Flock (2014)
“Great Waitress pokes sounds into your ears you didn’t expect to find there. Often you don’t even notice them being poked in, because the musicians do it so subtly, even surgically, letting minuscule sounds grow to larger ones once they’re already well inside. … Recorded live, the two long, gentle improvisations are so engaging that they steadily draw you into an aesthetic world where little events have big impacts, and where surprise is a word with soft edges rather than hard. Sit, listen and become enchanted, or use it ambiently while painting a picture of the deepest secret in your mind.”
The Sydney Morning Herald – by JOHN SHAND
“…it was authentic pleasure for me to enjoy this concisely intense second chapter by three musicians who don’t like wasting time with enthusiastic idealism…”
Touching Extremes – by Massimo Ricci
“…Flock creates an uncanny listening experience. The results don’t sound random or without some “greater” governing order or logic, but they also can’t be easily pinned to human agency. For this reason, it’s both exciting and unsettling: we know that these three musicians created what we hear, that it is a direct product of their considerable talent, and yet we are haunted by a sense that there’s some other element at work, something we won’t ever be able to unmask. This isn’t to suggest some mystical or divine hand was lent to Great Waitress—it is solely the work of three impressive musicians—only that the result of their collaboration transcends our ability as listeners to fully grasp how everything comes together just so. And so it is.”
The Free Jazz Collective – by Dan Sorrells
Lucid (2011)
“…blurring of instrumental identities in a collective exploration of timbral and textural possibilities…”
“…music – or rather, I’d argue, sound-art – that results from careful, minute attention to production of individual sounds…”
The Wire, October 2011 – by Andy Hamilton
“If spiders have musical dreams while spinning webs, they might sound like the fragile wisps of sound created by Great Waitress.”
Sydney Morning Herald, December 9, 2011 – by John Shand
“Fragile and solid at the same time. Like touching the wings of a butterfly…”
The Free Jazz Collective – by Stef
“Whatever music the combination of clarinet and accordion conjures up in the imagination, it is highly unlikely it will match that produced here.”
All About Jazz – by John Eyles
“…lucid improvisation that doesn’t revel in compulsive freak-outs or stagnant passages.”
“A whole journey through the musical spectrum, requiring your full attention. It left me breathless, and I’m sure you will to. Excellent stuff.”
Vital Week 792 – by Frans de Waard
Live performances
“This trio exemplifies what I find most interesting about improvised music: each musician equally in the moment, equally open to discovery, listening at the very deepest level and choosing their techniques in relation to each other, to create an absorbing, cohesive whole.”
the NOW now Festival, 2009 – RealTimeArts – by Gail Priest
“It was a joy to witness another instalment of the Great Waitress”
Sound Out Festival, 2011 – RealTimeArts – by Gail Priest
Great Waitress 