“A brilliant Sydney jazz composer and instrumentalist, a young man with a social purpose.”
The Australian
JEREMY ROSE
Saxophonist, composer, bandleader, educator and label director Jeremy Rose is one of the leading voices in Australia’s contemporary jazz and improvised music scene. Based in Sydney on Gadigal land, Rose has developed a diverse body of work spanning jazz ensembles, intercultural collaborations, large-scale orchestral compositions, contemporary classical commissions and artist-led cultural initiatives. Through both his music and his work as a curator and label director, he has become a key figure in shaping the ecology of adventurous music in Australia.
As The Sydney Morning Herald has noted, Rose is helping transform the Australian contemporary jazz landscape - not by rejecting tradition but by building on it, connecting generations of musicians and creating new pathways for collaboration, recording and touring.
Born in Sydney on August 21, 1984, Rose’s familiarity with music began early through his parents’ record collection, which exposed him to jazz, pop, blues and world music, particularly the work of Miles Davis, John Coltrane and Cannonball Adderley. He began piano studies at six and clarinet at eight before taking up saxophone at eleven. Even as a young musician, Rose was drawn to composition and leadership, forming his first band while still in primary school and writing parts and solos for the other performers.
At school he quickly realised he wanted not only to perform but to lead musical projects. Dissatisfied with the repertoire in his school concert band, he began improvising freely - an act that ultimately led to him being kick out of the ensemble. Rather than discouraging him, the experience pushed him to form his own group, where he played music by Miles Davis and composed solos for fellow students who were less comfortable improvising.
Rose studied jazz performance at the Sydney Conservatorium of Music, where his mentors included Dale Barlow, Phil Slater, Judy Bailey and Mike Nock. During his studies he received the Margaret Henderson Dean’s List for Academic Performance in 2005. In 2006 he spent six months on exchange in Oslo, Norway, studying composition with Geir Lysne and immersing himself in the Scandinavian jazz scene, an experience that broadened his musical outlook and encouraged him to explore new approaches to form and collaboration.
In 2007 Rose completed his Bachelor of Music (Jazz Performance) with First Class Honours, and in 2017 he completed a PhD in Composition at the Sydney Conservatorium of Music, supervised by Professor Matthew Hindson. His doctoral research, A Deeper Shade of Blue: Creative Processes in the Sydney Jazz Scene, combined creative practice with ethnomusicological investigation into the compositional processes of contemporary Australian jazz musicians.
Across his career Rose has received numerous accolades including an ARIA Award for Best Jazz Album, an AMC/APRA AMCO Art Music Award, a short-listing for the Australian Music Prize, Bell Awards for Young Australian Jazz Artist of the Year and Best Produced Album, an APRA Professional Development Award for Jazz, and multiple nominations for the AMC/APRA Art Music Awards and Freedman Jazz Fellowship.
International study and artistic development
Rose has pursued numerous studies abroad with mentors and at leading international workshops. In 2008 he received a BBM Award to study in London with saxophonist Tim Garland and attend the School for Improvisation in Brooklyn, New York, studying with Tony Malaby and Tim Berne. He later participated in the Banff International Workshop in Jazz and Creative Music in Canada in 2009 and 2011, engaging with future mentors Dave Douglas and Ben Wendel.
In 2012 he received an Ian Potter Cultural Trust scholarship to attend a residency in Agios Lavrentios, Greece, led by saxophonist Hayden Chisholm, and undertook further studies and collaborations in Havana, Bali and the Dominican Republic. In 2016 Rose curated the inaugural APRA Song Hub for Jazz in Berlin, recording with an international quintet including guitarist Kurt Rosenwinkel. In 2017 he was selected for the Art Omi International Arts Centre Residency in New York.
These international experiences have played a formative role in shaping Rose’s musical outlook, reinforcing his commitment to collaboration across cultures and encouraging an approach to composition that moves fluidly between improvisation, structured form and intercultural musical dialogue.
The Jeremy Rose Quartet
One of Rose’s longstanding creative vehicles has been the Jeremy Rose Quartet, through which he first developed his distinctive voice as a composer and improviser. The ensemble has released four albums and performed extensively throughout Australia as well as internationally in cities including Toronto, Cape Town, London and across Europe.
