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“It’s certainly not Mozart. It’s more contemporary and plays with crunchier chords. We’re playing with a bit more chromaticism and distorting the rhythm.”

One hears a broad swath of jazz history in her playing: boogie-woogie, swing, big-band riffs, subtle chromaticism in her left-hand chords when the band settles into a more modern trio format.

At least there’s joy to be had around the edges, especially in the funky chromaticism of the barbershop quartet, whose rendering of “Sincere” is like a roller coaster that keeps going up and up.

That summer, the two faced off in a formalized set of arguments debating analytical definitions of chromaticism.

Tines’s personal way with a Bach cantata existed somewhere between stately Baroque chromaticism and churning gospel melisma, but it was a distinct pleasure to hear such a rich voice nestle into the bass writing for “Mache dich, mein Herze, rein” from Bach’s “St. Matthew Passion,” despite Nielsen’s pedal-heavy, bizarrely Chopinesque accompaniment.