Artemis “Arboresque”: Renée Rosnes Speaks

Let’s go back to 1964, when two Australian biologists published a scientific paper in Nature discussing the phenomenon of the smell of rain, coining the term “petrichor.” The word has since entered everyday vocabulary. In essence, during periods of heat and drought, the clay at the base of plants collects oils that, upon the first rainfall, release an intense, balsamic, and poetic scent. This aroma is both fragile and powerful, capable of constructing a shared grammar of human experience so personal that it becomes a trigger for memory—a Proustian madeleine, a form of déjà vu.

Renee Rosnes is surprised to learn that petrichor even has a translation in Italian. It is the fourth track on Arboresque, her brand-new album with Artemis, the all-woman quintet, for Blue Note. This marks their first release since the acclaimed In Real Time, issued just over a year ago. As its title suggests, Arboresque centers on the regenerative power of nature—transfigured into music with the storytelling gift of someone who shares visions and possibilities.

Expanding on the meaning of petrichor, it can be etymologically interpreted as the blood of the gods emanating from stone—an ecstatic phenomenon, anathema to those who, like Pirandello’s Pascal, declared enchantment an improper pursuit, extracting logic from chance like squeezing blood from a stone. What better antidote to real and figurative drought than the act of sharing music? Transformation is key to decoding the limitations of what we assume to be immutable.

Rosnes understands this deeply. Over the past year, and already into the new one, she has brought to life an astonishing range of projects. Her energy seems renewable, flowing from a genuine necessity to make music. She affirms the beauty of the moment through constant personal refinement and a relationship with sound rooted in the past, reimagined as contemporary language. Like the unforgettable scent of clay in plant roots, her artistry lingers.

If, as Dave Holland once said, jazz is a continuous oscillation between reverence for one’s forebears and intuitive forays into the unknown—an unbroken dialogue between past and present—Rosnes has proved this vision viable throughout what can rightly be called her golden year. As she told Don Was in an interview, music, unlike photography or sculpture, exists within time, building itself from within it. It remains both ephemeral and definitive.

A look at her recent performances and studio work reveals an artist in tireless motion. She has appeared with Steve Davis’s sextet at Smoke, with Christian McBride at Newport, with Artemis on tour, and alongside her old friend and mentor Ron Carter at the Village Vanguard. She has performed duets with Chris Potter and with her husband, the outstanding pianist Bill Charlap, at Birdland. With Charlap, she continues to revisit Double Portrait, their multi-award-winning 2010 Blue Note release, adorned with Chagall’s Beyond the City on its cover. That album stands as testament to Rosnes’ gift for transcending the moment and drawing inspiration from elsewhere.

Her social media is filled with photos of sweeping, evocative landscapes across the Pacific Northwest, between her native Canada, Portland, and British Columbia. As she told Musica Jazz, she finds peace there. Yet one wonders how she found time to compose, arrange, and release not one but two new albums within just weeks. In addition to Arboresque with Artemis, the impetus for this feature, she also released Crossing Paths (Smoke Sessions), an album steeped in Brazilian music. For this recording, she enlisted a world-class lineup: Chris Potter, John Patitucci, Steve Davis, and Brazilian greats Edu Lobo, Joyce Moreno, and Chico Pinheiro. Released at the end of 2024, the album reflects her deep love for Brazilian harmony and less familiar sonic textures. It is a project she takes particular pride in.

Accustomed to the spotlight of the Grammys and fresh from back-to-back wins in the DownBeat Readers Poll, where Artemis was named Jazz Group of the Year, Rosnes confirms with these dual releases her place among the foremost voices in the art of jazz arrangement and composition—well beyond her exceptional pianism. This is due in part to her decades-long collaborations with Wayne Shorter, Joe Henderson, J.J. Johnson, Phil Woods, and a host of American jazz icons over the past thirty-five years. She released her first album as a leader on Blue Note in 1990.

Her quiet elegance and understated demeanor are the finest testament to her creative generosity and refined artistic spirit.

Welcome back to Musica Jazz, Renee. You’ve had an incredibly prolific year. Let’s start with Arboresque. What’s new in this project?

First of all, I’m happy to be back! We’ve worked really hard, and we wanted this album to reflect the synergy that’s grown between us. Compared to In Real Time, we’re now performing as a quintet. That shift gave us more elasticity in the sound – more room to breathe and to stretch. I think you can really hear how the reduced lineup brought us closer together and let each individual voice shine through.

There’s a notable focus on arrangement throughout the album. Was that deliberate?

Not intentionally more than usual. I did arrange many of the tracks, and each of us contributed compositions. Our approach is to listen to the material and ask: What does the music need? We try it together, we discuss it, and ultimately let the music guide us. And honestly, that’s what I find most rewarding – when you allow the music to unfold organically with people you trust.

