Posts Tagged ‘Charlie Haden’

With the great number of projects saxophonist and composer Jeremy Rose involves himself with, one could fairly expect his output to be prolific yet patchy. As one who follows Rose’s trajectory and music, I am still waiting to hear any hint of a lapse in quality and vision.

Rose’s most recent release under his own name – rather than with the Vampires, the Strides, the Earshift Orchestra or any of his many other collaborations – is Within & Without. Recorded in Germany and featuring US super-guitarist Kurt Rosenwinkel, the 10-song album holds up Rose’s impeccable standards without at all veering from his unique creative path.

Rose Within & Without2For an album concerned with themes of “opposing forces of attraction and repulsion, joy and anguish, hope and despair, pain and ecstacy” the music is beautifully cohesive and complete­­. The players – Rose and Rosenwinkel together with German bassist Andreas Lang and drummer Tobias Backhaus, as well as Rose’s long time piano foil, Australian Jackson Harrison – mesh exqusitiely, almost telepathically at times. Rarely does any soloist seem to rise sharply out of the ensemble or blown sections, the band breathing as one.

The album’s compositional cohesion is also a surprise considering Rose’s thematic material, which veers from odes to places (the lovely bijou opener ‘Trawangan’ and the Atlas Mountains drums’n’bass groove of ‘Afensou’) to a quote from a David Bowie song (‘Strange Doors’), to even a zombie-inspired piece (‘Zombie’) – the latter’s pentatonic folk melody really bringing Rosenwinkel to the fore as he plays in and around the simple bones of the tune, always shining, often startling. Rose Within & Without1

There is also the sweetly Monk-ish melancholy of Rose’s tribute to the dear departed Charlie Haden in ‘Ballad for Charlie’. Album closer, a take on the Australian bush ballad ‘Flash Jack from Gundagai’ – with its hints of the children’s rhyme ‘Incy Wincy Spider’ – (‘Flashjack’) is set over a 6/8 Afro-latin groove, allowing the Germans, American and Australians to get some simmering heat going.

I asked Rose a half-dozen questions, leading up to the launch of Within & Without over June and July.

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John Hardaker: Within & Without, which features Kurt Rosenwinkel, follows hot on the heels of The Vampires’ (which you co-lead with Nick Garbett) album with guitarist Lionel Loueke. What is it about guitarists?

Jeremy Rose: I love guitar, it has the ability to convey an incredibly rich range of textures and sounds, and has a history of amazing players. However, when I choose collaborators, it is often based on the individual: Lionel Loueke and Kurt Rosenwinkel are both unique voices on their instruments, and aesthetically, I felt they were a great match for the respective projects I was working with.

 

JH: The ensemble works superbly. How did you come to pick the players on the album?

JR: I have worked with pianist Jackson Harrison for many years now, on my Sand Lines album, and with Compass Quartet, on Oneirology. I had worked with Berlin based drummer Tobias Backhaus before, as I have been going back and forth to Berlin for the past few years also and had performed at Jazzahead with him in the Vampires. Bassist Andreas Lang was recommended by Tobias.

 

JH: What led you to playing an adaptation of the Australian bush ballad, ‘Flash Jack (from Gundagai)”?

JR: As part of my research for composing my Iron in the Blood (out on ABC Jazz), I found an excellent source of Australian folk songs, a few of which I arranged and adapted throughout the work. Flashjack was one that I liked but didn’t use for the project and thought it would work well on this album.

 

JH: Many of your pieces reflect or are inspired by your travels and adventures around the world. You are also one of our most prolific musicians, spreading your energies over many projects, with rarely a lapse in quality or direction. You appear quite restless, even driven. Is that a fair call?

JR: Yes I am driven, but grateful that I have had many opportunities and mentors to guide me along the way. I also very much love what I do, and so am incredibly lucky to be following my passion.

 

JH: What next for you?

JR: I am undertaking a residency at the OMI International Arts Centre in New York in August. Also planning some more touring with The Vampires in Europe.

 

JH: What are your thoughts on contemporary music in general – and Jazz in particular?

