Ghosts of the Sun

Tenor saxophonist Bill McHenry has a distinctive tone, a pure sound that looks back to pre-\'60s jazz. But his compositions have an open, flexible quality that\'s very 21st century. He’s played with numerous artists, including Charlie Haden, Andrew Cyrille, and Guillermo Klein, and has recorded several albums as a leader. 2011’s *Ghosts of the Sun* features a quartet with guitarist Ben Monder, bassist Reid Anderson, and that master of free time, the late Paul Motian. “Ms. Polley” is a slice of ambient jazz: Motian’s drumming dazzles with its loose-limbed unpredictability, Monder creates gauzy sheets of sound, and Anderson’s inventive bass anchors the atmospherics. Half of the brief “William (Drums)” is taken up with a solo by Motian; on “Williams III,” the band tugs at the same compositional material, stretching it this way and that. (At one point, Monder unleashes a torrent of noisy guitar that pulls the sound in yet another direction.) “Rose II” is the tense closer, with slashing guitar, a charged solo from McHenry, and a rhythm section that jostles everything before breaking into non-cliché swing.

Tracks: 1. Ms. Polley 2. La Fuerza 3. Anti Heroes 4. Ghosts of the Sun 5. William (Drums) 6. Little One 7. William III 8. Lost Song 9. Roses II CD Quality - 16 bit / 44.1 khz The best method to amass critical attention is to stand apart from the crowd. Occasionally, an artist comes along who can diverge from the expected and catch the imagination of listeners while doing what comes instinctively. Saxophonist/composer Bill McHenry has developed his own unique sound and approach to the jazz tradition that has set him apart from his peers. The breadth of McHenry’s art is vast and varied. His lush tenor saxophone tone echoes the past masters like Coleman Hawkins while his advanced technique enables him to reach the furthest plains of contemporary experimentation. His abilities have made it possible for McHenry to perform alongside many legends and contemporary greats, including Charlie Haden, Paul Motian, John McNeil, Andrew Cyrille and Guillermo Klein. McHenry’s ensemble leadership and compositional skills are well known amongst his associates but deserve further praise. He shows his faculty on his latest Sunnyside CD, Ghosts of the Sun (Nov. 22, 2011). Utilizing an all-star ensemble of a handful of his favorite collaborators, McHenry presents a diverse, exemplary program of original compositions that illustrate his tunefulness and unique abstraction. The group, featuring drummer Paul Motian, bassist Reid Anderson and guitarist Ben Monder, navigate the leader’s freely structured rhapsodies with amazing results. The tunes strike a balance between impressionism, modernism and folk-like tunefulness. “Ms. Polley” slinks hazily under the gauze of Monder’s guitar and McHenry’s resonant sax. “La Fuerza” follows with an ardent melodic statement, which is furthered on “Anti Heroes, ” a longer composition with poignant solos and a jolting backbeat from Anderson and Motian. Melancholy permeates over the quietly introspective “Ghosts of the Sun.” The stark “Little One” weaves a flowing singsong melody that builds throughout the piece with augmentations from the ensemble. McHenry’s brawny tone and improvisatory prowess are featured on “William III,” a forceful title that features Monder’s over driven guitar. “Lost Song” enters as a somber guitar and sax ballad, introducing space for Anderson’s lopping bass and Monder’s twang. The bustling “Roses II” reprises the theme from McHenry’s last solo outing (Roses, 2008) with an eruption of energy. Ghosts of the Sun is a striking document of McHenry’s vast resources as composer, performer and improviser.