Bernie Senensky: Duos

Duos by Bernie Senensky is a record built on patience, craftsmanship, and the quiet confidence of musicians working together. It is a carefully arranged and well-executed set that highlights one of Canada's most respected pianists performing in a duo, accompanied only by a saxophone voice from a select group of notable North American saxophonists, where any wrong note or discord will be immediately noticeable. Since arriving in Toronto in 1968, Senensky has earned admiration from musicians for his exceptional tact, harmonic depth, and relentless swing, not to mention his notable work as a composer.

The session starts with tenor saxophonist Pat LaBarbera, who was the primary soloist with The Buddy Rich Big Band from 1967 to 1974, performing on the Senensky composition "The Move." The chemistry is instant. LaBarbera's strong lines cut through the air, while Senensky responds with sharp phrasing and rhythmic energy that keeps the performance lively. On the Jimmy Van Heusen composition "I Thought About You," the interaction becomes more introspective. LaBarbera solos with seasoned warmth and emotional control, while Senensky's touch is bright, and his voicings are gently unsettled in the best possible way.

Kirk MacDonald is a Juno Award-winning Canadian tenor saxophonist who brings his signature style to a pair of Senensky compositions, "One Is Enough" and "Silver Trane." On the first piece, MacDonald's performance is measured, flexible, and harmonically aware, never forcing the line, allowing the phrases to unfold with logic and grace. Senensky establishes his left hand in a supple rhythmic frame while his right hand delivers brief contrapuntal turns and voicings. On the latter, echoes of the master John Coltrane are evident. MacDonald traces the tune's contours with long, probing phrases that seem to hover just above the beat before settling into place. Senensky is particularly impressive as he nudges the piece forward through subtle rhythmic displacement without ever losing its jazz grounding.

PJ Perry is widely acknowledged as the dean of alto saxophonists in Canada. He earned a Juno Award for his work with The Rob McConnell Tentet in 2001. In PJ's rendition of "I Hear A Rhapsody," his alto sings with grace and mature poise, shaping the familiar melody with a veteran's instinct for proportion, breath, and line. Senensky surrounds him with flowing harmonies, never overcrowding, with subtle interjections from someone who understands accompaniment. Another alto virtuoso, from a different generation, is Vincent Herring, whose tone adds bite, blues feeling, and rhythmic snap to "Come To Me." Senensky responds with percussive clarity and harmonic confidence that only deep experience can bring.

Continuing the parade of distinguished saxophonists, two strong-toned players are now featured, starting with Eric Alexander on "Lolito." His sound conveys urgency, command, and a hard-bop authority as he confidently and decisively attacks the material. Senensky, in turn, will not be overshadowed. He pushes back, prods, and redirects the flow with the confidence of a seasoned improviser. Next is Canadian tenor Cory Weeds on the Guy Wood composition "My One & Only Love," which gained iconic status in 1963 on Impulse! Records release John Coltrane and Johnny Hartman. His approach avoids excess and lets the tune develop and expand at its own pace. He understands that the piece's strength lies in its contour and emotional inevitability. Senensky feeds off this by delivering a response that is harmonically lush, rhythmically free, and full of seasoned romanticism.

At the end of the album, what remains is the unique presence of Bernie Senensky as the consistent voice who is generous, inventive, and unmistakably swinging.