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: \/ F A N G \ / : '
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\ / presents \ / .
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: Artist......: Bernie Senensky
: Album.......: Moment To Moment :
: Label.......: Cellar Music .. .:.. .
Genre.......: Jazz :
Catnr.......: CM080923 .
' Source......: CD ,
; Rip.date....: 2024-02-01
Str.date....: 2023-11-24
Quality.....: 253kbps/44.1kHz/Joint Stereo . :..
.:. Url.........: http://berniesenensky.bandcamp.com '
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\ / # title time \ /
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1. Alexander's Realtime Band 5:08
2. Speak Low 15:02
3. Matchmaker 7:39
4. Moment To Moment 9:15
5. Blues For E.J 10:35
6. Make Believe 7:18
7. Stand Pat 8:57
8. Alexander's Realtime Band (Alt Take) 3:44
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\ / ________ Runtime 67:38
,\ /... . . .... .... \ / ' Size 128.77______
:\/ ', \ / , \ /
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: Release Notes: \/ , \/ ,
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,: It is a clich , although one for good reason, that jazz music is :,
: most often philosophically divided twofold. Exhibit A: jazz is a :
:' verb. As such, anything can be jazz as long as you make it so. ':
,: And you, as a capital a Artist have an obligation to evolve :,
: (to use an often-cited scientific term), the jazz artform to :
:' ever new, different, and progressive places, lest the music ':
,: ossify into grains of moldy fig dust, becoming the sonic analog :,
: of the dinosaurs who once roamed the earth. Exhibit B: jazz as :
:' noun. Here, jazz means a specificity of musical gesture (swing, ':
,: blues, song form, codified improvisatory practices, :,
: instrumentation for some, electric guitars need not apply). :
:' Pre-existing and widely understood, these classic jazz ':
,: performance practices are easily locatable on seminal :,
: recordings, with traceable threads linking back to this music s :
:' rich history, tradition, and legacy. Given that a slightly ':
,: manipulated familiar adage is that in mixed company one should :,
: never talk politics, religion, or jazz music, it is easy to see :
:' how quickly the aforementioned divide can crystalize into ':
,: ideological camps where never the twain shall meet. :,
: :
:' The reality, of course, is more nuanced and less bifurcated. ':
,: Great jazz musicians, such as the Canadian pianist Bernie :,
: Senensky, play with the aforementioned traditional vs. modernist :
:' binary. And when the forces coalesce, as they do on the ':
,: recording here, the results are thrilling. Senensky and bands :,
: (plural) representing two performance opportunities from 2001 :
:' and 2020 serve up music that sounds simultaneously historically ':
,: situated and from the future. Similar to the way in which the :,
: film director Christopher Nolan manipulates time (Memento, :
:' Dunkirk, and most recently in Oppenheimer, where there are at ':
,: least four distinct timelines running throughout, as well as :,
: multiple character points of view as indicated through shifting :
:' subjective colour and objective black-and-white sequences), ':
,: Senensky throws artistic conception, repertoire, and even the :,
: conceit of four-square beats per measure into a sort of :
:' space-time continuum flux. ':
,: :,
: Take, for example, saxophonist Eric Alexander s 1999 composition :
:' Stand Pat, a crackerjack dedication to guitar great Pat ':
,: Martino, in whose late career bands Alexander played. Situated :,
: programmatically next to Irving Berlin s 1911 warhorse :
:' Alexander s Ragtime Band, Senensky demonstrates his trademark ':
,: elasticity of time here, not only in how he skillfully locates :,
: the points of connection that bridge a nearly ninety-year :
:' compositional difference, but in the extemporaneous manner in ':
,: which he weaves his serpentine bebop lines through a set of :,
: complex chord changes, pre-empting moments of harmonic change :
:' and delaying the points of respite and resolution. The effect, ':
,: as one can both hear and feel, is deliciously unsettling, :,
: exhilarating, and a hallmark of Senensky s unparalleled :
:' improvisational approach that have earned him a fan base that ':
,: included Gary Bartz, Bobby Watson, Tisziji Mu oz, and Bill :,
: Evans. :
:' ':
,: As mentioned earlier, this recording captures two distinct :,
: musical moments in time. Separated by some twenty years and :
:' showcasing two bands with Senensky at the helm, the album is as ':
,: much a testimony to the pianist s ability to band lead across :,
: generations and borders with his trademark intensity and aplomb, :
:' as it is an acknowledgement of the reality of being a ':
,: contemporary 21st century jazz musician in an era of pick-up :,
: bands and one-or two-night musical engagements (have piano, will :
:' travel). While gone may be the days of longstanding ensembles, ':
,: Senensky on recordings such as this, shows how a meaningful :,
: career filled with rich contributions to the canon of great jazz :
:' recordings and performances can be assembled gig after gig, ':
,: moment to moment. :,
: :
:' And that brings me to the album s title. It is a truism that ':
,: both jazz, and life for that matter, are about the moments. :,
: Sometimes fleeting and often ephemeral, these moments accrete :
:' over time, building memories that cascade influence on a sort ':
,: of continuum that inspires, thrills, and live on long after the :,
: initial moment has passed. There likely will, for example, never :
:' be another second chorus exactly like the dynamic one that ':
,: Senensky plays here on his original composition Blues For E.J. :,
: Better, possibly. Different, no doubt. But not the same. :
:' Accordingly, rather than thinking of jazz as an evolutionary ':
,: straight line progressing from the above mentioned traditional :,
: to modern categorization shedding its more anachronistic :
:' affectations like some sort of Darwinian tail or sixth toe ':
,: along the way revel in how the moments co-exist, as they do on :,
: the recording here, into a fulsome snapshot of Senensky s :
:' amazing musical career and journey. Thankfully, these ':
,: particular moments were captured beautifully and can be enjoyed :,
: here. Here s to many more! :
:' ':
: '
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\ / GREETS: \ /
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