His debut album Chiba, a Norwegian–Australian collaboration recorded in Oslo in 2007, received four stars in The Sydney Morning Herald, which noted that “his compositions stand out from the pack.”
His second album Sand Lines, featuring his Sydney-based group, drew praise from critics, with australiajazz.net writing: “I have always been intrigued, amazed, challenged and – to be frank – totally gassed by his restless artistic nature and his consistently questing music, both as a composer and as a soloist.”
His third album Within & Without, featuring internationally acclaimed guitarist Kurt Rosenwinkel, was widely praised for its compositional depth and lyrical improvisation. The Sydney Morning Herald wrote:
“Immediately striking is Rose’s alto sound: light, singing and organic… Rose’s compositions are ruthlessly crafted affairs.”
In 2018 Rose toured Europe with Rosenwinkel, performing sold-out concerts throughout Germany and Austria.
The Vampires
In 2005 Rose co-founded the world-roots jazz quartet The Vampires, which has become one of Australia’s most celebrated contemporary jazz ensembles. The band has released seven albums and toured extensively throughout Australia, the United Kingdom and Europe.
The ensemble has appeared at major festivals including the Melbourne International Jazz Festival, Wangaratta Festival of Jazz, Perth and Brisbane International Jazz Festivals, Love Supreme Festival (UK), Edinburgh Jazz Festival, Glasgow Jazz Festival, and Enjoy Jazz Festival (Germany).
Their album The Vampires Meet Lionel Loueke, featuring the Benin-born Blue Note guitarist, received international airplay including on BBC Radio from Jamie Cullum and Iggy Pop. The album was nominated for an ARIA Award, became the first instrumental album shortlisted for the Australian Music Prize, and appeared on numerous international critics’ lists including ranking #1 album of the year on All About Jazz.
Their subsequent album Pacifica received wide critical praise including four-and-a-half stars in The Australian and four stars in DownBeat.
In 2023 The Vampires won the ARIA Award for Best Jazz Album for Nightjar, featuring pianist Chris Abrahams.
Earshift Orchestra and large-scale works
In 2016 Rose formed the Earshift Orchestra, a large ensemble described by pianist Paul Grabowsky as featuring “some of the most creative improvisers of his generation.” With this ensemble he has developed several ambitious interdisciplinary works.
His extended suite Iron in the Blood, inspired by Robert Hughes’ The Fatal Shore, combines a 17-piece jazz orchestra with narration and visual projections to explore Australia’s colonial history. The work premiered at Parramatta Riverside Theatre and was later presented at the Sydney Festival, receiving critical acclaim.
The Sydney Morning Herald described the work as:
“a dialogue between idioms and eras… a major Australian work.”
Disruption! The Voice of Drums
Disruption! The Voice of Drums is a visceral collision of rhythm and resistance led by ARIA award-winning saxophonist-composer Jeremy Rose. At its core are two drum visionaries: Simon Barker — whose pioneering approach to solo drumming has influenced generations of musicians internationally — and Chloe Kim, a fearless creative force whose practice bridges traditions and geographies, and who has gained global attention for her “Herculean” (The Guardian) endurance performance of 100 hours of solo drumming across ten days. Together, Barker and Kim summon a sound world that is at once ancient and futuristic, drawing on shamanic Korean traditions, the ecstatic long-form improvisations associated with The Necks, and each drummer’s singular rhythmic language.
Conceived initially as a large-scale work for Jeremy Rose & the Earshift Orchestra, Disruption! places rhythm and the drum at the centre of the music, subverting familiar jazz hierarchies and repositioning the ensemble as an ecosystem of pulse, texture and collective propulsion. The music moves between ecstatic ensemble surges, dense rhythmic entanglements and moments of quiet transcendence, channeling the elemental power of the drum as a tool for transformation. The project has been praised for both its conceptual ambition and its immediacy, with critics describing it as “ground-breaking in concept and monumental in scale” (Ausjazz.net) and “a brilliant collision of cultures and rhythms… should be brought to international festival stages as soon as possible” ★★★★★ (Jazzthetik, Germany). John Shand in The Sydney Morning Herald called the suite “shrewdly constructed to create a coherent progression of concepts and moods,” while MOJO (UK) described it as “tense, thrilling protest chamber jazz.”
