Music: Getting Down Deep into It

Jazz pianist Bill Charlap approaches a song the way a lover approaches his beloved. He wants to know its origins, its shape, its moods. He wants to view it from every angle--melody, harmony, lyrics, verse. He even wants to hear about its romantic history--what other improvisers have done with it. When he sits down to play, the result is an embrace, an act of possession. The tune rises, falls, disappears and resurfaces in new forms as Charlap ranges over the keyboard with nimble, crisply swinging lines, subtly layered textures, dense chords and spiky interjections. But no matter how imaginative or surprising his take on a song is, he invariably zeroes in on its essence. When he finds it, he says, "it's like a rose coming into bloom."

Charlap himself is coming into bloom these days, after years of paying his dues as a musician's musician. His deepest ardor is for the works of classic songwriters like Cole Porter, George Gershwin and Richard Rodgers--the so-called Great American Songbook. In the annals of composition, he maintains, "these songs represent a new blueprint for a truly American style. They will always be vital and au courant, as timeless as Beethoven." Over the past few years, with his trio mates, Peter Washington on bass and Kenny Washington (no relation) on drums, Charlap has built on that blueprint in a succession of beguiling and acclaimed CDs on the Blue Note label. Written in the Stars (2000) samples Porter, Gershwin, Irving Berlin and Harold Arlen, among others. Stardust (2003), on which the trio is augmented by such guests as Tony Bennett and guitarist Jim Hall, is all Hoagy Carmichael. The best so far, this year's Somewhere, focuses on the theater songs of Leonard Bernstein.

Charlap, 38, can claim this music as a birthright. His father, who died when he was 7, was Broadway composer Moose Charlap (Peter Pan, Kelly) and his mother is singer Sandy Stewart, who toured with Benny Goodman and co-starred on Perry Como's 1960s TV show. In his parents' Manhattan apartment, young Bill mingled with composers like Charles Strouse, who wrote the musical Bye Bye Birdie, and lyricists like Alan and Marilyn Bergman (The Way We Were) and the one he called "Uncle Yip," E.Y. Harburg (Somewhere Over the Rainbow, April in Paris).

He followed this immersion with a solid grounding in classical and jazz piano, then launched his career with the Gerry Mulligan Quartet and later with a quintet led by saxophonist Phil Woods, with whom he continues to make appearances today. "What struck me was his depth," says Woods. "A lot of young players have university credentials but have lost touch with the street. They all sound the same. Not Bill. He really gets down deep into it."

These days Charlap's career is getting down deep too. When Jazz at Lincoln Center unveiled its Dizzy's Club Coca-Cola last month, Charlap was the opening act. Lincoln Center has booked him to present a concert in February titled Great American Songwriters. He was also named to take over next year as artistic director of the well-regarded Jazz in July festival at Manhattan's 92nd Street Y.