Notes and tones: Pianist Renee Rosnes guides ace band through all 'Kinds of Love'

As I've noted, the CD piles immediately to my left tend to accumulate — to the point where I feel like I’m playing a version of Jenga or attempting to build a house of cards. Pull the incorrect title from the stack and you’ve got a Jericho on your hands. The wall comes a-tumblin’ down.

Somehow, though, I continue fending off total disaster, allowing me to successfully share a small percentage of titles I come across and enjoy. Of late, Renee Rosnes' “Kinds of Love” (Smoke Sessions) more than deserves mention.

Please don’t tell Rosnes I’m late uncorking her most recent release, which arrived here in late May, ahead of its June release. I don’t know if “Kinds of Love” gets better with age, but I can say it’s worth delving into any time you can.

Rosnes, a Canadian who is now a long-standing New Yorker with decades of presence in the midst of the jazz scene there, simply never disappoints. A veteran who possesses total command of the piano, she also owns a markedly advanced sense of harmony and composition. Rosnes’ work is simply a joy to ingest. Her playing covers and draws upon virtually all corners of modern jazz. 

At moments, her percussive approach can remind one of, say, McCoy Tyner. In other instances, her unison playing with one of her bandmates, such as on the opening tune “Silk,” seems reminiscent of — and perhaps offers a conscious nod to — the late Chick Corea.

However, Rosnes is unquestionably her own person with her own musical vision and voice. That’s why it’s anything but surprising that the pianist composed and arranged each of the nine selections on “Kinds of Love,” one being the title track. 

The prolific Rosnes, who serves as the musical director of Artemis, the all-female cooperative supergroup, is also an alum of groups led by legendary figures such as Joe Henderson, Bobby Hutcherson, J.J Johnson and Ron Carter, among many others. She surrounds herself here with a coterie of exceptional peers and colleagues. Each is on equal footing — and of a similar mindset — as the leader. 

Multi-instrumentalist Chris Potter, himself a force, contributes tenor and soprano saxophones, flute and bass clarinet. At different points during “Kinds of Love,” Potter wails on solo after solo — especially when he’s playing tenor saxophone. Periodically, he counters such obvious attack by introducing an intelligent mix of his “softer side,” a kind of sensitive soulfulness that satisfies. 

Meanwhile, the seemingly ubiquitous Christian McBride contributes mightily here; not only is the bassist technically stupendous but, as often as I’ve had the pleasure to see his work up close and in-person, I don’t think I’ve ever heard him lay down better bow solos. One example is on the somewhat austere, even haunting, classically-infused “Evermore.”

Rounding out Rosnes’ ensemble are drummer Carl Allen and percussionist Rogério Boccato; each helps anchor the session, doing so with flare. Furthermore, each adds a kind of sonic subtlety and various colors underscored by Allen’s decisive cymbal work. 

All nine Rosnes compositions arrive with a multitude of moods and tempos; in several instances, Rosnes manages to incorporate varied elements into a single composition. Make no mistake, these are difficult pieces. However, each is filled with delightful twists, turns and passages that can’t help but draw the listener in. 

As talented as this ensemble is — and it is — there’s little doubt learning and rehearsing Rosnes’ compositions took some doing before the tracks were recorded for permanent posterity. 

In the end, we shouldn’t forget that this gorgeous musical journey, from beginning to end, is an important reminder of just how fluid, melodic and versatile a pianist Rosnes can be. On the one hand, she’s a bop- and post-bop influenced player for sure.

However, selections such as “Passing Jupiter” afford Rosnes the opportunity to unload these delightful bursts of pianism — solos where she features herself — and rightfully so. When the moment arrives amid a selection, she does not miss the mark.  

Jon W. Poses is executive director of the “We Always Swing” Jazz Series. Reach him at jazznbsbl@socket.net.