Disruption! is both urgent and reflective: music for a turbulent era of civil unrest and ecological crisis, and a reminder of the drum’s timeless role — to summon spirits, spark resistance and bring communities together. Reviews from around the world have captured the work’s physical impact and emotional range, from The Age’s description of “utterly mesmerising… shaping percussive patterns that incorporated ritualistic Korean rhythms, celebratory Afro-Latin jaunts and wave-like surges of pure energy,” to All About Jazz, which called the album “primal spirituality… simultaneously sublime and visceral,” adding that Rose “should be better known to North American melophiles… a creative force with which to reckon.” European press has similarly highlighted the work’s breadth, with Sweden’s Orkester Journalen calling it “a varied, rewarding and hopeful record,” and Poland’s Era Jazzu praising the album as “an excellent document of a complex arrangement… a universal jazz entity” with references spanning modern jazz tradition and contemporary “academic textures.”
The project premiered at the Sydney Festival and went on to win the AMC/APRA Art Music Award for Improvised/Jazz Performance of the Year. Building on the momentum of Earshift’s international showcase activity, Disruption! has since been presented on major international stages, including the EFG London Jazz Festival at the Barbican, and further performances across Europe including Berlin and Poland’s Jazztopad Festival — concerts that confirmed the work’s distinctive impact on audiences unfamiliar with Australian improvised music. As Rose has noted in reflecting on these presentations, the purpose is not to reproduce a generic international jazz language, but to offer something unmistakably individual: a sound shaped by place, collaboration, and a commitment to original music that is true to the artists at its centre.
Discordia
Released in 2024, Discordia is a major large-ensemble work by Jeremy Rose and the Earshift Orchestra, exploring the fractured realities of the contemporary information age. Taking its title from the Latin phrase Vera Discordia (“discordant truths”), the album reflects on the social and political tensions created by misinformation, digital echo chambers and competing narratives of truth. Through sophisticated orchestration and immersive ensemble writing, Rose uses the big band as a dramatic canvas — juxtaposing intimate chamber textures with explosive orchestral power. Critics have described the album as “a compelling vision of how the big band of the future will sound” (The Australian), with reviewers noting Rose’s ability to balance dense sonic landscapes with space for individual improvising voices to emerge.
The recording continues Rose’s evolving collaboration with drummer Chloe Kim and the Earshift Orchestra, featuring a collective of leading Sydney improvisers including Hilary Geddes, Jacques Emery, Novak Manojlovic, James Macaulay, and Tom and Michael Avgenicos. Recorded at Studios 301 in Sydney, the album expands Rose’s ongoing interest in large-scale narrative composition first explored in works such as Iron in the Blood and Disruption! The Voice of Drums. Critics have praised the project for its originality and emotional scope, with All About Jazz describing Rose as “a creative force with which to reckon,” and AllMusic highlighting the way his writing allows the orchestra to “breathe, using the big band for punctuation and dramatic impact.” Across its nine movements, Discordia presents a powerful musical reflection on our contemporary moment — at times turbulent and apocalyptic, yet ultimately searching for clarity and hope.
Infinity
Infinity is an immersive quartet led by Jeremy Rose that explores the intersection of jazz improvisation, minimalism and electronic sound. Featuring pianist Novak Manojlovic, drummer Tully Ryan, and modular synthesist Ben Carey, the ensemble creates expansive music that unfolds as a single evolving gesture rather than a series of discrete compositions. Drawing on cyclical forms, repetition and gradual transformation, the group’s sound inhabits the outer edges of jazz, ambient and electronic music, with modular textures threading through swirling improvisations and lyrical saxophone lines. Influenced by artists such as The Necks, as well as the broader lineage of improvisation and electronic experimentation, the quartet’s music moves between hypnotic rhythmic patterns, atmospheric electronics and deeply intuitive ensemble interaction.
The group’s recordings Project Infinity: Live at Phoenix Central Park and Infinity II capture this process-driven approach in a live setting, presenting extended improvisations that balance structure and spontaneity. Critics have described the music as a “riveting” and immersive listening experience (Sydney Morning Herald), with reviewers highlighting Rose’s ability to create expansive sonic landscapes that evolve gradually over time. Through Infinity, Rose continues his exploration of minimalist processes and the philosophical ideas of memory, ritual and time that underpin much of his research and creative work, creating music that is both meditative and dynamic—an unfolding sonic environment shaped collectively in the moment.
