Beginning with Miles Davis, numerous musicians have recognized Jimi Hndrix as a fellow sonic explorer – but one with a mass following beyond their wildest dreams. He reversed the standard crossover, gaining a smidgeon of black acceptance with Band of Gypsys in 1969, two years after wowing the hippies at Monterey . Is it surprising that black avant-gardists saddened by the relative scarcity of brothers and sisters in their audience identify with him? A simpler explanation might be that a generation of improvisers now approaching 50 grew up hearing transcendence in Hendrix and Coltrane interchangeably. David Murray, for example. “Deep down inside he was also a jazz musician,” Murray says of Hendrix in the liner notes to the World Saxophone Quartet’s Experience. Oblivious to their implied condescension, those who make a case for Hendrix as a misplaced blues player or jazz musician usually come off sounding like they’re awarding pop star a complimentary upgrade.

On Experience, the World Saxophone Quartet celebrates the music and spirit of legendary Jimi Hendrix. By taking the figurative instead of literal approach, the saxophones not only avoid the twists and intricacies of Hendrix’ guitar text, but also unlock the true depth and essence of Hendrix’ music.

The World Saxophone Quartet meets Jimi Hendrix is a convergence of genre-shaking musical pioneers. In taking on Hendrix’s material the group looks back and progresses the master’s work to the future. For the adventure the quartet with David Murray, Hamiet Bluiett and Oliver Lake and newcomer Bruce Williams is sometimes joined by trombonist Craig Harris, drummer Gene Lake and bassist Matthew Garrison. A funked-up “Freedom” leaps off the disc with the flair of smokin’ New Orleans brass band despite the fact there’s not a trumpet in sight. On “Hey, Joe”, the only non-Hendrix original though the late guitarist/vocalist certain made it his own, Murray makes his tenor soulfully sing out the well-known lyrics. Though presented from a different musical point of view, the poignancy of the song remains at its core. It’s the quartet alone on “Foxey Lady” that begins as totally recognizable complete with the guys yelling the title at the appropriate moment. It then travels to realms beyond only to return to Hendrix’s signature funk. Bluiett’s fat horn provides the rhythm as it teams with the vibration of Harris’ didgeridoo to lay down a thick carpet on “Hear My Train a Comin’.” His trombone takes the lead with simply beautiful harmonies by offered by saxists. It is a triumphant ending that celebrates the music Hendrix left behind.

The most ear-catching performance on Experience is the one that strays furthest: Murray’s almost unrecognizable transformation of “Hey Joe” into a dirge, driven home by his preacherly tenor exhortations atop a choir of saxophones voiced so spaciously you hear a phantom organ or accordion. Ironically, the most successful interpretation, and one that holds true to the WSQ’s tradition of combining intricate harmony and powerful solos, is “Hey Joe”, the only composition not by Hendrix. Familiar, as we all are, with the story, the WSQ’s “Hey Joe” seems to begin where the Hendrix tune left off. Having done what his rage promised in the original, here, we find a reflective Joe somber and mournful about his actions. As the tune develops, with consequences becoming all to clear, Joe is again desperate and lost. A true marvel of story telling jazz, “Hey Joe” merits a listen by legions of rock fans who worship at the Hendrix altar.

The music of Jimi Hendrix defies easy translation. Many jazz musicians, from Gil Evans to the contemporary trio Fly, have approached the guitarist’s slim canon, but few have succeeded in capturing the spacy, sexy swagger of his songs. Augmented by three special guests, the World Saxophone Quartet, does better than most.