On Nov. 13, Grammy-winning pianist Bill Charlap performed two shows alongside his trio at Murry’s. The all-star trio featured Noriko Ueda on the bass and Lewis Nash on the drums. The “We Always Swing” Jazz Series hosted the group as part of its yearly concert lineup.

This trio’s first show was energetic and fast-paced. The band tore through 10 songs in its hour-and-a-half set. The show’s setlist consisted of primarily standards, beginning with several Duke Ellington songs, namely “I’m Beginning to See the Light,” “Caravan” and “Prelude to a Kiss.” The improvisation in both shows teased the audience, building to a climax then shifting direction to alter chord changes and build a new pattern. Nowhere was this more clearly seen than in the solos of Nash — who built a rhythmic pattern on the toms and bass drum, only to resolve with a single, light hit on the ride cymbal. This style of play led the audience to giggle on many occasions, as if the band were letting them in on a joke.

The second show began slower than the first and featured songs by Charlie Parker, among other standards including “On the Sunny Side of the Street.” 

There was a beautifully controlled chaos within the improvisation of all three members of the band. The ability to keep control was, in large part, due to the cohesion of the group. Ueda performed stunningly, keeping a fast pace and constantly interplaying with Charlap’s piano. Although this was the first time the trio had played a full show together, they maintained excellent communication. 

“I thought it was just a wonderful simpatico with each other,” Charlap said.

Charlap was joined by Noriko Ueda on bass. Ueda is a member of the all-female supergroup ARTEMIS. Charlap’s wife, Renee Rosnes, heads the supergroup. Charlap also played alongside Lewis Nash, who has performed on over 500 albums — 10 of which have won Grammys. He is the only person to have won a Grammy for both “Best Jazz Vocal” and “Best Jazz Instrumental.” 

Charlap has played with Ueda and Lewis prior to this performance, but only for a few songs. Nov. 13 was the first time they had played a full show together. Lewis and Ueda had performed as the rhythm section during a series of 92Y performances with pianists Kenny Barron and Aaron Diehl. Charlap is the artistic director of New York City’s Jazz In July festival held at Kaufmann Concert Hall at 92Y.

“I loved how they played together so much, I thought it would be great to do some more together,” Charlap said.

Charlap had performed numerous times with Nash before the performance. The two of them played together as part of The Blue Note 7. The band came together during the 70th anniversary of Blue Note Records to record an album and tour.

The trio of bass, drums and piano is a staple of the jazz genre. The small size of the trio can, in theory, allow musicians to communicate fully with one another and create a more intimate sound in the music.

“It’s not that I don’t love playing with a great saxophonist or trumpeter, but that becomes a different kind of aesthetic,” Charlap said. “In a trio, it’s just enough [people] to play like a small group and an orchestra and everything in between. It gives everybody space to express themselves.” 

Charlap won a Grammy in 2016 for “Tony Bennett & Bill Charlap: The Silver Lining, The Songs of Jerome Kern.” Charlap’s piano style is distinct. While Charlap said he has studied the great pianists, both jazz and classical, he has also studied the great jazz players outside of piano including John Coltrane, Joe Henderson, Lester Young and Louis Armstrong. This studying outside of his instrument likely contributes to his unique sound.

“The deeper your study is, the deeper you fall in love with the various different aspects. As long as you keep your mind open, any influence that might come to you, comes out as you,” Charlap said.

Charlap grew up in a musical family. His father was theatrical composer Moose Charlap, who wrote the music for the Broadway version of Peter Pan. His mother was Grammy-nominated singer Sandy Stewart, who performed on many variety shows of the era. As a result, Charlap began playing piano at an early age.

“Honestly, I probably started before I was 3,” Charlap said. “I don’t ever remember a time that I didn’t play the piano. Everything I played, I made up; it was improvised or it was something I got by ear.”

Reflecting on his childhood, Charlap discussed listening to an album called “The Nutty Squirrels.” The Nutty Squirrels was a band headed by Don Elliott and Sascha Burland and was a jazz-oriented version of Alvin and the Chipmunks. Charlap said he started learning songs like “Nutty” and “Salt Peanuts” just by hearing them on that album. 

“I’m making the point that a kid doesn’t know what kind of music [they are listening to],” Charlap said. “They just know ‘I like the sound of that and this.’ I think that’s one of the important things.”

Charlap was exposed to live jazz at a young age. He said that a trio composed of Roland Hanna, Eddie Locke and Major Holley visited his school as a kid. 

“If young people are exposed to [live music] and hear some great musicians play, they’ll love it,” Charlap said. 

Charlap feels that learning music should begin at a young age and that schools should teach music as part of the curriculum. Charlap teaches at William Paterson University and works as the director of jazz studies.

“That’s where it needs to start,” Charlap said. “There should always be a course in every school — not just jazz — but all kinds of music where kids are taught about music and they listen to it. That would be so great for the intellect if they would add that as a mandatory course in every school, in every age group.”

The next Jazz Series show will be held at 7 p.m. Dec. 4 at The Blue Note in The District.

Edited by Egan Ward | eward@themaneater.com

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