Rosnes’ Blend of the Unusual Intrigues, Engages at the Bakery

One die-hard jazz fan was heard grumbling as he left pianist Renee Rosnes’ first set of a two-night run at the Jazz Bakery on Tuesday. “Doesn’t she play any tunes you can recognize?” he moaned.

The Canadian-born pianist, who’s toured with Joe Henderson, Wayne Shorter and J.J. Johnson and has recorded a fine series of albums for the Blue Note label, led her quartet through a mix of varied, sometimes obscure material and originals that didn’t include a single overdone standard. That lack of easily recognizable songs is exactly what made her quartet’s performance so engaging.

The Harry Warren-Al Dubin “Summer Night” (recorded in the ‘70s by vocalist Flora Purim), Alec Wilder’s magical “Moon and Sand” and an intriguing Rosnes composition inspired by a Georgia O’Keefe watercolor, “Abstraction Blue,” were all aired in the first set. In addition, the quartet played an instrumental version of a South American protest song, “Upa Neguinho,” written by Brazilian Edu Lobo, that built from a repeated figure reminiscent of Philip Glass into a daring theme that moved between swing and Latin rhythms.

The second set included a trio of Rosnes’ compositions, two of which were being performed in public for the first time. The wide-ranging program--full of shifting moods, styles and intensities--established Rosnes as someone not content with the ordinary.

It also gave her bandmates a chance to develop involved, alert interplay and character-rich improvisations. The lock between the pianist, bassist Peter Washington and drummer (and Rosnes husband) Billy Drummond made for a progression of fascinating moments as the bassist pushed the tempos and Drummond shaded the sound with cymbal exchanges and echoing tom-tom exchanges.

Walt Weiskopf, playing both soprano and tenor saxophones, complemented Rosnes with intelligent, technically facile playing delivered in soft yet vibrant tones on tenor, with a harder, more aggressive edge on soprano. His considered play on “Abstraction Blue” was a model of patience and expression.

Rosnes’ improvisations had an almost visual quality. Spare, left-hand background framed foreground action from her right. Occasionally both hands came together to create especially colorful passages. There was little flash or overblown excitement in her play. Instead, a reserved passion served to communicate feeling that was always sincere and genuine.

Still, the most impressive aspects of Rosnes’ performance were her fine composing skills and her ability to mold music from a variety of cultures and composers in her own image. Rosnes is truly a musician with a unique, personal vision.