MusiciansHamish Gullick

Hamish Gullick is a double bassist born and raised in Sydney. He has had a broad musical upbringing, ranging from the St James and St Andrews Baroque Bands on period instruments, to the Sydney-based Mythra Ensemble, performing a range of Kurdish, Armenian, Persian as well as modern fusion works.

Hamish had his first double bass lessons when he was 12 with late jazz great Ed Gaston. From 2013-16 he studied on scholarship at the Sydney Conservatorium with Kees Boersma and later Alex Henery. In 2019 he commenced training with Damien Eckersley at the Australian National Academy of Music (ANAM). During his studies he played in masterclasses for Dominic Seldis, (former Principal Double Bass, Royal Concertgebouw) Owen Lee, (Principle Double Bass, Cincinnati Symphony) and Hiroshi Ikematsu, (Former Principal NZSO, NHK Symphony).

With a voracious appetite for new sounds, Hamish regularly listens to music ranging from the lopsided beats of J-Dilla, to the new Appalachian sounds of Chris Thile and Edgar Meyer, on top of a wide range of western art music culminating in a pursuit of unconventional repertoire and interpretation.

Hamish has premiered a number of solo and accompanied double bass works for Australian composer Jim Coyle. Recently, he was involved in the Australian premiere of Gemma Peacocke’s song cycle Waves and Lines with the Rubiks Collective at the Metropolis Festival, and the world premiere of Stuart Greenbaum’s Sonata for Double Bass and Piano Continental Drift at ANAM.

Over recent years, Hamish has worked as a casual musician with the Sydney, Melbourne, New Zealand and Tasmanian Symphony Orchestras as well as the Auckland Philharmonia Orchestra. He has also been fortunate to play chamber music at ANAM with Gregory Ahss, Lisa Moore and Nick Deutsch.

Musician Beneficiary Support generously provided by ANAMsyndicate – Jenny Tatchell, Margaret Plarre, Gillian McIntosh, Charles Wilkins & Carolyn Paulin, Ken Schroder, Nadene Gilmore & Chris Ferdinands, Michael Elliott

Photo and video by Pia Johnson

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