Intercultural collaborations
Rose’s artistic practice is deeply grounded in collaboration across musical cultures.
Vazesh, formed with Iranian tar virtuoso Hamed Sadeghi and bassist Lloyd Swanton, explores the intersection of Persian classical traditions and contemporary improvisation. Their music blends Iranian modal systems with the rhythmic openness of jazz. Their album The Sacred Key received an ARIA nomination for Best Jazz Album.
Visions of Nar, led by Armenian-Australian pianist Zela Margossian, features Rose alongside tabla virtuoso Bobby Singh and bassist Jonathan Zwartz. Drawing on Armenian folk melodies, jazz improvisation and South Asian rhythmic traditions, the ensemble explores themes of diaspora, cultural memory and identity. Their album Daughter of the Seas was released on ABC Jazz/Earshift Music.
Rose’s ensemble Infinity explores long-form improvisation inspired by minimalism and artists such as Terry Riley, Julius Eastman and Australia’s pioneering trio The Necks. Featuring guitarist Ben Carey, pianist Novak Manojlovic and drummer Tully Ryan, the project unfolds through extended musical forms in which repetition and gradual transformation create immersive sonic environments.
Visions of Nar
Visions of Nar is a cross-cultural ensemble co-led by Armenian-Lebanese pianist Zela Margossian and Jeremy Rose, blending Armenian folk traditions with jazz improvisation and contemporary composition. Featuring guitarist Hilary Geddes, percussionist Adem Yilmaz, and tabla virtuoso Bobby Singh, the group creates richly textured music that moves between lyrical intimacy, intricate rhythmic interplay and expansive improvisation. Drawing inspiration from Armenian mythology—particularly the goddess Nar, associated with water, sea and renewal—the project weaves together folk melodies, modal improvisation and contemporary jazz language into a vivid and emotionally resonant musical narrative.
Formed through an ABC Fresh Start commission, Visions of Nar quickly established itself as a distinctive voice in Australia’s intercultural music landscape. The ensemble performed to a sold-out audience at the Sydney Opera House as part of SIMA’s International Women’s Jazz Festival, and released its debut album Daughter of the Seas on ABC Jazz/Earshift Music. Critics have praised the group’s expressive depth and interplay, with The Australian noting the music “demonstrates the illustrious capacity of jazz to provide the freedom necessary for musicians to express themselves in new ways” (★★★★½). Limelight Magazine described the performance as “an invigorating experience with moments of genius that evoked a tremblingly gorgeous mystical realm,” while Rhythms Magazine highlighted its “beguiling beauty… spellbinding and hypnotic.”
Vazesh
Vazesh is a cross-cultural improvising trio featuring Iranian tar virtuoso Hamed Sadeghi, bassist Lloyd Swanton (The Necks), and Jeremy Rose on saxophone and bass clarinet. Drawing inspiration from the Persian Radif tradition alongside contemporary improvisation, spiritual jazz and minimalism, the trio creates music that is at once intimate, lyrical and deeply exploratory. Their performances unfold as long-form improvisations, shaped collectively in real time and responding to the atmosphere of the room, the audience and the subtle musical dialogue between the three players. The result is a sound world where Persian melodic language intertwines with jazz improvisation and the hypnotic rhythmic sensibilities associated with artists such as The Necks.
The trio’s music has been widely praised for its intuitive interplay and emotional depth. Reviewing their performance at the Sydney Opera House, Limelight Magazine described the ensemble as “the closest thing to telepathy I’ve seen… satisfied by the class, the brevity, the structural perfection and rich invention of Rose, Sadeghi and Swanton’s Vazesh” (★★★★★). John Shand in The Sydney Morning Herald noted the “captivating… uncanny effect of three human voices singing in harmony,” while All About Jazz observed that “it’s an exceptional accomplishment to make music sound this easy.” Their debut album, capturing the trio’s spontaneous compositional approach, was nominated for the ARIA Award for Best Jazz Album and the APRA AMCOS Art Music Award for Jazz/Improvised Music Performance of the Year.
