Jay Leonhart

After Bill Charlap was "discovered" by the Japanese independent Venus Records with his wonderful debut album for the label 'S Wonderful, he signed with Blue Note. Because of the contract terms, Charlap's name can no longer apper prominently on albums he records for Venus. Hence the anonymous moniker "New York Trio". But make no mistake. This is Bill Charlap's trio. And what a trio! Veteran Jay Leonhart's bass sounds deep, lyrical and authoritative, and cutting-edge drummer Bill Stewart's surprisingly traditional drumming brings a unique tension to this group. This unusual trio has recorded six albums for Venus Records at the pace of one each year, and this is their first of the celebrated series. One of the best interpreters of the Great American Songbook, Charlap dazzles us with his beautiful touch and tone, faithful rendering of original melodies and subtle addition of modern sensibilities. Selections are mostly medium to slow tempo ballads. As the title suggests, this is clearly music for the night.

Since arriving in New York City, Tessa Souter has built a dedicated following. She was a relative latecomer to jazz, taking time out to raise a family at a young age and work as a journalist before studying at the Manhattan School of Music and privately with vocal great Mark Murphy, though she has developed into a formidable singer in a relatively short time.

The vast Duke Ellington songbook is always ripe for exploration, and the New York Trio, featuring pianist Bill Charlap, bassist Jay Leonhart, and drummer Bill Stewart, is up to the task. The gorgeous ballad “The Star Crossed Lovers” is in good hands, as Charlap gently examines the facets of this gem, accompanied by Leonhart’s spacious basslines and Stewart’s whispering brushes.

A wonderful gift for jazz fans has arrived from Venus Records! Nobody argues that Bill Charlap is one of the most preeminent jazz pianists of his generation. His encyclopedic knowledge of the American Songbook is second to none, and his beautiful touch, amazing skills and imagination make it a pleasure to listen to him at all times. Ken Peplowski, on the other hand, is without a doubt one of the best clarinet and tenor sax players in the swing tradition.

Beat Kaestli turns his attention to the Great American Songbook on Invitation, his auspicious debut for Chesky Records. Recorded at St. Peter's Church in Chelsea, this stirring collection of jazz standards is the perfect showcase for Kaestli's hauntingly beautiful voice, which falls somewhere in the Chet Baker-Kenny Rankin range. His voice is imbued with clarion articulation, naturally relaxed phrasing and uncanny feeling.

Barbara Carroll remains at the top of her game at age 80. This wonderful program of standards shows her at her swinging best. If her voice has lost a little of its bloom (she sings, or rather speaks, on a couple of numbers) her fingers certainly have not. Very few jazz pianists get a truly individual sound from the piano, but Carroll's full, two handed style is unique, and has been for decades. An excellent rhythm section and the usual fine sound from Venus make this a winner. With Jay Leonhart playing bass and Joe Cocuzzo playing drums, the trio performs such classics as "Fly Me To The Moon", "My Funny Valentine" and "Autumn In New York".

The New York Trio, consisting of pianist Bill Charlap, bassist Jay Leonhart, and drummer Bill Stewart, have created quite a stir in Japan, as they have entered the studio regularly to record for the Japanese Venus Jazz label at the start of the 21st century. Their sixth CD for the label, Thou Swell draws from the songbook of Richard Rodgers and Lorenz Hart, a composer/lyricist combo who wrote many songs that became standards.

Through his numerous releases from Venus Records, Eddie Higgins has firmly established his position as one of the most celebrated jazz pianists in Japan. On If Dreams Come True, Eddie Higgins performs with his trio consisting of Jay Leonhart on bass and Joe Ascione on drums.

A set of songs written by jazz musicians were arranged for this project by pianist Carlos Franzetti for piano, sax, bass, flute, clarinet, and a string quartet. The results are pleasing if not overly memorable. While the selections are often challenging, the interpretations are more middle-of-the-road and fairly accessible due to the strings. Franzetti and saxophonist Lawrence Feldman take most of the solos and their improvisations are excellent, although the utilization of strings and woodwinds smoothes over some of the rough edges of the compositions, making the results fairly safe if occasionally unpredictable.