Jazz and Improvised

Bernie Senensky – Duos
Bernie Senensky; Cory Weeds; Eric Alexander; PJ Perry; Vincent Herring; Campbell Ryga; Ryan Oliver; Kirk Macdonald; Pat Labarbara
Cellar Music CM052825 (berniesenensky.bandcamp.com/album/duos)

The amazing octogenarian Canadian pianist Bernie Senensky has certainly not been under-recorded during his storied and widely appreciated 60+ year career. I should know: full disclosure, he appears on two of my own recordings and I’ve mined his extensive discography over the years for inspiration and enjoyment for much of my adult life. And yet, not only is a new collection of Senensky’s fine playing a welcome treat, hearing him in the exposed, conversational, and intimate setting of a series of duos paired with some of the finest jazz saxophonists anywhere offers something unique, special, and dare I say revelatory about a musician for whom I have great fondness and familiarity. 

Thanks to the ongoing efforts of co-producers Cory Weeds and John Bennett, both of whom worked to have Senensky’s Moment to Moment and Don’t Look Back (also on Cellar Live) come to fruition a few years ago, on Duos we hear the same bebop fluency, sophisticated harmonic chording, and amazingly elastic and malleable time feel that resists the tyranny of the bar line while swinging his duo partners to ever new heights of improvisational excellence. In the recording’s thoughtful liner notes, Bennett explains his conceit of creating a project aimed at encouraging “spontaneity, deep listening, and genuine musical conversation.” And on all counts, Duos succeeds in this goal. 

Finally, although the well-trodden standard repertoire contained on this recording is, of course, given new life with the exceptional casting found on this album, a bonus treat indeed is hearing and appreciating Senensky as composer through seven of his exceptional original compositions.

Heart of Hearts
Steve Berndt
Independent (steveberndt.bandcamp.com/album/heart-of-hearts)

Ottawa-based vocalist/trombonist/arranger Steve Berndt’s Heart of Hearts is a quietly compelling listen that leans into intimacy rather than spectacle. Across its runtime, Berndt resists the urge to overproduce, instead allowing space, tone and subtle phrasing to carry emotional weight. The result is an album that feels personal without becoming insular.

Musically, the album draws from a blend of various genres, such as smooth jazz, soft rock and subtle Latin grooves among others. Acoustic textures anchor much of the record, but there are tasteful flourishes—light piano lines, restrained percussion and ambient touches in subtle horn melodies—that add depth without distracting from the core arrangements. Berndt’s voice sits at the center: warm, delightfully mellow and expressive in a way that suggests lived experience rather than performance. 

Lyrically, the album explores themes of love, connection and the passage of time. There’s a reflective quality throughout, but it never drifts into melancholy for its own sake. Instead, Berndt balances introspection with a sense of quiet resilience. Several tracks stand out for their ability to build emotional momentum through small, carefully layered details rather than dramatic shifts.

What ultimately makes Heart of Hearts resonate is its consistency of mood and intention. It doesn’t chase trends or attempt to reinvent its genre; it simply commits to sincerity and craft. In doing so, Berndt delivers a record that rewards attentive listening—one that lingers gently, like a conversation you find yourself replaying long after it ends.

Rose-Anna
Noah Franche-Nolan
Cellar Music CM111425 (noahfranche-nolan.bandcamp.com/album/rose-anna)

In the age of short form content and an ever-fragmenting media environment, the art of structuring a full-length album can be creatively elusive. One could argue it’s less of a priority, with listeners consuming smaller chunks in one sitting, but Rose-Anna is a great example of turning 11 unique tracks into a singular entity. Pianist Noah Franche-Nolan and his trio present us with a confident and thoughtful second album, and to my ears they have structured it around the thread of three variations on Sublimation. 

This isn’t to gloss over the individual tracks as a long-form suite. Haxan is a beautiful ballad that showcases bassist Jodi Proznick’s assured yet lyrical voice on the instrument. Hawks is a quirky number that manages to be both groovy and ethereal. Drummer Nick Bracewell shines on the latter, showcasing his ability to be interactive and supportive at the same time.  

I’m emphasizing the Sublimation through-line heard in tracks one, seven, and eleven, because this is an album that “grew on me” through repeated listening. Given the personnel, I knew the compositions and performance wouldn’t disappoint, but I found the programming a little chaotic when I first sat down with it. Any apprehensions were put to rest after a second listen, and that in itself should be exciting to curious music fans. 

I recommend checking out Rose-Anna. I’m confident you’ll like what you hear, but should any questions remain unanswered, hit “play” a second time.

What If?
Joel Miller; Silvio Pupo; Resonance New Music
Leaf Music Distribution  (joelmillermusic.bandcamp.com/album/what-if-2)

Fredericton-based saxophonist Joel Miller’s What If is an inquisitive, finely textured recording that thrives on subtle risk-taking. Rather than leaning into overt virtuosity, Miller shapes a listening experience grounded in interplay, restraint and tonal nuance in conjunction with the Resonance New Music ensemble and pianist Silvio Pupo. 

From the opening moments, the album establishes a contemplative atmosphere. Miller’s saxophone lines feel conversational, often unfolding in arcs that invite the listener to lean in. The supporting ensemble plays a crucial role here, responding with sensitivity and precision. Piano, bass and percussion weave around the melodies with an almost telepathic awareness, creating a sense of cohesion that never feels rigid. 

The tasteful blend of jazz and classical genres is what truly draws in the listener. The album features original compositions as well as several reimagined classical works. Compositionally, What If explores the space between structure and improvisation. Themes emerge clearly but are never overexplained; instead, they dissolve and reform, allowing each track to evolve organically. This fluidity gives the album a sense of forward motion, even in its quietest passages. What stands out most is Miller’s attention to detail. Small shifts in dynamics, phrasing and texture carry emotional weight, rewarding careful listening. There’s an intellectual dimension to the music, but it never overshadows its warmth.

Ultimately, the album is less about answering questions than embracing possibility. It’s a record that trusts its audience, offering depth without demanding it and leaving a lasting impression through its understated confidence. It lingers, inviting repeat listens and deeper reflection each time.