) 1993
Bill Charlap & Sean Smith: Along With Me (Chiaroscuro) 1994
Bill Charlap: Souvenir (Criss Cross) 1995
with Scott Colley, Dennis Mackrel
Bill Charlap: Distant Star (Criss Cross) 1997
with Sean Smith, Bill Stewart
Bill Charlap: All Through The Night (Criss Cross) 1998
with Peter Washington, Kenny Washington
Bill Charlap: S’Wonderful (Venus) 1999
with Peter Washington, Kenny Washington
Bill Charlap: Written In The Stars (Blue Note) 2000
with Peter Washington, Kenny Washington
Bill Charlap: Stardust (Blue Note) 2002
With Peter Washington, Kenny Washington, Tony Bennett, Shirley Horn
Bill Charlap: Somewhere - The Songs of Leonard Bernstein (Blue Note) 2004
with Peter Washington, Kenny Washington
Bill Charlap Plays George Gershwin: The American Soul (Blue Note) 2005
with Phil Woods, Frank Wess, Slide Hampton, Nicholas Payton,
Peter Washington, Kenny Washington
Love Is Here To Stay (Blue Note) 2005
Sandy Stewart & Bill Charlap
Bill Charlap Trio: Live At The Village Vanguard (Blue Note) 2007
with Peter Washington, Kenny Washington
Double Portrait (Blue Note) 2010
Bill Charlap & Renee Rosnes
Something To Remember (Ghostlight) 2013
Sandy Stewart & Bill Charlap
Tony Bennett & BIll Charlap: The Silver Lining: The Songs of Jerome Kern (2015)
with Renee Rosnes, Peter Washington & Kenny Washington
Bill Charlap Trio: Notes from New York (Impulse!) 2016
with Peter Washington, Kenny Washington
Bill Charlap Trio: Uptown Downtown (Impulse!) 2017
with Peter Washington, Kenny Washington
Tony Bennett & Diana Krall: Love is Here to Stay (Verve) 2018
with the Bill Charlap Trio with Peter Washington, Kenny Washington
THE NEW YORK TRIO
Blues In The Night (Venus) 2001
Bill Charlap, Jay Leonhart, Bill Stewart
The Things We Did Last Summer (Venus) 2002
Bill Charlap, Jay Leonhart, Bill Stewart
Love You Madly (Venus) 2003
Bill Charlap, Jay Leonhart, Bill Stewart
Stairway To The Stars (Venus) 2004
Bill Charlap, Jay Leonhart, Bill Stewart
Begin The Beguine (Venus) 2005
Bill Charlap, Jay Leonhart, Bill Stewart
Always (Venus) 2008
Bill Charlap, Jay Leonhart, Bill Stewart
Thou Swell (Venus) 2009
Bill Charlap, Jay Leonhart, Bill Stewart
I’m Old Fashioned (Venus) 2010
Bill Charlap, Jay Leonhart, Bill Stewart
AS A SIDEMAN
Spark (Chiaroscuro) 1995
Jon Gordon Quartet
with Bill Charlap, Sean Smith, Tim Horner, Benny Carter, Phil Woods
The Gerry Mulligan Songbook (Chiaroscuro) 1996
with Bill Charlap, Ted Rosenthal, Dean Johnson, Ron Vincent
Phil Woods: For Astor & Elis (Chesky) 1996
Phil Woods, Bill Charlap, and others
Harry Allen Plays Ellington Songs (RCA Victor) 1999
with The Bill Charlap Trio with Peter Washington, Kenny Washington
You Taught My Heart To Sing (HighNote) 2006
Houston Person & Bill Charlap
Gene Bertoncini with Bill Charlap & Sean Smith: LIVE (Chiaroscuro) 1999
Jon Gordon & Bill Charlap: Contrasts (Double Time Jazz) 2001
Ken Peplowski: Stardust
with Bill Charlap, Peter Washington, Kenny Washington
Warren Vaché and Bill Charlap: 2GETHER (Nagel Heyer Records) 2002
Warren Vaché: Dream Dancing (Arbors Records) 2004
with Bill Charlap, Dennis Irwin, Eddie Locke, Harry Allen
Ruby Braff: You Brought A New Kind Of Love (Arbors Records) 2005
with Bill Charlap, Dick Hyman, Bucky Pizzarelli, Jake Hanna
Johnny Frigo’s DNA Exposed (Arbors Records) 2006
Johnny Frigo, Bill Charlap
American Songbook, Volumes 1 & 2 (Kind of Blue) 2006
Phil Woods, Bill Charlap, Brian Lynch, Steve Gilmore, Bill Goodwin
Voyage: Phil Woods with the Bill Charlap Trio at the
Floating Jazz Festival Aboard the The QEII (Chiaroscuro)
Phil Woods, Bill Charlap, Peter Washington, Kenny Washington
Brian Lynch Meets Bill Charlap (Sharp Nine) 2003
with Dwayne Burno, Joe Farnsworth
Jay Leonhart: Great Duets (Chiaroscuro) 1999
with Bill Charlap, Gene Bertoncini, Joe Williams, Mike LeDonne, Junior Mance,
Bucky Pizzarelli, John Bunch, Eddie Higgins, Norman Simmons and Richard Wyands
Gary Smulyan & Brass: Blue Suite (Criss Cross) 2000
with Bill Charlap, Christian McBride, Kenny Washington
Carol Sloane & Clark Terry: Songs Ella & Louis Sang (Concord) 1997
with Bill Charlap, Marcus McLaurine, Dennis Mackrel
Randy Sandke: Trumpet After Dark, Jazz In A Meditative Mood
(Evening Star) 2005
Randy Sandke Quartet featuring Bill Charlap
Scott Hamilton with the Bill Charlap Trio: Back In New York (Concord) 2005
with Peter Washington, Kenny Washington
Freddy Cole with The Bill Charlap Trio: Music Maestro Please (HighNote) 2008
with Peter Washington, Kenny Washington
The Blue Note 7: Mosaic (Blue Note) 2009
Bill Charlap, Nicholas Payton, Ravi Coltrane, Steve Wilson,
Peter Bernstein, Peter Washington, Lewis Nash
Blues For Pres & Teddy (Swingbros) 2011
Harry Allen Quartet with Bill Charlap, Peter Washington, Dennis Mackrel
Clips (more may be added)
The Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet.
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
"Great culture is great power. And in a small world great things are possible."
The Matrix was built to open the world to Bahian musicians by opening the world to all creators.
In the Matrix you curate people (and entities) for what they do and where they do it. And they can curate you. A network is formed.
By the mathematical magic of the small-world phenomenon, everybody in the Matrix (as in human society) tends to within degrees of everybody else.
And by logical extension, the entire planet. All can (potentially) be found by everybody. QED
Recently accessed from:

"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
Ground Zero for the project was the culture born in Brazil's quilombos (in Angola a kilombo is a village; in Brazil it is a village either founded by Africans or Afro-Brazilians who had escaped slavery, or — as in the case of São Francisco do Paraguaçu below — occupied by such after abandonment by the ruling class):

...theme for a Brazilian Matrix, from an Afro-Brazilian Mass by
Milton Nascimento
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
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