I became enamored of Artemis in August of 2024 when I first caught them live at the Newport Jazz Festival. Interestingly, Arboresque was recorded in New York City just two weeks after that event, so it’s fitting that I dive in with this review. The group’s bio is shown in the display box on the right and comments from the band are shown with each track.
Arboresque is a great jazz album, full stop. The instrumentation configuration of drums, bass, keys, trumpet, and sax enables the sound to be both plush and full and at the same time highlight the solo capabilities of each member. It’s clear that each band member is fully aligned with each other’s playing and can adjust their feel accordingly but also swing as a unit to maximum effect.
The album is comprised of eight tracks, three covers, and five originals. In true team fashion, each of the members contributed one of the original tracks. It’s the mix of backgrounds, styles, and emphasis that keeps the whole album interesting. Here’s my track-by-track coverage.
The genesis of the acclaimed jazz group ARTEMIS can be traced back to 2016 when pianist Renee Rosnes first assembled an all-star ensemble to celebrate International Women’s Day with live performances in Europe. Nine years on, as the band releases its third Blue Note album, ARBORESQUE, the collective continues to demonstrate its staying power and prove how the music transcends any notion of patriarchy. But ARTEMIS’ purpose has also expanded, reaching beyond special projects, cultural initiatives, or the supergroup concept. On the new recording, they explore a loose theme of natural and environmental beauty. Even more so, however, ARBORESQUE is a paean to the sheer joy of collaboration and creativity.
Track-by-Track
The Smile of the Snake has a recognizable spy-like undertone, starting of with some slinking punchy piano and seguing into the main horn theme. Ingrid Jensen takes the initial solo on trumpet, which breaks down into a heated convo between her and Nicole Glover on sax. Renee Rosnes takes a quick turn on piano before yielding to Glover for another turn. The main theme of piano-bass-drums returns before Allison Miller punctuates the round.
The inquisitive, noirish opener, “The Smile of the Snake,” was composed by the unsung piano giant Donald Brown, whom Rosnes has been a fan and friend of, for decades. “The title refers to people whom you love and trust, but who end up disappointing you.”
Komorebi has three concurrent through lines with piano, trumpet and sax. Glover takes the first mellifluous solo on sax, followed quickly by Rosnes and Jensen. Ueda then takes her turn on upright bass, and it’s nice to hear her swing, albeit quietly. Allison Miller is very adept with the brushes during the solos.
Ueda’s “Komorebi” takes its title from the Japanese word that signifies the effect of sunlight filtering through the leaves of a tree. The composition is optimistic but also edgy, with spirited frontline interaction.
Sights Unseen, written by Ingrid Jensen, swings and she really gets in the groove with her initial solo. This bop tune also highlights Glover and Rosnes in their solos. This time Rosnes is on the Fender Rhodes. The upbeat tone of this one makes it one of my favorites.
“Sights Unseen” highlights a driving groove, tinted with electronics. The trumpeter describes her contribution as “a call to our collective imagination,” and a reflection of her “dream that we all approach what we see and hear with the innocence of a child.”
Petrichor is a chill tune with nice muted trumpet work from Jensen. Glover takes a silky smooth, quiet turn on sax with Rosnes following with a tempered solo of her own. It’s very intriguing with Miller and Ueda restrained in setting the tempo and mood. Overall, the blend of ingredients is intoxicating.
“Petrichor,” an entrancing ballad that Glover wrote, is titled after the comforting aroma in the air that follows the first rain after a dry spell.
Footprints, in this incarnation, is a reflection of a bygone era. Glover delivers in full with a robust sax lead. The rolling sequences of the full quintet are a joyful ride. Each member gets a chance to stretch out, with Jensen and Rosnes taking turns teasing out the best of both. This one reinforces that jazz is alive and in good hands.
The late icon, Wayne Shorter’s spirit fills Rosnes’ arrangement of “Footprints,” which is informed by how it was performed as part of the maestro’s group in the late ’80s.
But Shorter’s most meaningful lessons reached beyond the music itself. “What I’ve learned from the legends I’ve worked with,” Rosnes says, “is to have trust. The best way to inspire the greatest playing from any artist, is to allow them to be themselves.”
Olive Branch carries a message of “peace” and the title has a connection to the band as stated in the note. The intro has Rosnes, Ueda and Miller establishing the melody with the horns joining right on time. This one reminds of Joe Sample (The Crusaders) a bit, with Rosnes just gliding over the keys with the first lead, followed by Jensen with a strong but mellow solo. Next up is Ueda with another great run. As I said at the onset of this post, this album is a refreshing jazz cocktail.
Rosnes’ “Olive Branch” is Latin-tinged jazz modernism, inspired by an Spanish olive grove the band encountered while on tour. “The olive tree is not only a symbol of peace but is sacred in many cultures,” she points out. “In Greek mythology, Leto, the mother of Artemis and Apollo, gave birth to her twins under an olive tree on the island of Delos.”
What the World Needs Now Is Love surprisingly grew on me with each listen. Of course I love Bacharach-David tunes and the treatment here, sans vocals, is still evocative. It starts out softly and plaintively and picks up steam as it moves forward. Ultimately, it ends more as an exhortation than a plea and that’s something that is really appreciated.
Rosnes also arranged the three non-original entries on ARBORESQUE, and all hold personal meaning. Burt Bacharach and Hal David’s “What the World Needs Now Is Love” features harmonies inspired by the late Mulgrew Miller, a hero and friend to Rosnes. First recorded in 1965, the pianist underscores that this classic date-night melody was written in protest of the Vietnam War. “The message,” Rosnes says, “is one I think we can all universally relate to.”
Little Cranberry is gorgeously arranged with a weaving in-and-out from each insrtrument on a playful frolic. Rosnes dances over the keys with the first solo yielding to Glover on sax with a buttery feel. The tune has a free-flowing, running through the forest sensation, an apt way to close out the album.
Miller’s “Little Cranberry,” a reference to the postcard-worthy island in Maine, communicates the balance between contentment and excitement, calm and motion, that defines a perfect respite.
About Artermis
Renee Rosnes: Piano, Fender Rhodes
Ingrid Jensen: Trumpet
Nicole Glover: Tenor Saxophone
Noriko Ueda: Bass
Allison Miller: Drums