The album opens with a new version of Donald Brown’s “The Smile of the Snake.” What drew you to that tune?

Donald is a piano giant and a masterful composer. I’ve loved his music since I first heard him with Art Blakey in the early ’80s. On my 1990 Blue Note debut, Somethin’ Else, I recorded his “Playground for the Birds.” The Smile of the Snake is from his album Cause and Effect, which features Ron Carter, Joe Henderson, and others. I didn’t want our version to mimic the original – I arranged it anew for Artemis, and it felt fresh immediately. We all loved it the moment we tried it. It evolves each time we play it live. And I love the poetic meaning of the title too – those who once felt trustworthy, but turned out not to be. I really need to send our version to Donald!

You also revisit Wayne Shorter’s “Footprints.” Was his famous alien analogy part of the process?

With Wayne, there’s always an alien around the corner! I drew on elements of the arrangement I played with him. It’s such a deep yet open tune – you can reinvent it endlessly. The version on the album has a unique intro and showcases what we do best as a group. And yes, we shifted some harmonic colors in the obbligato – it gave it this pentatonic sheen that opened up the phrasing beautifully. I like when a familiar tune gets a new skin.

The harmonic language is adventurous, but melody remains central. It evokes the spirit of the ’60s and ’70s.

Thank you. I agree – melody is key. Music should create a human connection. Nicole Glover’s “Petrichor” does this so beautifully. The tune has a powerful melody that truly evokes the meaning behind the title. It’s one of those songs that immediately forges a link between players – and hopefully between us and the audience too.

You, Ingrid Jensen, and Nicole Glover all have roots in the Pacific Northwest. Does that shared connection influence the music?

Absolutely. We miss that landscape when we’re touring. The outdoors nourishes us and strengthens our bond as a group. It’s not just musical – it’s a shared sense of well-being. Ingrid’s “Sights Unseen” and Allison Miller’s “Little Cranberry” also speak to this. And it’s not just nature, it’s the space and breath that comes with that kind of environment – it influences how we phrase, how we listen, how we give each other space.

In a time of global uncertainty, what role can music play?

For me, it’s simple. Our mission is to bring joy. We’re not trying to solve the world’s problems, but we can offer people a moment of peace through music. In some ways, that’s our calling – letting music be a balm, a refuge, a celebration.

You live with musicians – your husband, Bill Charlap; your son, a guitarist; and your mother-in-law, Sandy Stewart. What’s that dynamic like?

It’s beautiful. We inspire each other. Sandy toured with Benny Goodman and was nominated for a Grammy at nineteen. She understands this life. And it’s just part of the rhythm of the household – music is always around us.

Bill recently said you’re the true composer in the house. Thoughts?

He’s very generous! He focuses on other aspects of music, but if he wanted to compose more, he’d be brilliant at it. I just happen to feel the need to write – it’s a way of expressing things I can’t say any other way.

Tell us about Crossing Paths, your recent Brazilian project.

I’ve loved Brazilian music for decades. The album features Edu Lobo, Joyce Moreno, Chico Pinheiro, and also Chris Potter and John Patitucci. It was a dream come true. I wanted to explore lesser-known songs that aren’t as famous in the U.S. but are classics in Brazil. And I didn’t want it to be a “tribute” record – I wanted it to be about interaction, not reverence. That made it come alive.

How did you choose the repertoire?

I focused on songs I’ve loved for years. This music touches my soul. I recorded “Upa Neguinho” by Edu Lobo on Ancestors in 1996, and Gismonti’s “Sanfona” on Art & Soul in 1999. So this album was a long time coming. And there were at least five more tunes I wish I could’ve included! But the ones that made the cut really tell a story.

You helped found the SF Jazz Collective. What does that legacy mean to you?

It’s a huge part of my journey. I feel incredibly fortunate to have worked with so many musicians. With Artemis, we’re pushing music in a more spiritual, conceptual direction. I hope that comes through. SF taught me so much about collaboration and identity.

The album never feels cerebral. It remains playful and open.

Thank you! That’s probably because of the trust we’ve built – not just musically, but personally. That kind of connection shapes everything we do. We don’t need to explain things – we just know. That’s rare and precious.

Will you be touring Arboresque in Italy?

We’d love to. It’s on our radar. Meanwhile, we’ll be performing it at the Village Vanguard in March – can you believe none of us had played there before? We’re excited. It’s about time!

Last question: the album cover is beautiful. Tell us about it.

We chose a Japanese print from the early 20th century. The purple trees reflect the album’s nature-inspired titles – like “Olive Branch” and Noriko Ueda’s “Komorebi,” which means the effect of sunlight filtering through leaves. Isn’t that beautiful?