How many years after an undisputed live jazz milestone can a player on the same instrument return to the same venue and cut his own live record? When it comes to the Bills, here's your answer: Bill Evans doesn't scare Bill Charlap. Not the crooked, reflexive genius Evans was — but then who was/is? — Charlap is making a career as a standards guy, one who here alternately charges ("My Shining Hour") and caresses ("It's Only A Paper Moon") his way through a set that's focused on Tin Pan Alley sparklers from the likes of Harold Arlen and Rodgers and Hart. As the New York-bred son of a cabaret singer, this music is his home turf and given the heart he pours in, it shows. The bag here is taste, as in tasteful, tasty, and oodles of subtlety to savor. A sentimental, nuanced record for new and veteran jazzers who incessantly moan how they just don't make records like they used to, Charlap's faultless choices and refined ideas glow in deep, rich hues in the nearly obligatory "Autumn in New York," and sassily skip through a whirlwind "Lady is a Tramp." The not-related Washingtons, bassist Peter and drummer Kenny, provide a solid, swinging foundation and a number of well-built solos throughout. Like Evans' essential Vanguard entry, Charlap's tribute to this venerable basement club is a triumph from the quiet end of the jazz piano trio spectrum.