Gone, Without Saying
‘…this was truly a unique experience in jazz – atypical, diverse, distinctive, unrelated, singular.’ – Eric Pozza (Canberra Jazz Blog).
‘The audience packed into BMW Edge had never quite heard anything like Slater’s adventurous and highly inventive offering…There was no doubting the work’s artistic success when on completion it received a standing ovation.’ – Andra Jackson (The Age), 2010.
‘Something pure and ethereal touched me about the performance. I was lost in a world created by Slater’s music and even now, when I think about that night, I don’t visualise the choir as they were – ‘down there’ on the stage. I seem to be among them, in my mind’s eye, and bathed somehow in whatever it was that she had created and that she and the choir were jointly offering to the audience.’ – Miriam Zolin (Jazz Planet).
‘…the singers took us on a journey of discovery that was audibly rich and yet brimming with subtlety..’ – Roger Mitchell (Ausjazz blog).
“‘Gone, Without Saying’ is a work of inventive experimentation with strange vocal contortions that held an enraptured audience across every note, tick, squeak and flutter…led by the work’s composer Gian Slater, who has an incredible vocal range with a vocal clarity of which many singers could only dream.’ – Clinton White (City News Canberra).
Us & Others
‘…The uniqueness of Gian’s vocal writing style was sung to perfection by the Invenio Choir..Gian is doing innovative things for the modern day chorister..’ – Simon Mavin (Blank Tape)
‘Slater is not just a conductor-composer but a composer-sound engineer, using real breath and meat to produce tape-era special effects. Or perhaps even effects of the digital age. Is not the layering of semi-improvised voices a product of today’s cheap and accessible recording equipment? …The technology that gave rise to Björk’s Medulla and Camille’s Le Fil? If so, then Us & Others, with its focus on the physicality of music-making, is a work of togetherness-making, the establishment of a community of enjoyment that encompasses not only 18 incredibly talented singers and four virtuosic percussionists, but the audience that leaves humming their tunes.’ – Mathew Lorenzon (real time arts)
‘…the performance that made the most powerful impression came from New York-based Australian pianist Barney McAll. His visionary new work Graft (featuring two pianos, vibraphone and a 16-voice choir) combined soulful grooves, electronics, ethereal harmonies and exquisite lyricism.’ – Jessica Nicholas (The Age).
‘ The singers stepped hypnotically, accurately, through odd intervals with a feeling of ancient ritual, and sometimes the sopranos pierced the soul with high, pure radiations …indeed this music sounded at times like the ritual utterance of a vanishing race.’ – John Clare (Sima).
“Gian Slater’s Invenio” – Review, Andra Jackson, The Age
“Barney McAll’s creeping unease” – Miriam Zolin, Jazz Planet on Graft
“Best Independent Jazz Album nomination for Barney McAll’s Graft (Jazzhead)” – Australian Independent Record Labels Association
Review: Festival triumph for jazz junkies – Clinton White, City News Canberra
“Night of extremes, pt.1″ – Eric Pozza, Canberra Jazz Blog
“Wangaratta Jazz Festival 2011″ – Des Cowley, Rhythms Magazine
“Review: Wangaratta International Jazz Festival 2011″ – John Clare, SIMA
“Us and Others At The Malthouse” – Simon Mavin, Blank Tape Music.
“Gian Slater’s ‘Gone, without saying” – Miriam Zolin, Jazz Planet.
“Melbourne Jazz Fringe Festival APRA Composer’s Commission Premiere” – Andra Jackson, The Age.