Eric Myers Jazz

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.

BEBOP FOUNDER STILL TAKING FANS TO DIZZY HEIGHTS

by Eric Myers

The Australian, January 13, 1987

When Australians hear trumpeter Dizzy Gillespie this month they will be hearing not only one of the most creative musicians of the 20th century — as important to jazz as Stravinsky and Ravel are to the classical idiom — but also one of the great characters of American music. Gillespie’s lifetime has been peppered with zany incidents, but he is the only major jazz artist with the audacity to have run for President of the United States. During the Johnson-Goldwater campaign of 1964, he entered the race, saying the country needed a president “willing to swing”…

DIZZY GILLESPIE: TOO MANY JOKES

by Eric Myers

The Australian, January 19, 1987

Dizzy Gillespie is such a revered figure in jazz, with such a legacy of achievement, that it seems churlish to snap at his heels. For me, as for most jazz enthusiasts, he really can do no wrong. Still, as entertaining and heartwarming as this performance was, many people left the Entertainment Centre disappointed. Certainly, there were many delightful moments in the concert…

MIKE NOCK NEW ELECTRIC BAND: FUSION WITH THE TRADITIONAL

by Eric Myers

The Australian, January 21, 1987

There is a key question facing modern jazz musicians in Australia whose music reflects contemporary developments in the art form. Can they devise musical forms that do not betray their creative integrity, yet enable them to reach a wider audience, especially amongst the young? The pianist Mike Nock has gone some way towards solving this dilemma. From the evidence of this first performance of his quartet, New Electric Band — before a substantial audience —he now has an impressive repertoire of compositions which should deliver him a strong following, if this quartet can continue performing…