Dwain

• Artemis’ sophomore album “In Real Time” is a modern recording that does well in blending many great aspects of jazz from the past to the present. There are some standout moments on the album and some fantastic musicianship from different members of the band. There is great chemistry amongst the band which is well represented in their approach to solos throughout the album, often quoting the end of the solo prior. Each player's approach to solos does a great job of fitting into the mold that the composition has given and I applaud Artemis for that.

• Songs such as “Bow and Arrow”, “Lights Away From Home and “Empress Afternoon” really stand out in the modern jazz landscape, giving us great elements of the jazz language and paying homage to the past. “Bow and Arrow” is a daring modal composition that elicits feelings of great post-bop compositions akin to those of Coltrane. Empress Afternoon features some of the best solo work on the album and is a joy to listen to from start to finish.

• The rhythm section of Artemis continually stands out to me on this recording. They are thoughtful, great listeners, and super well connected throughout the album. This really shines through on “Empress Afternoon” with both Renee and Allison's solo on the track which are both masterful. The horn section also does a great job throughout the album both with interesting and thought-provoking solos as well as their playing of the melodies on the album. This is evident from the get go with their playing of the rounded melodies in “Slink” and continues through to tracks like the melody on “Timber” which is so unique and stands out to me as much as any on the album.

• There are certain points in the album that seem to lose one's attention and does not do as much as other parts of the album to keep the listener engaged. While certain songs such as “Empress Afternoon” and “Bow and Arrow” are exciting compositions that stand out to me, there are parts of the album that are forgettable and not up to par with the previously mentioned tracks. The song that leaves me the most puzzled is “Balance of Time” as it just doesn’t seem to add that much and is placed in such a weird place in the album.

• Overall, “In Real Time” is a successful second album from Artemis with some great compositions and musicianship. There are a few tracks I will find myself coming back to while a few that won’t find a spot in my regular playlist. I do applaud the reverence for many different aspects of the jazz language which is obvious in the different styles of songs and compositional aspects. I wouldn’t be surprised if we are talking about this album when Grammy season rolls around this year.

Overall score: 7.5/10

Max

• In Real Time features a brand of modern jazz that is mostly palatable and appreciated (the same can not necessarily be said of other modern recordings). There is an enjoyable amount of solo features from everyone in the ensemble, including rhythm section players in addition to saxophonists Nicole Glover and Alexa Tarantino. Trumpeter Ingrid Jensen also shines on a few numbers as well. Pianist Renee Rosnes leads this band of misfits and seems to do a fine job as the groups’ musical director. Drummer Allison Miller and bassist Noriko Ueada are a treat to listen to throughout the record. Everyone contributes nicely to this outing in a variety of ways.

• Allison Miller’s “Bow and Arrow” and Noriko’s “Lights Away From Home” are standout compositions from this 8-track release. Allison’s drum solo on her song  in addition to her feature on Renee Rosnes’ “Empress Afternoon” are highlights from the album. I was both exceedingly pleased and pleasantly surprised by Allison’s contributions here. She is a consistently interesting player throughout the record. Noriko delivers solid time and interesting solos on Artemis’ sophomore release too. She is another pleasant surprise here. The opening tune entitled “Slink” from Lyle Mays features a very ‘slinky’ arrangement where horns and the piano intermingle in an in-n-out fashion as the sax and trumpet play melodies that coincide with the piano ostinato, but not in a predictable way. The syncopated hits towards the end of the melody are a nice touch as well. Renee’s solo on that track goes a lot of different places and works to feature her soloistic dexterity too. Trumpeter Ingrid Jensen has an extended feature on Wayne Shorter’s “Penelope” that is unique as it is played as a rubato introduction along with Renee Rosnes on piano. His muted trumpet sound has a hint of Miles Davis, which effectively alludes to their tribute of the great Wayne Shorter and perhaps his time with Miles. Tenor saxophonist Nicole Glover has quite a few solos on the album with her best feature being her solo on “Whirlwind.” It builds nicely and takes the song to an intense climax. Nicole’s playing reminds me a bit of Melissa Aldana. They have a similar tone and seemingly similar melodic tendencies. Multi-instrumentalist Alexa Tarantino contributes nicely as well on both alto saxophone and flute in many instances.

• Speaking of Alexa, the start of her tune “Whirlwind” follows the seeming trend of playing a melody or introductory idea without defined time. In general, this is occurring in a number of new jazz compositions (it’s starting to get predictable and unimaginative). I’m glad they don’t play the whole tune in that way and they actually move into a nice feel in 3. Like the beginning of “Whirlwind,” “Balance of Time” and “Timber” are 2 compositions here that are not easily digestible. The instrumental layering of “Timber” in addition to its opening is interesting, yet it makes for maybe one too many dramatic song introductions. Renee’s “Balance of Time” seems to give off a Phillip Glass-classical minimalism-vibe and it grows increasingly annoying as the track progresses. I’m once again at a loss as to why elements of modern jazz composition go in this direction. Classical music has always had an influence on many jazz performers, yet it typically has made an indirectly subtle influence. Here, it smacks you across the face so hard you need ibuprofen. I also despise the song’s creepy ending: It’s incomplete and leaves more to be desired.

• Despite a couple of these overly-salted compositions, Artemis has provided an interestingly impactful second album. The ensemble clearly has a great musical chemistry, and the fact that each member of this all-woman powerhouse group are featured extensively is a testament to the leadership of Renee Rosnes and the camaraderie and respect each member must have for one another. I am looking forward to hearing more from Artemis and most of this album is worth a deep dive; just watch out for the moments that may leave a bad taste in your mouth.

Overall score: 7.2/10