ERIC MYERS REVIEWS 1980-87
Eric Myers was the Sydney Morning Herald’s inaugural jazz critic, his first review appearing on February 2, 1980. This folder contains reviews and articles written by Myers up to his resignation in 1982. Text published in the newspaper is reproduced here, with the addition of photographs which may or may not have appeared in the newspaper. In 1983 Myers moved to The Australian, where he was that paper’s jazz critic, until he resigned towards the end of 1987. His reviews for that newspaper appear also in this folder. Articles which appeared in other publications are included here, if they serve to document the performances of Australian jazz musicians. Readers can click on the INDEX button for a list of reviews or articles in this folder.
Vince Jones
VINCE JONES: RECALLING THE YEARNING QUALITY OF EARLY MILES DAVIS
by Eric Myers
The Australian, November 26, 1986
If this performance by the Melbourne singer Vince Jones was a little disappointing in some respects, it's because we have come to expect a lot from this young man, who is now one of the most popular drawcards in Australian jazz. The usual elements which make him appealing to such a wide audience were there, of course: a solid dose of R & B; some boppish, swinging jazz; the splendid guitar work of Doug De Vries; Jones's own trumpet work, which recalls the yearning quality of early Miles Davis; and his riveting ability to handle a ballad. He has even developed a modest element of social criticism, particularly in his own compositions, and his popularity has given him a platform...
Jane Rutter
THE POSH: MIXING UP STYLES AND THE AUDIENCE
by Eric Myers
The Australian, December 15, 1986
Can a small four-piece ensemble, playing a mixture of classical chamber music, contemporary funk/pop and improvised jazz, successfully integrate those three idioms? This was the question raised by The Posh (POSH is an acronym for People Of Sydney Harbour) in its first concert on Saturday night — a short and sweet performance so pleasant that seemed to be over before it began. The group included Jane Rutter (flute), Sally Schinkel (cello), John Huie (guitar and vocals) and Andrew Wilkie (vibes and marimba). They were joined by Chris Soulos (electric bass) and a drum synthesiser for the pop tunes…
Georgie Fame
GEORGIE FAME: SOMETHING FOR EVERYONE
by Eric Myers
The Australian, January 8, 1987
This may be Georgie Fame's ninth tour of Australia but, on the evidence of this opening performance, no-one will be saying we've heard it all before. Fame had something for everyone. He opened each of his two sets with a tribute to Mose Allison, singing to his own accompaniment on the Hammond organ. In the first set it was Parchment Farm, and in the second I Live the Life I Love. He loyally ran through his big hits of yesteryear: Yeh-Yeh, Get Away, Seventh Son, even The Ballad of Bonnie and Clyde, which Fame apparently detests. Still, his subtle changes to the song's irritating melody line were enough to render it enjoyable. A new element in Fame's program is some George Gershwin material...