JR: Contemporary music is continuing to break down the barriers between styles and genres. Some of the most exciting music is happening on the borders of these known styles; collaborations between unexpected musicians, genres, and artforms.

 

Within & Without is available at https://www.earshift.com/jeremy-rose-within-without

Within & Without tour dates: 16 June, Unorthodox Church of Groove, Newcastle; 17 June, Sound Lounge, Sydney; 16 July, Jazz Lab, Melbourne

 

 

 

 

Counterpoint in music is a lovely thing which seems to satisfy something in the listener. The intermeshing of disparate melodic lines to make a loosely woven rope of music – one with knots of harmony and dissonance detailing its length – has, since the Greeks, then Bach all the way through to Bill Evans/Scott LaFaro and even Ornette Coleman/Charlie Haden, always been a thrill that seems to hold some sort of underlying truth.

Maybe counterpoint is a symbol for the intermeshing of personalities that has always been a human ideal. Especially in Western culture, where the cult of the individual has been raised to the level of worship, the pleasure of intertwining with another is all too rare. Sometimes it seems to only exist in love, and in music.

In 1991, five leading lights of Australian Jazz performed a handful of gigs at South Melbourne Venue, The Limerick Arms. When the question arose as to who should be the leader, they all pointed at one another. Seeing the humour in this, they called the outfit The Hunters & Pointers.hunters and pointers

Recently unearthed, the tapes of those gigs – originally nicely recorded by Phil Georges in 1991 and polished digitally in 2014 by Hadyn Buxton – have been edited and released on CD as The Hunters & Pointers.

From the first few bars, the intermeshing of personalities is there. Trumpeter John Hoffman and alto Graeme Lyall start weaving lines around each other until Tony Gould’s piano joins them to bring in ‘Just Friends’. Ben Robertson’s bass and Tony Floyd’s drums play lovely and loose around Gould’s spiky solo.

The band rapport during Lyall’s solo and Hoffman’s relaxed answer to it brings to mind a recurring thought ­– that all jazz should be recorded live. It is ridiculous I know, but there often seems to be much more of a sense of the moment and the heady vibe of openended-ness than in many studio recordings.

The counterpoint pops up again during Lyall’s solo in ‘The Way You Look Tonight’; Gould talking back (and talking Bach) to his fleet bop lines. Gould’s sly comping under Robertson’s bass solo takes the music far away from the song  to areas of freedom and poetry. Throughout The Hunters & Pointers there is this feeling that there is all the time in the world, to do whatever we want with the music.

The tunes take their time to go where they will – ‘Just Friends’ is 18:23, ‘I’ve Grown Accustomed To Her Face’ (a lovely ballad reading built architecturally from Gould’s hymnal intro) is 12:10; Freddie Hubbard’s ‘Little Sunflower’ is 22.49.

‘Little Sunflower’ is the monolithic centre of The Hunters & Pointers, and not only for it’s size and scope. The simple 1967 Hubbard melody (with it’s lovely major lift) is the perfect bare bone frame for these five brilliant players to feed and flesh. Through Lyall’s eastern tinged exploration, via Gould’s quote-flecked meditations, on to John Hoffman’s teasing Hubbardisms and out through a surreal conversation between Robertson and guest drummer George Polyhronakos, ‘Little Sunflower’ is improvised music at its most cinematic and sumptuous.

All the time in the world, to do whatever we want with the music. Few players – though brilliant on paper – could make something this good out of such freedom. Chops alone can’t do it – in fact chops often work in the opposite way. It is the subsuming of the ego and the meshing of consciousnesses that will get the players, and we the fortunate audience, there. And, here, The Hunters & Pointers do it every time.

And if that is all a little mung-beans and spacey for you, you can at least enjoy the very funny joke that Graeme Lyall tells at the end of The Hunters & Pointers – a joke involving a bear, a hunter, some heavy weapons and some even heavier sex.

 

The Hunters & Pointers is available from https://www.whichwaymusic.com

 

Published April 2104 on australianjazz.net