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Posted

Bought Bill Charlap's second Criss Cross album "Distant Star" at a library sale this weekend, along with the Milt Jackson Quartet's (Cedar Walton, Ray Brown, Mickey Roker) "It Don't Mean a Thing If You Can't Pat Your Foot To  It." The Milt album very together rhythmically, as one might expect -- Roker a key there. The Charlap quite tasty, as was his first on Criss Cross, but I was bothered by some  of his succeeding  Criss Cross efforts ("Stardust," with his eventual regular trio of Peter Washington and Kenny Washington  was one IIRC) where it sounded like Charlap was willingly restricting his harmonic language to what would have been the norm at, say, the Hickory House circa 1954. What a strange and rather creepy development, I thought. 

Posted

What was he wearing on the cover?

51z2Qg0PZ+L.jpg

As for the Hickory House circa 1954, I'm perfectly OK with Marian McPartland of that vintage, but the Marian of recent times wouldn't self-restrictively play that way. So if I'm right about what Charlap has found himself doing on "Stardust" and similar outings, what the heck is his motivation for doing so? It's not like it's an approach that can have intense musical appeal to him in this day and age I would think, nor is it an approach, though I may be wrong here, that would have a potent enough nostalgiac vibe that it would  draw in listeners on those grounds.

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8 hours ago, Bluesnik said:

Howard McGhee: Volume 2 / Tal Farlow Quartet - Blue Note: 6941335 -  download | Presto Music

 

:tup

5 hours ago, ghost of miles said:

An old and sentimental favorite, the first Chaloff I ever picked up before getting the Mosaic set:

memorial-we-the-people-bop.jpg

:tup

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