Crossing Paths
Renee Rosnes
Smoke Sessions Records SSR-2408 (reneerosnes.bandcamp.com/album/crossing-paths)
Illustrious jazz pianist/composer Renee Rosnes has just released a recording that has been in her thoughts for more than 30 years. This formidable, Brazilian-infused project was co-produced by Rosnes and Paul Stache, and all arrangements here were created by Rosnes, embracing her unique perspective on the compositions of Edu Lobo, Egberto Gismonti, Gaetano Veloso, Antonio Carlos Jobim, Gilberto Gil and Milton Nascimento. Rosnes performs on Fender Rhodes and acoustic piano, surrounded by a stellar coterie of hand-picked co-creators, including legendary vocalist/composer Lobo, vocalist/composer Joyce Mareno and luminous chanteuse, Maucha Adnet. Noted instrumentalists here also include John Patitucci on bass, guitarist Chico Pinheiro, drummer Adam Cruz, percussionist Rogerio Boccato, saxophonist Chris Potter, trombonist Steve Davis and flutist Shelley Brown.
The opening salvo is appropriately Gismonti’s Frevo (Fever). The tune is based on marching rhythms from the north of Brazil, and the complex, rhythmic, melodic line is presented in rapid fire, with stirring unison motifs and unfettered soloing from Rosnes and Pinheiro, while Brown’s expressive flute enhances the high-energy track. Next up is Lobo and lyricist Torquato Neto’s emotional composition Pra Dizer Adeus (To Say Goodbye), in which Neto’s poignant lyrics reflect his 1972 suicide. Previously recorded by over 75 artists, this version boasts a unison line with Rosnes in duet with Lobo’s heart-rending vocal performance. A fine inclusion is Veloso’s Trilhos Urbanos (Urban Tracks). Veloso and Gil’s importance to Brazilian music cannot be underestimated, and Davis’ facile trombone solo enhances the arrangement. Of special delight is Jobim and Vinicius de Moraes’ Canta, Canta Mais (Sing, Sing More) featuring the lovely tones and meaningful interpretation of Adnet.
Another stand out is Lobo’s classic Casa Forte. Lobo’s vocal and the free solo sections (particularly Potter’s soprano solo) make this one of the finest contributions to this programme, but every track here is a work of art – a creative concept germinated and supremely brought to fruition by Rosnes and her colleagues.
