Bernie Senensky: Moment to Moment

Canadian pianist Bernie Senensky's latest album, Moment to Moment, encompasses two quartet sessions recorded almost twenty years apart: the first in 2001, the second (live) in 2020. While the rhythm sections differ on each, the one constant (aside from Senensky) is the acclaimed tenor saxophonist Eric Alexander. If you are planning to have only one constant, Alexander is by any measure a superlative choice.

Alexander, whose solos are models of creativity and eloquence, seems to light a fire under Senensky who performs marvelously on every number while giving Alexander copious room to improvise (and granting him the first solo on most tracks). Senensky wrote three of the album's eight numbers, and they are excellent, especially the flag-waving "Alexander's Realtime Band," versions of which open and close the album. The others are the loping "Blues for E.J." and lyrical "Make Believe." For his part, Alexander composed the skittish burner "Stand Pat" as a tribute to his band mate and friend, the late guitarist Pat Martino.

Senensky and Alexander are blessed to have the support of not one but two blue-chip rhythm sections: bassist Dave Young and drummer Morgan Childs on "Speak Low" and "Blues for E.J." (showcasing Young's splendid arco bass) from 2020, bassist Kieran Overs and drummer Joe Farnsworth on the studio session from 2001. Speaking of bassists, Overs has his moment in the sun (and it is a bright one) on "Make Believe," while Childs sparkles on "Speak Low," Farnsworth on "Stand Pat." Alexander's solos, meanwhile, often extend for more than five minutes, and he never runs out of inspiration or passes up a persuasive turn of phrase. His statements on "Realtime Band" are textbook examples of how to unravel a theme and get it right.

On "Blues for E.J.," Senensky and Alexander prove that they can be as blue as needed, much as they cleave to the juggernaut that is "Alexander's Realtime Band" and do not let go until they have made their purpose crystal clear. The album's other songs, so far unmentioned, are Jerry Bock and Sheldon Harnick's "Matchmaker, Matchmaker" from the Broadway smash Fiddler on the Roof and Henry Mancini/Johnny Mercer's lovely ballad, "Moment to Moment" (from the film of that name), which lends the album its title. "Matchmaker," taken at precisely the correct tempo, spotlights typically impressive solos by Senensky (who leads off this time) and Alexander with staunch support from Overs and Farnsworth, while Alexander shows his tender side on "Moment to Moment" and Senensky frames a second amorous solo.

Alexander shows on every number why he has been ranked high in so many polls for more than two decades; he always comes to play, and never leaves an audience less than pleased and enlightened. Notwithstanding his towering presence, however, this is Senensky's date (or dates), and he demonstrates time and again why he is one of Canada's foremost jazz pianists, whether playing straight-ahead (as he does here) or avant-garde, as he has been known to do on other occasions. From Moment to Moment, Senensky enhances every note and phrase, as do Alexander—who is always a pleasure to hear—and those exemplary rhythm sections. Quartet sessions simply don't shine much brighter than this.

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