ROSS McHENRY - Nothing Remains Unchanged
One World Records
Ross McHenry - bass guitar; Eric Harland - drums; Ben Wendel - sax; Matthew Sheens - keys
This is the fourth solo release from the energetically irrepressible McHenry, and he’s assembled an outstanding band of international talent to realise his compositions. Fellow Australian Matthew Sheens joins on acoustic piano - based in New York, he’s already accumulated an impressive CV working with bass superstars John Pattitucci and Linda Oh: Canadian Ben Wendel is best known as a member of high-intensity fusion gymnasts Kneebody but has also performed with the likes of Tigran Hamasyan and Antonio Sanchez, and Eric Harland will need no introduction to anyone who follows upper end of the NYC jazz-plus scene. With this line-up of top-flight practitioners you would expect a programme of high-end contemporary jazz-fusion, and this is exactly what you get. ‘Adelaide’ serenades that rather somnolent city with an uptempo 7/8 major key melody, adorned with cascading piano lines from Sheens, and ’Complicated Melody’ is just that, over a super-sophisticated rhythm grid: both tunes end with the band hitting an repeated figure over which Harland does his polyrhythmic stuff to dazzling effect. ‘East West’ has a more mellow reflective feel: the long, winding melody delivered by Wendel to set up Sheen for an outstandingly assured solo over the oblique harmony like a super-charged version of an ECM record, after which he obliges with some flawlessly executed Brecker-isms of his own. ‘Forest Dance’ has a hint of the Jarrett/Garbarek band, pitched between European and US accents, and a fleet fingered solo from the leader. ‘Processional’ breaks the mould with a solemn folk-tinged theme, as suggested by the title, allowing Wendel to emote over the rubato backing to powerful effect: ‘This I Give To You’ is the nearest we get to a ballad with a beautifully simple unaccompanied section from Sheens that leads into a powerful build. ‘Highway Morning’ restates the Jarrett link with a gospel-flavoured midtempo that is the perfect showcase for Wendel’s high-ranging virtuosity. This is a powerful, accessible and beautifully realised contemporary fusion record - if no new ground is broken, the quality of composition and performance is such that McHenry’s reputation will only continue to grow.
Reviewed by Eddie Myer
One World Records
Ross McHenry - bass guitar; Eric Harland - drums; Ben Wendel - sax; Matthew Sheens - keys
This is the fourth solo release from the energetically irrepressible McHenry, and he’s assembled an outstanding band of international talent to realise his compositions. Fellow Australian Matthew Sheens joins on acoustic piano - based in New York, he’s already accumulated an impressive CV working with bass superstars John Pattitucci and Linda Oh: Canadian Ben Wendel is best known as a member of high-intensity fusion gymnasts Kneebody but has also performed with the likes of Tigran Hamasyan and Antonio Sanchez, and Eric Harland will need no introduction to anyone who follows upper end of the NYC jazz-plus scene. With this line-up of top-flight practitioners you would expect a programme of high-end contemporary jazz-fusion, and this is exactly what you get. ‘Adelaide’ serenades that rather somnolent city with an uptempo 7/8 major key melody, adorned with cascading piano lines from Sheens, and ’Complicated Melody’ is just that, over a super-sophisticated rhythm grid: both tunes end with the band hitting an repeated figure over which Harland does his polyrhythmic stuff to dazzling effect. ‘East West’ has a more mellow reflective feel: the long, winding melody delivered by Wendel to set up Sheen for an outstandingly assured solo over the oblique harmony like a super-charged version of an ECM record, after which he obliges with some flawlessly executed Brecker-isms of his own. ‘Forest Dance’ has a hint of the Jarrett/Garbarek band, pitched between European and US accents, and a fleet fingered solo from the leader. ‘Processional’ breaks the mould with a solemn folk-tinged theme, as suggested by the title, allowing Wendel to emote over the rubato backing to powerful effect: ‘This I Give To You’ is the nearest we get to a ballad with a beautifully simple unaccompanied section from Sheens that leads into a powerful build. ‘Highway Morning’ restates the Jarrett link with a gospel-flavoured midtempo that is the perfect showcase for Wendel’s high-ranging virtuosity. This is a powerful, accessible and beautifully realised contemporary fusion record - if no new ground is broken, the quality of composition and performance is such that McHenry’s reputation will only continue to grow.
Reviewed by Eddie Myer
