As horn stylists go, D’Angelo and McHenry couldn’t be more different, and Anderson takes advantage of this in many ways during the course of the album. On “The Owl,” for instance, D’Angelo’s solo is almost entirely “out,” his playful screeches contrasting with McHenry’s careful, yet energetic, dissection of the quickly moving changes. At other timesContinue reading “Post. 5 Oct 2018.”