Even when the drums fade to rubato washes in Excess of Access, you still feel the tension of when they’ll reassert themselves, and meanwhile are enthralled by Rose’s bass clarinet mourning over an otherworldly soundscape.ĭespite having titles, the pieces are really all part of an extended improvisation incorporating such organic changes of mood as to allow Rose to christen them separately. In fact, edginess is something of an album through line, with Ryan overlaying grooves that are as jittery as they are compelling. Listen to them do this on the spooky A Shape of Thought, which sounds like music that nervous ghosts might make. Rose is joined by Novak Manojlovic (piano, keyboard), Tully Ryan (drums) and Ben Carey (modular synthesiser), players with imaginations to match his own, who instantly intuit when to place their instruments in the music’s foreground and when to pull them back to a supportive role.
CONJURE ONE NEW ALBUM FREE
One could also say that Project Infinity, being a free-improvising quartet, doesn’t really lean on his composing flair, except that this would miss the extemporaneous composing that’s happening at every moment in free improvisation as the performers’ ears and intuitions lend shape to spontaneity.
But really it’s the same hat covering a questing mind that enjoys placing his improvisatory skills in wildly different contexts. One could say that composer and saxophonist Jeremy Rose wears many hats, given his array of projects, including the groovy Vampires and the cross-cultural Vazesh. Even through the thickets of electronics and expert post-production, you can still sense the space that made the different sounds sing as one: Chippendale’s Phoenix Central Park, a venue with an interior akin to an ant’s nest and acoustics close to heaven. Listen closely, and you can hear the sound of the room where this music was made. Jeremy Rose, Project Infinity: Live at Phoenix Central Park ★★★★½ Jeremy Rose’s Project Infinity exploits the wondrous acoustics at the Sydney performance space.
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