Bernie Senensky: Duos

Bernie Senensky: Duos

CELLAR MUSIC (RELEASED MARCH 13, 2026)

Remember your eighth-grade chemistry class? Chances are, you were asked to combine two elements and document how they interacted. Well, that’s the basic principle behind Canadian pianist Bernie Senensky’s latest release. Duos combines Senensky’s bebop-infused playing with eight top saxophonists (six from Canada and two from America). Things start off with a bebop bang when Senensky combines with Canadian transplant Pat Labarbera on “The Mover.” Senensky supports Labarbera’s husky tenor with a strong walking bass solo in his left hand. When it comes time for the piano solo, Senensky is in true Bud mode. The two also combine for an up-tempo version of “I Thought About You,” with Labarbera outlining the chords under Senensky’s solo.  Senensky reacts to P.J. Perry’s fleet alto solo on “I Hear a Rhapsody” with an equally fleet solo of his own. More bebop explodes when Senensky is mixed with Ryan Oliver on “Bud Lines,” with the two playing the intricate head in unison. Combining Senensky with Ryga Campbell results in the simmering jazz waltz “In My Life.” Cory Weeds, who produced the session for his Cellar Music label, is thrown into the mix for a soothing read of “My One and Only Love.” Kirk MacDonald combines with Senensky on two tunes — “One Is Enough,” a romp through “There Will Never Be Another You” and the modal “Silver Trane.” American saxophonist Vincent Herring adds a Latin flavor to the experiment on “Come To Me.” The only combination that sizzles out is Senensky with Eric Alexander. Senensky seems a bit muddled trying to match Alexander’s effusive playing on “Lolito.” Despite that one failed experiment, the remaining nine piano/saxophone mixtures prove the point that in chemistry, as in music, combining two elements can often result in pleasing and surprising results. The next step is to replicate these musical experminents with even more Duos!

BOTTOM LINE: Canadian pianist Bernie Senesky has recorded with trios, quartets, quintets and septets. Duos gives him a chance to interact one-on-one with some of the top Canadian saxophonists and two from America. Each collaboration reinforces Senensky’s long-standing reputation as a sensitive listener and swinging partner.  

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I started reading Cadence in the early 1980s. Since that time, I have come to respect editor and jazz critic Robert Rusch for his intelligent, succinct and unbiased reviews. Over the past twenty years, it has been my pleasure to get to know Robert and his family, making frequent trips from our home in Iowa to New York’s North Country. Several years ago, I was honored to be asked to help edit Robert’s Papatamus column.
I was equally honored to be asked by his family to keep Robert’s legacy of intelligent, succinct and unbiased jazz reviews alive with Papatamus Redux. You can view older editions of Papatamus at papatamus.com.