Jazz

The Weekend Australian - Review - - Music Reviews - John McBeath

Sand Lines Jeremy Rose Quar­tet Earshift Mu­sic

Sydney sax­o­phon­ist Jeremy Rose has been work­ing with the mu­si­cians on his lat­est al­bum for the past 10 years, but he is also ac­tive in a va­ri­ety of other groups: the Vam­pires, the Strides, Com­pass Quar­tet, Cameron Undy’s 20th Cen­tury Dog, Ensem­ble Off­spring and Earshift Orchestra. Among nu­mer­ous achieve­ments Rose has scored a Bell Award and this year won an APRA AMCOS Pro­fes­sional De­vel­op­ment Award worth $15,000.

Th­ese six lengthy pieces were de­vel­oped across two years. The ti­tle track is a good in­tro­duc­tion to the col­lec­tion of orig­i­nals, with Jackson Har­ri­son’s open­ing pi­ano flour­ishes and the de­lec­ta­ble up­right bass notes of Alex Bone­ham — who has re­lo­cated to Los An­ge­les — ahead of one of sev­eral themes stated by Rose’s so­prano sax, with rhyth­mic punc­tu­a­tion from drum­mer James Waples.

All of this serves as a build-up in­tro for Rose’s lift-off solo of swirling ex­cite­ment, aided by Har­ri­son’s sub­struc­tural chord stabs, be­fore a curl­ing pi­ano solo trav­els on with cease­less in­ven­tion.

Guitarist Carl Mor­gan is a guest artist on two tracks, in­clud­ing The Long Way Home, a slow bal­lad that wan­ders ex­pres­sively, adding rhyth­mic ac­cents for ap­pro­pri­ate so­los from alto and gui­tar. Mind Over Mat­ter is a soft post-bop trib­ute to al­toist David Ades, who died in 2013 and was Rose’s men­tor, friend and fel­low surfer.

Rose ex­plains that the mu­sic uses im­pro­vised sec­tions that build from the no­tated ma­te­rial, “cre­at­ing a blurred line be­tween im­pro­vi­sa­tion and com­po­si­tion”, and he has as­sem­bled a group of play­ers per­fectly ca­pa­ble of un­der­stand­ing and in­ter­pret­ing th­ese el­e­gant works.

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