By Marilyn Lester**** The thirty fourth annual Jazz in July series at the 92nd Street Y has just concluded with six shows, each one a gem. Series artistic director, Grammy Award-winning pianist, Bill Charlap, has been curating Jazz in July for about 15 years, having taken it over from the founding artistic director, Dick Hyman. It’s a series that the 92nd Street Y should be extremely proud of. Over the years, between the two men, the best jazz in town has been played by top-flight musicians and glorious singers. Midway through the run, on July 19, Richard Rodgers: With a Song in My Heart, served as an excellent example of a completely enjoyable and satisfying evening in a concert hall, illustrating what Charlap correctly identifies as “music that is at the center of our culture — music that swings … music that dances … serious music … serious fun! ”
Is it impossible, or nearly so, to identify a standout moment in this program. The performers are at the top of their respective games, the music of Richard Rodgers is sublime and the run of the show was well thought out and paced. On top of all of this, Charlap is a genial and knowledgeable host as well as being one of the most accomplished pianists in the jazz world. The two anchors in the band—- Sean Smith on bass and Bill Stewart on drums—provided rhythmic constancy. Pianist Renee Rosnes, with Smith and Stewart, swung to an upbeat “Falling In Love With Love,” playing in the pocket and excelling on their own turns. Likewise, with Charlap at the keys, the combo demonstrated an easy synchronicity of creative swing in “If I Loved You/I Could Write A Book.”
Pairing two saxophones was a masterstroke of programming. The tenor saxophone of Harry Allen, with the baritone instrument of Gary Smulyan, yielded exquisite harmonies soothing to the ear, as well as each man delivering pure tones from their respective saxes. Particularly outstanding was “Have You Met Miss Jones” with Rosnes on the keys. With the trumpet of Terrell Stafford, this third element of brass added a sharp counterpoint to the mellowness of the saxophones. As a quintet, these musicians delivered a very up-tempo “The Lady Is A Tramp” with Charlap on piano and a lively “I Didn’t Know What Time It Was” with Rosnes at the keys.
Perhaps the most delightful parts of the evening came with Charlap playing with the two most important women in his life—one being Rosnes, his wife and the other being the vocalist Sandy Stewart, his mother. Charlap and Rosnes have vastly different styles, but a musical attunement that weaves the two approaches together into a melodic and harmonic oneness. Charlap has a sure assertive touch and the ability to insert spontaneous musical ideas and improvisations in a way that lifts them from the melodic base into another realm. His playing is reminiscent of the scat style of Ella Fitzgerald. Rosnes is etheric in her approach. Her touch on the keys is airy and light. The music seems to float off the keyboard. Her ability to improvise creatively is also stellar. Their renditions of “My Funny Valentine” and “With A Song In My Heart” were transcendent.
Last, but certainly not least, were the vocals of Sandy Stewart. Now an octogenarian, Stewart makes up in skill and sheer talent for any diminishment of vocal power. The voice is still clear, strong and mellow. She clearly knows how to manage it to produce the best sound possible. More than that, any young singer interested in forging a career today should be required to listen to this master perform. Stewart’s ability to use vocal dynamics to shade a song is a testament to empathic understanding. Without raising her voice she provides a miraculous nuance. The result is the telling of the story in the song with an acute ability to translate the lyric into an emotional revelation. The mildly uptempo “Where or When” was a mystical delight, while “The Surrey With A Fringe On Top” was sprightly and gay. The experience of Stuart vocalizing almost a capella on “It Never Entered My Mind,” with Charlap playing what amounted to a gentle underscoring, was nothing short of mesmerizing and thrilling. The play-out of all participants on a foot-tapping “This Can’t Be Love” capped off a happy-making evening of yet another triumphant Jazz in July concert.
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