The multinational, intergenerational jazz quintet Artemis is, as they might say, bubbling. Last fall, it topped Downbeat magazine’s readers poll as jazz group of the year for the second time running. On Friday, the band released its third album, “Arboresque,” which captures both the hard-bop strut of the most beloved 1960s recordings by its storied label, Blue Note Records, as well as Artemis’ own fresh take on jazz tradition.

“We’re not here to prove anything,” said pianist Renee Rosnes, 62, the group’s musical director and, in her words, “organizational force.” “We’re just playing music together, in conversation, with reverence for each other.”

At the suggestion of a French promoter, Rosnes formed Artemis in 2016 to perform concerts in Paris and Luxembourg for International Women’s Day. “I never had such a proclivity to put together a band of all female musicians before,” she said. “But here’s a lot of players that I love.”

She assembled an all-star septet, featuring trumpeter Ingrid Jensen — who named the group for the Greek goddess of the hunt and wilderness — drummer Terri Lyne Carrington, bassist Linda May Han Oh, clarinetist Anat Cohen, saxophonist Melissa Aldana and singer Cécile McLorin Salvant. “I love their playing, and who they are,” Rosnes said, “and I thought it could be fun.”

It was fun, of course — and a commercial draw. A European tour in 2017 introduced the group’s permanent rhythm section (Allison Miller on drums and Noriko Ueda on bass), and Don Was, the president of Blue Note, signed Artemis on the spot after its set at the Newport Jazz Festival in 2018, a performance preserved on NPR’s “Jazz Night in America” program.

“Renee’s superpower is that she’s a harmonic genius,” Was said in an email. “You can hear this unique approach manifested in her arranging and composing, but the real testimony lies in the quality of musicians who have sought her out.”

Artemis’ first album, recorded as a septet, followed in 2020, demonstrating through cuts such as “Goddess of the Hunt,” composed by Miller, that this wasn’t a supergroup side project — this was a band, one Rosnes described as a “personal statement from all of us, with a collective mindset.”

On “Arboresque,” the quintet (Rosnes, Jensen, saxophonist Nicole Glover, Ueda and Miller) blends fresh takes on standards and some utopian pop tunes (Burt Bacharach and Hal David’s “What the World Needs Now”) with compositions from each band member, many inspired by the natural world.

Glover, 33, contributed “Petrichor,” which is named for the scent of soil after the first rain after a dry spell, and has a piney peacefulness. The intimate, conversational “Komorebi,” written by Ueda, 52, takes its name from the Japanese word for, as she put it, “light coming in between leaves or trees, always moving a little bit by the wind.” The tune is delicate and shifting, and the band members’ performances make it feel less like a composition they’re playing than like a life they’re tending, together.

“It is a healthy challenge to maintain this constantly bubbling energy,” Jensen said, “this bubbling energy of the goddess.”

That energy also powers their take on Wayne Shorter’s “Footprints,” best known from the Miles Davis Quintet’s 1967 LP “Miles Smiles,” the album that Miller said showed her what a band could be. “It was the first time I understood that communication and dialogue and rhythm and melody and space” that a great band has, she said. (Another band she finds inspirational for those reasons: Prince and the Revolution.)

On the album, cognizant of the restrictions of vinyl, the band kept track lengths tight. But in live performance, Artemis stretches out. “Every time we play it we find other corners to investigate,” Jensen said of Rosnes’ arrangement of the Shorter tune. Even though there are set sections, “It’s a full-on experience of being engaged the entire time.”

On Tuesday, the band will bring this spirit to the Village Vanguard, making its debut at that downtown venue for a weeklong residency.

“Is it true that all of you, except me, have never played there?” Rosnes asked her bandmates when they gathered for a video interview in late January.

Excited chatter ensued. Several have taken the stage as side players or with the Vanguard Jazz Orchestra at the 90-year-old club. “One thing I’m excited for you all to feel there is the sound,” said Rosnes, who has played there since the late 1980s, as a member of a band led by Joe Henderson, and eventually as a headliner herself. “You can just hear each other so well.”

Close listening is always crucial to jazz, especially in an ensemble that offers individual players such freedom. Rosnes praised how Ueda keeps audiences and musicians alike “glued to her joyousness, to the logic of her line and how she tells a story.” Miller, she said, is “the center of our gravity, always uplifting us.”

Rosnes brings to Artemis the skills and focus that made her the first-call pianist for top bandleaders as soon as she arrived in New York from Vancouver, in late 1985. By 1990, she was releasing Blue Note albums herself; she’s recorded 10 for the label aside from her work with Artemis, including a duo album with her husband, pianist Bill Charlap.

But no one artist’s identity defines Artemis. “Sometimes I feel more myself in this band than my own bands,” said Miller, an in-demand drummer. “In Artemis, I feel all of the things that I fell in love with when I first heard jazz and discovered the ways that I wanted to approach music.”

Jensen, too, relishes the band’s position of coexisting in the tradition and in contemporary times, especially the Blue Note connection, describing much of the label’s music as “sacred” to her, captured with such “purity.”

“It’s anti-AI,” she said. “That’s how it feels to play with this group, too.”