Tag Archives: Robert Hurst


REVIEW: Jamie Oehlers Quartet featuring Robert Hurst  — Jamie Oehlers saxophone, Robert Hurst bass, Tal Cohen piano, Jacob Evans drums — at Bennetts Lane, Melbourne, Friday, June 1 at 11pm for Melbourne International Jazz Festival 2012

Robert Hurst

Robert Hurst

For reasons I don’t need to go into here I have been attending some career transition courses at work. One tip the instructor gave — and this has nothing whatsoever to do with this MIJF gig — is that before looking for a job it is vital to remove all images of yourself from social media such as Facebook, because prospective employers may check your profile, take one look and decide “he’s too old” or “I can’t stand bald people” or some such. Interesting. But I digress. What is slightly connected to this review is that the instructor also warned that in job interviews it is important to avoid waffle. Well, I can feel some waffle coming on. Be warned.

To be honest, I suspect I’m tempted to indulge in palaver because I don’t have that much to say. How can that be, with players such as Jamie Oehlers and US bassist Robert Hurst performing in an intimate venue such as Bennetts Lane? I love Oehlers’ work and have waxed lyrical about it, especially with Paul Grabowsky and Dave Beck in the exciting and totally improvised playing of Lost and Found.

Jamie Oehlers

Jamie Oehlers

Well, the mundane realities were that this was my third gig for the night, that I’d just been blown away by Bernie McGann‘s two sets and that I had to miss the second set by the Oehlers quartet in order to make the last train home. Also, I was not really in the mood for the onslaught of sax power that Oehlers unleashed. My bad. Somehow, like a wave that you don’t quite catch, it came at me but failed to pick me up and carry me in.

Others loved this outing.  I can quote respected jazz writer Andra Jackson, herself a saxophonist, who commented on this gig via social media in these words: “PHEN-omenal unofficial opening gig for the Melbourne International Jazz Festival last night from saxophonist Jamie Oehlers. Can it get much better than that! Such seamless playing on Aisha. And in one extended passage he even sounded like he was playing two instruments, playing an insistent riff and bringing in a melody over it.”

And, according to Andra, saxophonist George Garzone was at Bennetts and said he’d never heard Oehlers in better form.

Jacob Evans

Jacob Evans

I was not familiar with Hurst, but his website mentions that he featured on 12 tracks from Paul McCartney‘s Kisses on the Bottom and on Chris Botti‘s Impressions, and toured the US with Diana Krall this year. His
Unrehurst Vol 2
and Bob Ya Head were critics’ picks for best albums of 2011.

In the first set at Bennetts, the quartet began with the energetic Hurst original Tiger’s on Venus, which was hard-driving stuff throughout. I felt Hurst’s work was exemplary and virtuosic, but lacked the warmth of a player like Charlie Hayden.

Hurst & Oehlers

Hurst & Oehlers

Next up was McCoy Tyner‘s Ballad for Aisha. Oehlers was doubly impressive in this, playing two very different solos during the piece — one intense and the other relatively laid back. Jacob Evans used his hands effectively on the skins. Hurst’s solo had space and dignity.

Jamie Oehlers

Jamie Oehlers

The final piece for the set was Hurst’s original Aycrigg, I think named for a street in which he once lived. This was a return to the faster pace and vigour of the opening and certainly gave us a chance to see Hurst’s nimble fingers at work at an incredible speed. If Tim Davies impressed with his drumming speed at Stonnington Jazz, Hurst certainly demonstrated his skill at speed on the bass.

Tal Cohen

Tal Cohen

I suspect that the second set delighted those in the audience who were up for a hard-driving quartet in the mood to take no prisoners.

On the last train home, my strongest memories were of Bernie McGann standing almost unmoving on stage as his playing moved us.




Hiromi is among artists who will fly Qatar Airways to Melbourne. (All About Jazz image)

Ausjazz blog previews the Melbourne International Jazz Festival 2012, which was launched on March 13:

The hubbub on level 24 of The Langham in Melbourne gave way to attentive silence yesterday evening as Murphy’s Law treated the assembled multitude to about four minutes of Big Creatures & Little Creatures: The Modular Suite.

The music was a welcome relief from the necessary formalities of the official launch of this year’s Melbourne International Jazz Festival, which will run from June 1 to June 10.

