Art OMI Music Residency 2017

by Jeremy on September 7, 2017

Last month I was fortunate enough to participate in a 17 day residency at Art OMI, an arts centre in Ghent, New York, with a dozen musician from all over the world. The purpose of the residency was to collaborate, share ideas and create new ways to engage each other’s musical backgrounds. We had several performances, one at Hudson’s Basilica, a live recording on WGXC Radio, and a finale concert at Art OMI’s sculpture garden. I made some great new friends and left feeling inspired, enriched and hopeful to create some exciting new collaborations in the future.


The residency was curated and co-ordinated by Jeffrey Lependorf, a composer and master shakuhachi player. Jeffrey often described the residency as an ‘experiment’ where they chose a dozen wildly different people from around the world and threw them together to see what would happen (it actually sounds like the start of a reality TV show doesn’t it?). Fortunately this year’s cohort was well suited to each other and the combinations of musical and cultural backgrounds was such that we had plenty to offer each other. Take a look at the calibre and range of musicians here.

The second day included a musical ‘speed dating’ session where we were put into combos of four musicians for 30 minutes before rotating. This was a great way to be exposed to each other’s musical personalities and break the surface through free improvisation. At the conclusion of the day Jeffrey surprised us with news that we would be performing a concert the following day through a similar lottery of ensemble combinations at Hudson’s Basilica,  pulling names out of a hat. Another excursion during the residency was to participate in a live recording on WGXC Radio, which you can listen to it here.

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Besides these activities we were given carte blanche use our time most effectively; recording sessions, self-run workshops, free jamming and visiting the sculpture garden. One workshop given by kamanche virtuoso Farzin Dehghan, discussed the history of the Persian Radif (traditional music repertoire) and the tuning of the Dustgah (modes). Farzin and I enjoyed playing together throughout the workshop, challenging myself to match his tuning and phrasing on my saxophone using quarter tone fingerings. Following a game of John Zorn’s Cobra, Farzin was later inspired to write a piece of his own using cues to various rhythmic material, solos, duos and group improvisaiton.


Another workshop was conducted by Taiwanese born US based composer/pianist Yuan-chen Li on her traditional instrument the guqin, a seven string plucked zither. It was interesting to explore the limitations and possibilities of the instrument for compositional possibilities, including various tunings of the strings, alternate bowing, plucking and other preparations to manipulate sounds. I worked regularly with Yuan throughout the residency in a trio with Italian electronic artist Alberto Novella, including several late night recording sessions in the barn. I also performed a new work by Yuan-chen for myself on bass clarinet/soprano saxophone, and herself on piano. The piece used a canon in an semi improvised/composed work that utilised an ear training exercise as the starting point. It was a challenge to depend upon our ears to realise the composition, especially when your musical partner has perfect pitch (and I have relative pitch, albeit ‘relatively’ good).


For my final concert I formed an ensemble featuring cigar box guitar, native Indian flute, bass clarinet/alto saxophone, electric bass and kamanche. After several workshops with the group I composed and improvised piece utilised each instruments in various ways to feature some of their strengths, including Persian scales, a rhythmic exchange between bass clarinet/flute, and a cigar box guitar solo.


Before commencing the residency I was told not to have any expectations and come with an open mind, geared with my own musical experience and creativity. This served me well, as I used different skills to engage each diverse musical individual and tradition. I was particularly inspired by the Persian music and have sought out some further study here in Australia. I recorded a lot of the music at the residency, including some solo performances and collaborations with other fellows, I hope to share some of it soon.


For anyone thinking of attending a similar residency, I would simply encourage you to engage every opportunity at the residency and have the courage to share some of your musical and culture with others.

Special thanks to Jeffrey Lependorf and the Australia Council of the Arts for supporting Australian musicians to attend Art OMI.

photo credit: Ailís Ní Ríain 


Guest with Sydney Con’s Modern Music Ensemble

by Jeremy on October 11, 2016

I had a great time working with Daryl Pratt and the Sydney Conservatorium of Music’s Modern Music Ensemble, premiering my new work ‘Liminality’ and performing ‘Bons’ by Theo Loevendie.


