The pianist-composer Renee Rosnes doesn’t get talked about very much in the jazz media but her spiritual alliances with a few of the great elders, having worked closely with Joe Henderson and Wayne Shorter among others, and a pretty consistent discography mostly as leader on Blue Note, really set her apart. It’s a case of action speaking louder than words.

She made a sort of comeback for the Blue Note label last year with the all-female supergroup Artemis and has assembled another supergroup for this new recording that includes both Christian McBride and her go-to sax man Chris Potter. Her inspirations tend to turn on an axis that includes pianists like Cedar Walton and McCoy Tyner through to Bill Evans and Keith Jarrett, her classical pedigree coming into sharp focus on the piece ‘Evermore’, in which she improvises on a Sarabande from JS Bach’s 'English Suites'; it’s very tastefully as well as skilfully integrated into a jazz ensemble context. ‘Passing Jupiter’ meanwhile pits classical form against old-school swing while ‘The Golden Triangle’ – the original name for The Village Vanguard when founded in the 1930s – is an on-fire modal burner worthy of its subject.

Her writing, as with her improvising, though devoted largely to her mainstream-to-contemporary post-bop and expansive latin-jazz roots, is naturally adventurous and the ensemble dialogue is explosive at times. It’s reined in a little on the rhapsodic, rather than reflective, title ballad with Potter in Wayne Shorter-ish mode on soprano while ‘Life Does Not Wait’ (vida Na Espira) is a tad reminiscent of early Return to Forever or even Hermeto Pascoal. Rosnes plays Fender Rhodes and sings for the first time in the studio on ‘In Time Like Air’, its retro bossa-pop vibe being a subtle departure. It’s high class jazz with a post-lockdown edge.