Jeremy Rose impressed with the Vampires and with his conceptual album Iron in the Blood from 2015, he emerged as composer with something to say. But it is as an instrumentalist he has emerged as one to watch on the Australian jazz scene. With the ensemble Vazesh – his collaboration with Hamed Sadeghi on tar (an Iranian long-necked lute-like instrument also found in Central Asian countries) and the Necks' bassist Lloyd Swanton – Rose demonstrates why he is so highly thought of in Oz. Vazesh is a challenging musical environment for a lead voice, if only because the compositions (there are two on this album, ‘Hypolimnion’ at 28:51 and ‘Thermcline’ at 22:46), open up vast swathes of static harmony.

Although self produced by Vazesh, different production ears might have said, “Do you really think opening an album with four minutes of unaccompanied tar is a good idea?” But we have fast forward.

Using melismatic bends, Rose’s soprano remained idiomatically in synch with Sadeghi, before moving closer to the well tempered scale with an implication of harmonic movement through related harmonies. He avoids monotony of tone by moving between soprano sax, tenor sax and bass clarinet, and throughout sustains interest on all instruments through his buoyant invention; never seeming to flag or at want for new ideas, he is that rare thing, an improvisor you want to hear more from.