Contemporary classical work and Compass Quartet
Rose has also developed a substantial body of work in the contemporary classical and intercultural music worlds. He has received commissions and performances with organisations including Ensemble Offspring, the Sydney Conservatorium’s Modern Music Ensemble, saxophonist Nick Russoniello with Acacia String Quartet, Ku-ring-gai Philharmonic, the Sydney Symphony Orchestra Fellowship, and Leichardt Expresso Chorus.
He composed three albums of music for the Compass Quartet: Abrazo Tango (Tall Poppies), Ode to an Auto Rickshaw, and Oneirology (Earshift Music). His work River Meeting Suite, for saxophone quartet, sitar, vocals, tabla and electronics, was shortlisted for the AMC Art Music Awards – Jazz Work of the Year and was presented at the Four Winds Festival in 2019.
The Strides
Earlier in his career Rose founded and co-managed the afrobeat-reggae ensemble The Strides (2008–2019). The band released three critically acclaimed albums and toured widely across Australia, performing at major festivals including WOMADelaide and Bluesfest, and supporting international artists including Tony Allen, Julian Marley and Third World.
Earshift Music
In 2009 Rose founded Earshift Music, an independent Sydney-based record label dedicated to adventurous jazz and improvised music. What began as a vehicle for releasing his own projects quickly evolved into one of the most important platforms for contemporary jazz in Australia.
The label emerged almost accidentally. While seeking a home for his quartet album Chiba, recorded in Oslo, Rose approached drummer Simon Barker about releasing it on Barker’s Kimnara label. Barker instead suggested that Rose create his own label. At the same time Rose had two other albums ready for release — the debut albums by The Strides and The Vampires — which together became the catalyst for launching Earshift Music.
Since then the label has grown steadily, releasing around one hundred albums and developing a wide network of artists associated with Australia’s contemporary jazz scene. Early releases featured Rose’s own projects, but from around 2018 the label began releasing increasing numbers of albums by other artists including Phil Slater, Sam Anning, Helen Svoboda, Hilary Geddes, Chloe Kim, Johannes Luebbers, James Macaulay, Kristin Berardi, Niran Dasika, Cheryl Durongpisitkul, Tessie Overmyer, James Bowers and many others.
Rather than functioning as a traditional production label, Earshift operates as an artist-led ecosystem that helps musicians develop their releases and connect with international audiences. Rose describes his role as both curator and facilitator — working with artists to shape release campaigns, develop the surrounding narrative and visual identity, coordinate artwork and promotional materials, and connect projects with international distribution networks.
Earshift releases are distributed digitally worldwide via MGM Distribution, with physical distribution in Australia and internationally through partners including Proper Music Group. Direct-to-fan platforms such as Bandcamp remain an important part of the label’s ecosystem, allowing listeners to support artists directly.
Beyond recordings, Earshift also curates performances and showcases. A major milestone came with a two-night Earshift Music showcase at the Melbourne International Jazz Festival, presenting artists including Hilary Geddes, Visions of Nar, James Bowers, Raki and Infinity — a program that critics described as a “state-of-the-art report card on where jazz and improvised music in this country is, and where it’s headed.”
Rose increasingly sees the label as part of a broader mission: building an infrastructure for Australian music to reach international audiences. Through touring, media relationships and collaborations with festivals overseas, Earshift has helped create pathways for Australian artists to perform and release music globally.
As Rose explains:
“I see myself first and foremost as an artist trying to build an ecosystem rather than a traditional record label. Through my touring and networks, I’m able to open doors for other artists. When one project gains momentum, it helps lift the broader community with it.”
Academic work
Alongside his performing career, Rose is Lecturer in Music Industry at the Sydney Conservatorium of Music, University of Sydney, where he teaches courses on artist development, creative entrepreneurship and collaborative practice.
He is also an active researcher and writer on improvisation and creative practice, publishing work on the organisational behaviour of improvising ensembles, intercultural composition and the creative processes of Australian jazz musicians.
