Any musician who works so effectively against a common language, and uses cliché so little in the process, is worth listening to. There are tons of young jazz saxophonists out there pursuing ideas of harmony and structure and rhythm, but he has something rare going for him. He has a sound. Mr. McHenry is a fresh new voice: He can play with un-orthodox structure and get as free as you want, but he maintains a ripe, lovely tone straight out of the 1950’s. Lyrical is probably the most overused word in jazz criticism, but if anyone deserves the word, Mr. McHenry is the one.
— Ben Ratliff, New York Times Critic

NPR featuring a live recording:

NY Times Review:

Top Ten Albums of 2007: (Nate Chinen)

BILL MCHENRY: ‘ROSES’ (Sunnyside). Throughout his gorgeous and uncompromising new record the tenor saxophonist Bill McHenry threads his melodies as if through a fabric. He’s confident enough to let his band mates — the insinuative drummer Paul Motian, the venturesome bassist Reid Anderson and especially the ingenious guitarist Ben Monder — shape the songs as they desire.

NY Times Review:

Top Ten Albums of 2007: (Ben Ratliff)

BILL MCHENRY: ‘ROSES’ (Sunnyside). Jazz at its best is always both old-fashioned and modern, and the saxophonist Bill McHenry is a good example. He plays with unabashed enthusiasm for melody: no mazes of harmony or time signature here; the warm, sweet lines ripely tumble out, dictating the band’s rhythm as they go.


Chicago Reader Review: