This happy couple has nary a mishap. Their intuitive control of the interlocking dynamics of two Steinways results in delicacy of tonal shadings in Wayne Shorter's “Ana Maria," Gerry Mulligan's “Little Glory" and Gershwin's “My Man's Gone Now," the longest and most achingly beautiful track in the album. It allows smooth and powerful locomotion in Joe Henderson's muscular “Inner Urge" and a joyful exchange of ideas in Antonio Carlos Jobim's “Double Rainbow." Rosnes and Charlap evoke an urge to samba (fast) in Lyle Mays's “Chorinho." “Dancing in the Dark" is evidence that a brisk tempo need not be the enemy of lyricism. Their twin cascade of sixteenth notes in the coda of that piece is a wonder of metric coordination. The title of Rosnes's “The Saros Cycle" alludes to the frequency pattern of lunar and solar eclipses, which may account for not only the piece's cyclical structure but also its air of celestial mystery. They conclude with sparks of whimsy in Frank Loesser's “Never Will I Marry." Throughout, the pianism and the creativity are at the highest level.
There has been a number of superb two-piano teams in jazz. To mention a few: Albert Ammons and Meade Lux Lewis; Hank Jones and Tommy Flanagan; Earl Hines and Jaki Byard; Don Ewell and Armand Hug; Chick Corea and Herbie Hancock; Dick Wellstood and Dick Hyman; and, of course, Bill Evans and Bill Evans. Charlap and Rosnes are in that company.
