Over the course of a multifaceted career spanning four decades, Grammy and Tony Award-winning jazz giant Dee Dee Bridgewater has ascended to the upper echelon of vocalists, putting her unique spin on standards, as well as taking intrepid leaps of faith in re-envisioning jazz classics. Ever the fearless voyager, explorer, pioneer and keeper of tradition, the three-time Grammy-winner recently won the Grammy for Best Jazz Vocal Album for Eleanora Fagan (1915-1959): To Billie With Love From DeeDee.
Bridgewater’s career has always bridged musical genres. She earned her first professional experience as a member of the legendary Thad Jones/Mel Louis Big Band, and throughout the 70s she performed with such jazz notables as Max Roach, Sonny Rollins, Dexter Gordon and Dizzy Gillespie. After a foray into the pop world during the 1980s, she relocated to Paris and began to turn her attention back to Jazz. Signing with Universal Music Group as a producer (Bridgewater produces all of her CDs), Bridgewater released a series of critically acclaimed titles beginning with Keeping Tradition in 1993. All but one, including her wildly successful double Grammy Award-winning tribute to Ella Fitzgerald, Dear Ella, have received Grammy nominations.
Grammy Award winning pianist, Bill Charlap has performed and recorded with many leading artists of our time, ranging from jazz masters Phil Woods and Wynton Marsalis to singers Tony Bennett and Barbra Streisand. Since 1997, he has led the Bill Charlap Trio with bassist Peter Washington and drummer Kenny Washington, recognized as one of the leading groups in jazz. Charlap is the artistic director of New York City’s Jazz in July Festival at the 92nd Street Y, and he has produced concerts for Jazz at Lincoln Center, the JVC Jazz Festival and the Hollywood Bowl. Charlap is married to renowned jazz pianist Renee Rosnes, and the two often collaborate in a duo piano setting. Charlap and Rosnes released Double Portrait, their acclaimed duo piano recording on the Blue Note label.
“Charlap approaches a song the way a lover approaches his beloved…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.” TIME Magazine