Jeremy Woolhouse

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Tunes by Jeremy Woolhouse


As a pianist and composer, Jeremy Woolhouse has been commended for lyrical melodies and elegant use of harmony. He received critical acclaim for recordings and performance in his original jazz-tango group Estuary Three, jazz trio Woolhouse-Michailidis-Robertson and solo project The Persistence of Dreaming. Jeremy leads Silverbeat Quartet and performs in number of outstanding projects for festivals, jazz clubs and concert venues.

Jeremy teaches piano to students wanting to have fun playing piano, and those looking for professional or personal development. He is always keen to share his passion for piano and for jazz. Jeremy considers it a privilege to be able to help others enjoy music and be part of each student’s development. He enjoys teaching general piano and jazz to pianists of all ages and levels and especially loves introducing jazz to classical players. Jeremy has a special interest in musicians’ health. His work in Alexander Technique complements his performance and teaching experience and gives him a unique perspective on helping others build performance confidence.

As a performer, Jeremy explores the reflective and meditative qualities of musical narrative. His compositions are moving and evocative.  Jeremy's simple, understated sound is inspired by the aesthetics of ECM jazz recordings.

Jeremy received critical acclaim for his composition, recordings and performance in Woolhouse-Michailidis-Robertson, Birchall and Woolhouse and Silverbeat projects.  His signature melodic lyricism and elegant use of harmony shine in a style which fuses jazz, classical and South American music.

Jeremy has accumulated experience teaching Alexander Technique to performing artists for professional development, injury rehabilitation, RSI and pain management.  He works with a diverse range of students, applying Alexander Technique to a host of conditions and professional applications.




Piano trio albums—piano, bass and drums—may be the more common means of artistic expression in jazz, but piano/bass duet sets come long fairly often, too. Bassist Charlie Haden is a master of the approach, proof of which can be found on his teamings with pianists Keith Jarrett and Hank Jones on, respectively, Jasmine (ECM Records, 2011) and Come Sunday (EmArcy, 2012); and add to the list of superb pairing 2011's Insight (Pirouet Records, 2009), with pianist Marc Copland and bassist Gary Peacock, a subtle, spacious, understated gem of the genre. Now bassist Shannon Birchall and pianist Jeremy Woolhouse, based in Australia, combine their talents on the inward-looking The Scenery of Life Unfolding, a follow-up to pianist Woodhouse's solo outing, Persistence of Dreaming (Self Produced, 2013). Woolhouse, who composed all the music on The Scenery of Life Unfolding, creates tunes that are spacious, brooding, unpretentious in their delivery, and unfailingly lovely. His dialogues with Birchall have cinematic feeling—a laying out of life's passages that are meant to be savored and deeply considered. He is philosophic in his making of music. With his supple touch, classically-tinged harmonics, and his beautiful way with a melody, comparisons to Bill Evans wouldn't be out of line. The music of here has a feeling a depth and erudition, infused with moments of folk song simplicity and child like wonder at the artists' immersion of in-the-moment experience of The Scenery of Life Unfolding.
- Review by Dan McClenaghan for All About Jazz Published: February 17, 2014
Pianist and composer Jeremy Woolhouse and bassist Shannon Birchall combine their considerable musical talents on this album. Echoes of Emptiness and Optimist's Folly have Birchall bowing the bass, both tunes having an introspective feel. Virtual Affection, one of three compositions on the album based on the poetry of Lisa Chappel, has a light, playful melody by contrast. A Latin flavoured Tears for Summer adds to the variety of tempos offered. Title track The Scenery of Life Unfolding brings a gospel feel to the mix. All ten compositions are beautifully played and the recording quality is a credit to recording engineer Hadyn Buxton. Evocative and enjoyable.
- Review by Don Brow for Jazz Scene Vol 14, Issue 6 Published: 1st March 2014