Artistic vision
Across more than two decades of work, Jeremy Rose has established himself as a composer-performer, curator and cultural connector whose projects bring together musicians from diverse traditions and disciplines. Whether through small improvising ensembles, large-scale orchestral works, intercultural collaborations or the development of Earshift Music, his work continues to expand the possibilities of contemporary Australian music while connecting it with audiences around the world.Born in Sydney on August 21st, 1984, saxophonist Jeremy Rose’s familiarity with music began at an early age. His parents exposed him to jazz and world music through their record collection, being particularly inspired by the music of Miles Davis, John Coltrane and Cannonball Adderley. He began piano studies at the age of six and clarinet at eight, before taking up saxophone at 11. Jeremy was determined to be a bandleader, forming his first group in primary school and composing solos for all the performers.
Interviews and Features
“Jeremy Rose and the art of persistence”, Rhythms Magazine, by Des Cowley, 2026.
“Jeremy Rose and the Open Sound of Australian Improvisation” Tonearm, 2026
CAREER SUMMARY
Jeremy Rose a Sydney/Gadigal based woodwind specialist, composer, band leader, label and festival director, whose music explores the intersection of socio-culture and genre, creating interesting and unique collaborative projects that span the globe. His music has been performed at festivals around Australia, Europe and the UK, and has relentlessly toured throughout Australia. Jeremy’s music often displays influences from folk, contemporary classical and intercultural music in a jazz context, with the result being lyrical yet highly inventive music. Jeremy’s vision is to be an artistic leader and champion of Australian jazz and adventurous music, providing leadership and a global reach for Australian music.
CURRENT ENGAGEMENTS
2025 University of Sydney, Conservatorium of Music – Lecturer in Music Industry
2009 Earshift Music label director
SELECTED AWARDS
2023 ARIA Award Jazz Album of the Year, The Vampires, Nightjar
2023 AIR Award nomination – Jazz Work of the Year, Face to Face
2022 AMC/APRA ART MUSIC AWARDS Winner, Improvised/Jazz Performance of the Year, Disruption! The Voice of Drums: Jeremy Rose and the Earshift Orchestra feat. Simom Barker and Chloe Kim
2021 AMC/APRA ART MUSIC AWARDS finalist for Improvised/Jazz Performance of the Year, Vazesh, The Sacred Key
2021 ARIA Award nomination, Jazz Album of the Year, Vazesh, The Sacred Key2019 AMC/APRA ART MUSIC AWARDS finalist for Excellence in Jazz
2018 AIR award finalist for Best Jazz Release Within & Without
2017 ARIA Award nomination, Australian Music Prize shortlisting, finalist Bell Award, AIR Award for The Vampires Meet Lionel Loueke
2017 Australian Jazz Bell Award - Best Produced Album – Iron in the Blood by Jeremy Rose & The Earshift Orchestra
2016 Curator for inaugural APRA Berlin Jazz Song Hub featuring US guitarist Kurt Rosenwinkel
2015 APRA Professional Development Award for Jazz
2014 Finalist: NSW Creative Achievement Awards
2013 Finalist: Freedman Jazz Fellowship, performance at Sydney Opera House
2013 Finalist: APRA/MCA Art Music Award Excellence in Jazz: Recording, Performance and touring
2012 Finalist: Freedman Jazz Fellowship, performance at Sydney Opera House
2012 Finalist APRA/MCA Art Music Award Jazz Work of the Year: River Meeting Suite
2009 Bell Award for Young Australian Jazz Artist of the Year
STUDIES
2023 Graduate Certificate in Higher Education
2017 OMI International Arts Centre Residency, New York2016 PhD Composition, Sydney Conservatorium of Music, Sydney University, Prof Matthew Hindson, Dr Christopher Coady
2014 Ensemble Offspring Hatched Academy, Composition
2016 PhD Composition, Sydney Conservatorium of Music, Sydney University, Prof Matthew Hindson, Ass. Prof Christopher Coady
