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.

BOB BARNARD AT THE MARBLE BAR

by Eric Myers

Sydney Morning Herald, June 11, 1981

At the Marble Bar on Tuesday night I was struck by the fact that Sydney is probably the only city in the world where one can go and hear a superb jazz trumpeter — perhaps the finest in the world in his idiom — without paying a cover charge, and being fed free oysters for the privilege. The player in question, Bob Barnard, is now considered by some critics as Australia's greatest jazz musician. That he is a magnificent trumpet player is unquestioned. What is more remarkable is that his mastery is located in the traditional jazz, or dixieland, idiom - that form of jazz which, in terms of the evolution of the music, was very much a spent force by 1930. By crystallizing the insights of Louis Armstrong and other great pre-bebop trumpeters, Barnard has raised this form of jazz into high art, so that it is still full of life today…

TEX BENEKE ORCHESTRA: ARE YOU IN THE MOOD?

by Eric Myers

Sydney Morning Herald, June 16, 1981

It would be churlishly elitist to be critical of 2CH's “Tribute to Glenn Miller” concerts over the weekend at the Opera House. It is true that the Glenn Miller Orchestra was probably the blandest of the great swing era bands, but the presentation once again of the original arrangements obviously still gives much pleasure to the converted. The concert I attended on Saturday afternoon was a resounding success. With the Concert Hall packed to the rafters, about 2,500 people reacted warmly to an exercise in nostalgia. It was presented with such professional ease and engaging humour that non-believers were carried away too…

JAMES MORRISON QUINTET: FIERY SWING TO BEBOP ROOTS

by Eric Myers

Sydney Morning Herald, June 23, 1981

As if to reinforce the view that some styles of modern jazz have reached creative dead-ends, a new generation of young musicians in Sydney is taking jazz back to fundamental principles. In the forefront of this movement is the James Morrison Quintet, now appearing on Wednesday and Friday nights at the Paradise Jazz Cellar. Other than the leader on trumpet and piano, the group includes Paul Andrews (alto saxophone and vocals), Steve Brien (guitar), David Pudney (bass) and John Morrison (drums). They are playing a rare brand of fiery, honest and committed jazz — a kind of music which reminds the listener not so much of what jazz is today, but of what it once was before it became troubled and introspective…