textura

Ross McHenry: Waves
Earshift Music

There are many reasons why bassist Ross McHenry's Waves warrants attention, but certainly a major one has to do with the musicians joining him on the hour-long set: tenor saxophonist Donny McCaslin, trumpeter Adam O'Farrill, guitarist Ben Monder, pianist Matthew Sheens, and drummer Eric Harland. Waves was recorded at the Bunker and GSI Studios in New York City, but its content originated in McHenry's Australia homeland. Words by him clarify his intentions for the project, which is, firstly, about “how we loosely grasp our own memory and fathom the uncontrollable chain reactions of seismic personal and existential events,” and, secondly, “the resilience of landscape and the human spirit.” The latter especially pertains for the fact that the material was composed as the country's 2019 summer fires raged. Waves isn't, however, a facts-only news report; instead, it finds McHenry meditating on his experiences as a boy, adult, and father and on his connections to places he's lived and visited.

Commentaries he wrote for the tracks are illuminating. In one piece, he's in the water witnessing the remarkable sight of the landscape in flames, in another he's remembering a childhood home now gone. In “July 1986,” he's thrown back to the tragic death at nine months of his identical twin Angus and muses on his own good fortune in having a healthy wife and three children. Elsewhere, McHenry's in Brooklyn, missing family, and in others swept away by nostalgic memories. While the album's wholly instrumental, his texts enhance appreciation for the material and deepen its resonance.

McHenry brings solid credentials to the recording. He's won several prestigious awards, has issued a number of well-received solo albums, holds a PhD in jazz composition, and is an Australian Music Centre Associate Artist. Waves upholds the reputation he's established and builds on past accomplishments with a powerful ensemble statement, and with the five aforementioned partners on board the level of musicianship is high. Interestingly, though, the title track that opens the release doesn't feature all six but instead Sheens, McHenry, and Harland. The pianist introduces the track unaccompanied to give sultry voice to its bluesy tone before the others come in to muscularly flesh it out. Harland's an incessant whirlwind of invention who makes full use of his kit's potential for percussive colour. As dominant a presence as he is, he's not so overwhelming that Sheens and McHenry get lost in the process. The bassist's a formidable, agile, and ever-imaginative player and the pianist carries the melodic load with aplomb. As the performance swells in volcanic energy, the impression forms that this is one piano trio that prefers ferocity over politeness. Furthermore, its playing is so inspired, an entire album from it tantalizes as some future possibility.

After the piano trio sets the scene, McCaslin and O'Farrill enter to elevate “In Landscape” with declamatory unison fanfares, and the musicians thereafter invest the material with the same kind of raucous fury heard in the opener. Singlehandedly throwing the listener back in time, Monder introduces the delicate, ballad-styled meditation “July 1986” with sheets of atmospheric texture to facilitate the temporal move. The album's momentum is slowed by the piece, yet it offers a satisfying reprieve from the high energy on display elsewhere. While McHenry's generally content to cede the stage to the others, he takes a rare solo in “Odysseus in Brooklyn,” his prowess on electric bass clearly demonstrated during this oft-wistful piece. As the album nears its close, the breezy, evocative “North of the River” grants McCaslin, O'Farrill, and Sheens a terrific showcase for their talents as soloists and ensemble players before another fond family remembrance, “1989,” takes the set out on a wave of soaring affirmation.

The material McHenry provided to the musicians are solid road-maps, but they're also flexibly designed and thus allow for ample individual expression. The seven performances teem with energy and conviction, and he's a lucky man to have such phenomenally talented partners with him to deliver his material. The pianist, saxophonist, and trumpeter are both dynamic and authoritative players, Monder's a terrific colourist, and Harland's a staggering force. All make McHenry's music better, and he impresses too, especially when the carefully crafted mix ensures the leader's always clearly audible.

October 2024


	Ross McHenry: Waves Earshift Music There are many reasons why bassist Ross McHenry's Waves warrants attention, but certainly a major one has to do with the musicians joining him on the hour-long set: tenor saxophonist Donny McCaslin, trumpeter Adam O'Farrill, guitarist Ben Monder, pianist Matthew Sheens, and drummer Eric Harland. Waves was recorded at the Bunker and GSI Studios in New York City, but its content originated in McHenry's Australia homeland. Words by him clarify his intentions for the project, which is, firstly, about “how we loosely grasp our own memory and fathom the uncontrollable chain reactions of seismic personal and existential events,” and, secondly, “the resilience of landscape and the human spirit.” The latter especially pertains for the fact that the material was composed as the country's 2019 summer fires raged. Waves isn't, however, a facts-only news report; instead, it finds McHenry meditating on his experiences as a boy, adult, and father and on his connections to places he's lived and visited. Commentaries he wrote for the tracks are illuminating. In one piece, he's in the water witnessing the remarkable sight of the landscape in flames, in another he's remembering a childhood home now gone. In “July 1986,” he's thrown back to the tragic death at nine months of his identical twin Angus and muses on his own good fortune in having a healthy wife and three children. Elsewhere, McHenry's in Brooklyn, missing family, and in others swept away by nostalgic memories. While the album's wholly instrumental, his texts enhance appreciation for the material and deepen its resonance. McHenry brings solid credentials to the recording. He's won several prestigious awards, has issued a number of well-received solo albums, holds a PhD in jazz composition, and is an Australian Music Centre Associate Artist. Waves upholds the reputation he's established and builds on past accomplishments with a powerful ensemble statement, and with the five aforementioned partners on board the level of musicianship is high. Interestingly, though, the title track that opens the release doesn't feature all six but instead Sheens, McHenry, and Harland. The pianist introduces the track unaccompanied to give sultry voice to its bluesy tone before the others come in to muscularly flesh it out. Harland's an incessant whirlwind of invention who makes full use of his kit's potential for percussive colour. As dominant a presence as he is, he's not so overwhelming that Sheens and McHenry get lost in the process. The bassist's a formidable, agile, and ever-imaginative player and the pianist carries the melodic load with aplomb. As the performance swells in volcanic energy, the impression forms that this is one piano trio that prefers ferocity over politeness. Furthermore, its playing is so inspired, an entire album from it tantalizes as some future possibility. After the piano trio sets the scene, McCaslin and O'Farrill enter to elevate “In Landscape” with declamatory unison fanfares, and the musicians thereafter invest the material with the same kind of raucous fury heard in the opener. Singlehandedly throwing the listener back in time, Monder introduces the delicate, ballad-styled meditation “July 1986” with sheets of atmospheric texture to facilitate the temporal move. The album's momentum is slowed by the piece, yet it offers a satisfying reprieve from the high energy on display elsewhere. While McHenry's generally content to cede the stage to the others, he takes a rare solo in “Odysseus in Brooklyn,” his prowess on electric bass clearly demonstrated during this oft-wistful piece. As the album nears its close, the breezy, evocative “North of the River” grants McCaslin, O'Farrill, and Sheens a terrific showcase for their talents as soloists and ensemble players before another fond family remembrance, “1989,” takes the set out on a wave of soaring affirmation. The material McHenry provided to the musicians are solid road-maps, but they're also flexibly designed and thus allow for ample individual expression. The seven performances teem with energy and conviction, and he's a lucky man to have such phenomenally talented partners with him to deliver his material. The pianist, saxophonist, and trumpeter are both dynamic and authoritative players, Monder's a terrific colourist, and Harland's a staggering force. All make McHenry's music better, and he impresses too, especially when the carefully crafted mix ensures the leader's always clearly audible. October 2024