Free Spirit by Bernie Senensky: A Fusion Odyssey That Still Kicks (1981)
Alright, let’s talk about Free Spirit, the 1981 jazz-fusion gem from Canadian keyboard wizard Bernie Senensky. Released under the PM label, this album is like that quirky friend who shows up uninvited but ends up being the life of the party. With a killer lineup—David Piltch on bass, Terry Clarke on drums, Don Alias adding percussive spice—it’s no wonder this record hits different.
Now, let me break it down for ya. There are seven tracks here, each with its own vibe, but two really stuck in my brain like gum on a hot sidewalk: “Silver Trane” and “In Love Again.”
“Silver Trane” feels like John Coltrane met a time machine and decided to jam with Chick Corea. The track starts off smooth, almost shy, but then BAM!—it kicks into high gear with some serious sax-inspired runs from Senensky’s keys. Clarke’s drumming? Tight as your jeans after Thanksgiving dinner. You can’t help but nod along, even if you’re just sitting at your desk pretending to work.
Then there’s “In Love Again,” which is basically the musical equivalent of falling head over heels while eating a slice of pizza. It’s warm, cheesy (pun intended), and oh-so-satisfying. Piltch’s bassline grooves so hard it could make a statue bust a move. And Alias’s subtle percussion adds this little sprinkle of magic, like someone whispering secrets in your ear. Honestly, I’ve had this one on repeat during lazy Sunday mornings when coffee tastes better than reality.
The rest of the album keeps the energy alive, though nothing quite matches those two standouts. Tracks like “Free Spirit” and “Reunion” showcase Senensky’s knack for blending complex rhythms with soulful melodies, proving he wasn’t just phoning it in back in ’81.
Here’s the thing about Free Spirit: it’s not perfect, but maybe that’s why it works. It has this raw, lived-in quality, like an old leather jacket that smells faintly of smoke and good times. Sure, some transitions feel a bit clunky, and yeah, the production screams early '80s, but isn’t that part of its charm?
Reflecting on this album now, decades later, I’m struck by how timeless it feels. Maybe it’s because fusion never really goes out of style, or maybe it’s because we all need a little more free-spirited chaos in our lives. Either way, listening to this record reminds me that sometimes, letting loose and embracing imperfection leads to pure brilliance.
Oh, and fun fact: apparently, David Piltch once said he thought they were making “background music for dentists’ offices.” Guess what, Dave? Dentists have great taste.
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