2014-16 Australian Art Orchestra Creative Music Intensive
2013 Music Village, Greece – Balkan Music, Overtone Series
2011 Banff International Workshop in Jazz and Creative Music - Canada
2009 Banff International Workshop in Jazz and Creative Music - Canada
2009 BBM scholarship – London residency, composition and performance
2008 School for Improvisation – Brooklyn, New York City
2007 BMus (1st Class Honours), Jazz Performance, Sydney Conservatorium of Music, University of Sydney
2006 Exchange Program, Composition, Performance, Oslo University, Norway
GRANTS AND FELLOWSHIPS
2025 Music Australia - Record Label Development Scheme - Building Capacity for Earshift Music, $60,000.
2025 Creative Australia - Australian Jazz International Showcases: Disruption! & Svoboda/Kim/Duda at London & Jazztopad $24,149
2024 Sounds NSW: Creation and Promotion Grant, to create and promote a second album for Disruption! The Voice of Drums, $30,000
2024 Creative Australia: New Work grant to create Visions of Nar second album, $21,000
2023 Create NSW: To attend Performing Arts Market, Seoul, $5,000
2019 Australia Council of the Arts Career Development Grant: two-year mentorship with three industry experts and attend three European jazz network events $18,000
2017 Australia Council of the Arts: OMI International Arts Centre Residency, New York $5000
2016 Australia Council of the Arts: New Work, PPCA Recording Initiative: To tour and record The Vampires fifth album Lionel Loueke, produced by Lloyd Swanton $15,000
2013 Australia Council of the Arts: New Work - Iron in the Blood: Music inspired by Robert Hughes' The Fatal Shore $20000
2012 Australia Council of the Arts: New Work The Strides New Work and Workshop Residency at Campbelltown Arts Centre. Artistic director of collaborative creative development of 12 new works. Conduct Hip-Hop, Songwriting and jazz improvisation workshops with High Schools, Juvenile Detention Centre and Claymore Community Centre
2012 Ian Potter Cultural Trust to attend Music Village Workshop (Greece) on Balkan Music and Applications of Overtone Series $3000
2011 PPCA Trust Banff International Workshop in Jazz and Creative Music with The Vampires, $3000
SELECTED COMMISSIONS
Over Wind and Waves (2021) for Saxophone Quartet, for Nexas Quartet
Disruption! The Voice of Drums (2021) for Jeremy Rose & The Earshift Orchestra featuring Simon Barker and Chloe Kim, premiered at the Sydney Festival, 2021.
Aubade (2020), a suite of digital graphic scores for mixed ensemble, performed by the Earshift Orchestra
Liminality (2016) for chamber ensemble, performed by the Sydney Conservatorium Modern Music Ensemble
Border Control (2014) for piccolo/vibraphone, bass clarinet, trumpet and vibraphone, in three movements, performed by Ensemble Offspring
Rites for trumpet (2014) vibraphone and microtonal percussion, performed by Ensemble Offspring
In Wild Solitude (2013) saxophone quartet and choir (SATB) in three movements. Libretto from Watkin Tench’s 1788, Leichardt Expresso Chorus Choir
Between Worlds for saxophone and string quartet, three movements. Performed and recorded by Nick Russoniello with Acacia Quartet
River Meeting Suite (2011) for saxophone quartet, tabla, sitar, vocals and iphone, five movements
Released on Compass Quartet with Bobby Singh and Sarangan Sriranganathan CD: Ode to An AutoRickshaw (Earshift/MGM)
*Finalist in Art Music Awards – Jazz Work of the Year
Tango Suite (2019), for saxophone quartet, acoustic guitar and accordion, four movements
Released on Compass Quartet with Marcello Maio and Julian Curwin CD: Abrazo Tango (Tall Poppies)
SELECTED SCHOLARSHIP PUBLICATIONS
2024 Beat breakers and disrupting jazz norms through creative collaboration, Jazz Research Journal Special Issue (Nov)
2022 ARC linkage grant, R. Dean, S. Evans et al - ‘To map and enhance Australian musical improvisation as a creative industry’
2023 The Gathering Ground: Composing Collaboration in Nyilipidgi, a Dynamic Meeting of manikay and jazz, Jazz Perspectives
2022 Three decades of The Necks: Reciprocal Patterns of Improvised Music and Organisational Behaviour, Vol. 15 No. 1 (2022) - Critical Studies in Improvisation