Theo Loevendie – (b. 1930)

Bons is scored for fully notated chamber orchestra with improvising soloist


Jeremy Rose (b. 1984)

for chamber orchestra. Commissioned by the Modern Music Ensemble 2016

The title refers to a space of transition whereby one is undergoing a metamorphosis, searching for both a certain future, and an end to a journey that may be accompanied with discomfort, anxiety and displacement.

It is often used in fiction as a rite of passage of a character, as they undergo signification transformation of identity through sacrifice or tragedy.

Liminality uses this narrative as inspiration through the juxtaposition of several musical ideas to portray a musical story that is fractured, and left unanswered. A choral-like, slow rubato section is contrasted with chaotic, densely rhythmically layered orchestral sections. The work features several solos, including the oboe, trumpet, violin, cello, piano, as well as many duos throughout the ensemble.

The title of the work also represents a response to the tragic events to emerge from Australia’s off-shore detention centers, including the self-immolation of two people on Nauru. Although I am aware that one piece of music cannot change the world, I was deeply moved by the event and was motivated with a desire to express a lamentation for both the 23 year-old Iranian Omid Mosoumali and 21 year-old Somalian Hodan Yasin. The irony of Australia’s eagerness to join a war against many of the refugee’s countries in the name of liberating them from their leaders, whilst reluctantly providing safety and care for the people fleeing the war torn countries is tragic. Just as these political and humanitarian issues that serve the work as inspiration are unresolved, the work ends without a ‘happy ending’, an apt way to respond to this ongoing saga.


Iron in the Blood

August 11, 2016

IRON IN THE BLOOD REVIEWS Purchase the album via the abc: Purchase the album on itunes: THE AUSTRALIAN NEWSPAPER John McBeath ★★★★★ – 5 stars This is an extensive work of broad musical, historical and narrative scope. It’s a musical adaptation of Robert Hughes’s iconic Australian historical work The Fatal Shore The Epic of Australia’s Founding (1986), […]

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APRA Song Hub (Germany)

April 8, 2016

Next week I will be travelling to Berlin to curate and perform in the very first APRA Jazz Song Hub. This involves a collaboration between myself, pianist Jackson Harrison, US guitarist Kurt Rosenwinkel, and two German artists, bassist Anders Lang and drummer Tobias Backhaus. I am extremely excited about the project and can’t wait to work with […]

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‘Sand Lines’ album reviews

January 13, 2016

Review by John McBeath The Australian 4 1/2 stars Sydney saxophonist Jeremy Rose has been working with the musicians on his latest album for the past ten years, and these six lengthy pieces were developed over a two year period, but Rose is also very active in a variety of other groups: The Vampires, The […]

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APRA Professional Development Award

November 29, 2015

Thanks so much to APRA AMCOS – such a generous award and congrats to all the other winners and finalists. The money will be a great help towards writing some new music and heading to NYC next year. Inspiring to see so many great people in the music industry working across genres! The other winners included […]

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Jeremy Rose Quartet ‘Sand Lines’

October 22, 2015

Media Release – Out now: Sand Lines – Sydney saxophonist/composer Jeremy Rose’s Quartet deliver a captivating jazz album featuring pianist JACKSON HARRISON, bassist ALEX BONEHAM, drummer JAMES WAPLES, with guest guitarist CARL MORGAN Out now on Earshift Music/Planet Purchase album on bandcamp Purchase album on itunes SAND LINES is the culmination of an extended suite composed […]

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The Vampires Europe Summer Tour

May 28, 2015
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Recording of Iron in the Blood Jan 2015

February 9, 2015

With six Melbourne musicians, 11 from Sydney, two actors and 70 minutes of music, recording  Iron in the Blood was an exciting, exhausting and emotionally riveting experience. Iron in the Blood is a project I have been working on for the past two years, inspired by one of the best known books on Australia’s founding, Robert Hughes’ The Fatal […]

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Ensemble Offspring Hatched new work

November 22, 2014

Border Control Border Control is a work for piccolo/flute, bass clarinet, trumpet, and vibraphone. It is an extension of Rose’s investigations into cross-cultural music paradigms. The work utilises material from a recent field trip to Bali, Indonesia, where Rose studied at the Cudamani Gamelan school in Ubud, and from a workshop with traditional Korean musicians […]

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