If the fragment of this commissioned work by Tamara Murphy was any indication, its full performance at Bennetts Lane as part of the festival’s Club Sessions will be compelling.

And if the question on everybody’s lips as program details emerged was how the festival’s focus under artistic director Michael Tortoni would differ from its direction under Sophie Brous, the real story of the night was about a key sponsorship.

As Melbourne’s music glitterati watched a promotional video about the delights of the Middle East state of Qatar, it was dawning on us all what a coup it was to bag Qatar Airways as a festival sponsor. The benefit is obvious — it will be much cheaper to fly in international artists, thus countering to some extent the isolation of Australia from the jazz hotspots of the United States and Europe.

So who are the big names and what is the flavour of this festival? Tortoni described the focus as “jazz royalty alongside the voice of a rising generation” and said MIJF 2012 was “all about what jazz is when the talking stops and the music starts”. Well, every festival has to have its catchphrases, but to take up his theme with another well-worn phrase, the proof of the pudding is in the eating.

An initial glance at the program shows it is not overly adventurous, and represents less of a challenge — or an enticement — to audience groups on the fringes of more straight ahead jazz. The very popular multi-stage day of music madness and mayhem at Melbourne Town Hall will not take place this year, due to an absence of sponsorship and most likely of Sophie Brous. That’s a pity, because that gave the recent festivals a welcome edge that it must now fall to the Melbourne Jazz Fringe Festival to fill.

The main international artists include pianist McCoy Tyner revisiting the 1963 John Coltrane and Johnny Hartman album, this time with vocalist Jose James and saxophonist Chris Potter.

Potter will also perform some of his own material with Sydney’s Jazzgroove Mothership Orchestra as well as some commissioned Australian material. This should be exciting.

James will also feature in the Robert Glasper Experiment, “an Australian premiere event that smashes stylistic boundaries to reshape the future directions of jazz” by “taking hip-hop, R&B, soul and post-modern jazz to never-before-seen places”.

For lovers of Billie Holiday and Sarah Vaughan, US vocalist Dee Dee Bridgewater will visit Melbourne for the first time, and also from the ‘States’, Patti Austin will perform a tribute to Ella Fitzgerald with one matinee and one evening performance.

The familiar vocal extravaganza at the Palais this year is entitled “The Way You Look Tonight” featuring Katie Noonan, Vince Jones and Kristin Berardi in an opening night gala.

Likely to attract a much younger audience will be keyboardist-composer Hiromi (Japan/USA) who blends jazz with progressive rock and classical styles. Her first concert will open with US bassist Robert Hurst joining locals Jamie Oehlers and Dave Beck.

Hiromi’s second gig will be a double bill with the Israeli Eli Degibri Quartet, featuring 16-year-old prodigy Gadi Lehavi on piano.

A film-themed package will feature five-time Grammy Award winner and cinematic composer Terence Blanchard on trumpet (in a quartet with Brice Winston on tenor, Fabian Almazan on piano and Kendrick Scott on drums), Australia’s Joe Chindamo performing his arrangements of Coen Brothers film music and an ACMI Jazz on Film program.

The Salon at MRC will host three concerts with Monash University under the Jazz Futures banner featuring the Terence Blanchard Quintet, The Fringe (with George Garzone on sax) and Tarbaby (with Oliver Lake on alto sax).

The Fringe and Tarbaby will also perform at a new venue for this festival, the Comedy Theatre. These outings should keep us awake.
From Europe will come bassist Renaud Garcia-Fons, appearing in the Arcoluz Trio at the MRC after a real highlight opener of pianist Luke Howard with Janos Bruneel (Belgium) on bass.

Samuel Yirga Quartet from Ethiopia will feature the piano prodigy at the Comedy Theatre, opened by locals The Black Jesus Experience.
For lovers of the Hammond B3 (and I’m one), Dr Lonnie Smith (USA) will perform at Bennetts Lane.

In the Club Sessions, Motif from Norway will feature along with Robert Hurst and the Luca Ciaria Quartet from Italy.
Allan Browne Sextet will celebrate the launch of Conjuror — a collection of his jazz poetry — in two sets which should be a festival standout. Sandy Evans will join Lloyd Swanton and Toby Hall for a special closing night celebration presented with the Melbourne Jazz Cooperative.

The Melbourne International Jazz Festival opens on June 1.