2021 Memory and Mindfulness in the Musical Rituals of the Necks, Jazz & Culture
2016 Glocal Dialects in the Sydney Jazz Scene: Indigenisation Through the Influence of Oz Rock and Asian Musics, Context
SELECTED PERFORMANCES
2024 The Vampires – 10 date Europe Tour, New Colours Festival Cologne, Australian Jazz Showcase New Morning, Paris.
2023 The Vampires – Nightjar 16 date Australian Tour
2022 Disruption! The Voice of Drums, Melbourne Recital Centre, presented by Melb Int’l Jazz Fest2021 Jeremy Rose & The Earshift Orchestra – Disruption! The Voice of Drums, featuring Simon Barker and Chloe Kim, presented by Sydney Festival
2021 Visions of Nar - SIMA International Women’s Jazz Festival, Sydney Opera House
2021 Earshift Music Festival – 10-day online series of performances and artist chats hosted by Jeremy Rose
2020 Vazesh live at Utzon Room, Sydney Opera House
2020 Visions of Nar live at Joan Sutherland Performing Arts Centre, Penrith NSW
2020 Jeremy Rose & The Earshift Orchestra – Iron in the Blood, City Recital Hall, presented by Sydney Festival, Sydney Writers’ Festival
2019 Artist in residence, Four Winds Festival, Barraga Bay NSW.
2019 The Vampires – 9-show Germany, Austria, Czech Republic
2019 The Vampires – 18-show Australia Tour
2018 Jeremy Rose Within & Without Quartet featuring Kurt Rosenwinkel: Germany and Austria tour
2018 The Vampires 12-show Australian Tour
2017 Jeremy Rose Quartet: international shows including Cape Town, Vienna, Toronto
2017 The Vampires European Tour: Paris, Edinburgh, Berlin, London, Vienna
2016 The Vampires with Lionel Loueke Australia tour: Melbourne, Brisbane, Perth and Sydney International Jazz Festivals
2016 WOMADelaide Festival with The Strides
2015 The Vampires UK, Germany and Italy tour, Love Supreme Festival, Glasgow and Edinburgh Jazz Festivals
2014 Germany Tour, Jazzahead Festival with The Vampires
2014 featured saxophonist on The Voice TV Show
2012 Tour of Norway with Jeremy Rose’s Chiba, sideshow in Holland
2012 Solo Benefit concert in Peurto Plata, Dominican Republic
SELECTED RELESES
2024 Jeremy Rose and the Earshift Orchestra – Discordia (Earshift Music)
2023 The Vampires – Night Jar Featuring Chris Abrahams (Earshift Music)
2023 Visions of Nar – Daughter of the Seas (ABC Jazz/Earshift Music)
2022 Jeremy Rose – Project Infinity: Live at Phoenix Central Park (Earshift Music)
2021 Vazesh – The Sacred Key (Earshift Music)
2019 The Vampires – Pacifica (Earshift Music)
2017 Jeremy Rose – Within and Without feat. Kurt Rosenwinkel (Earshift Music)
2017 The Vampires – The Vampires Meet Lionel Loueke (Earshift Music)
2016 Context: A Journal of Music Research (issue 41 2016) Glocal Dialects: the Indigenisation of Oz Rock in the Sydney Jazz Scene
2016 Jeremy Rose & the Earshift Art Orchestra Iron in the Blood, A Musical Adaptation of Robert Hughes’ The Fatal Shore (ABC JAZZ)
2015 Jeremy Rose Quartet – Sand Lines (Earshift/MGM)
2015 The Strides – The Youth The Rich & The Fake (Earshift Music/MGM)
2013 The Vampires – Tiro (Earshift Records/Fuse)
2013 Compass Quartet with Jackson Harrison – Oneirology (Earshift Music)
2012 The Vampires – Garfish (Earshift Records/Fuse)
2011 The Strides – Reclamation (Earshift Records/Fuse)
2011 Compass Quartet with Bobby Singh and Sarangan Sriranganathan – Ode to an Auto Rickshaw (Earshift Records/Fuse)
2009 The Vampires – Chellowdene (Earshift Records/Fuse)
2009 Jeremy Rose – Chiba (Earshift Records/Park Grammofon)
2009 Compass Quartet with Marcello Maio and Julian Curwin – Abrazo Tango (Tall Poppies)
2009 The Strides – The Strides (Earshift Records/Fuse)
2008 The Vampires – South Coasting (Jazzgroove)