performances: Han-earl Park, Dominic Lash and Mark Sanders (Birmingham and London, October 2014)

Han-earl Park, Dominic Lash and Mark Sanders
October 2014: performances by Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums), Birmingham and London, England.

See the performance diary for up-to-date info.

about the performers

Improviser, guitarist and constructor Han-earl Park has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces across Europe and the USA.

Park engages a radical, liminal, cyborg virtuosity in which mind, body and artifact collide. He is driven by the social and revolutionary potential of real-time interactive performance in which tradition and practice become creative problematics. As a constructor of musical automata, he is interested in partial, and partially frustrating, context-specific artifacts; artifacts that amplify social relations and corporeal identities and agencies.

Ensembles include Mathilde 253 with Charles Hayward and Ian Smith, Eris 136199 with Nick Didkovsky and Catherine Sikora, and Numbers with Richard Barrett. Park is the constructor of the machine improviser io 0.0.1 beta++, and instigator of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Mark Sanders, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder, and as part of large ensembles led by Wadada Leo Smith, Evan Parker and Pauline Oliveros.

Festival appearances include Freedom of the City (London), Sonorities (Belfast), ISIM (New York), dialogues festival (Edinburgh), CEAIT (Los Angeles) and Sonic Acts (Amsterdam). His recordings have been released by labels including Slam Productions, Creative Sources and DUNS Limited Edition.

Park taught improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.

“Guitarist Han-earl Park is a musical philosopher…. Expect unexpected things from Park, who is a delightful shape-shifter….”

Brian Morton (Point of Departure)

Dominic Lash is a freely improvising double bassist, although his activities also range much more widely and include playing bass guitar and other instruments; both writing and performing composed music; and writing about music and various other subjects.

He has performed with musicians such as Tony Conrad (in duo and quartet formations), Joe Morris (trio and quartet), Evan Parker (duo, quartet and large ensemble) and the late Steve Reid. His main projects include The Dominic Lash Quartet, The Set Ensemble (an experimental music group focused on the work of the Wandelweiser collective) and The Convergence Quartet.

Based in Bristol, Lash has performed in the UK, Austria, Finland, France, Germany, the Netherlands, Norway, Spain, Switzerland, Turkey and USA. For nearly a decade he was based in Oxford and played a central role in the activities of Oxford Improvisers; much of 2011 was spent living in Manhattan. In 2013 and 2014 he is taking part in Take Five, the professional development programme administered by Serious.

Festival appearances include Akbank Jazz Festival (Istanbul), Audiograft (Oxford), Freedom of the City (London), Huddersfield Contemporary Music Festival, Hurta Cordel (Madrid), Konfrontationen (Nickelsdorf), LMC Festival (London), Manchester Jazz Festival and Tampere Jazz Happening.

His work has been broadcast on a number of radio stations, including BBC Radios 1 and 3 and Germany’s SWR2, and released on labels including Another Timbre, b-boim, Bead, Cathnor, Clean Feed, Compost and Height, Emanem, Erstwhile, FMR, Foghorn, Leo and NoBusiness.

Since moving to Bristol he has been involved in organising concerts under the banners of Bang the Bore and Insignificant Variation. A new venture is the monthly series happening every second Wednesday at the Arnolfini entitled Several 2nds. Events include performances, workshops, film screenings and discussions.

“Following in an illustrious lineage from Barry Guy through Simon Fell… breathtaking.”

John Sharpe (All About Jazz)

Mark Sanders has played with many renowned musicians from around the world including Evan Parker, Peter Brotzmann, Derek Bailey, Myra Melford, Paul Rogers, Henry Grimes, Roswell Rudd, Okkyung Lee, Barry Guy, Tim Berne, Otomo Yoshihide, Luc Ex, Ken Vandermark, Sidsel Endresen and Jean Francois Pauvrois, in duo and quartets with Wadada Leo Smith and trios with Charles Gayle with Sirone and William Parker.

New collaborative projects include ‘Riverloam Trio’ with Mikolaj Trzaska and Olie Brice, ‘Asunder’ with Hasse Poulsen and Paul Dunmall, duos with John Butcher and DJ Sniff, ‘Statics’ with Georg Graewe and John Butcher, and trio with Rachel Musson and Liam Noble.
Mark and John Edwards play as a rhythm section with many groups including Trevor Watts Quartet, ‘Foils’ with Frank Paul Schubert and Matthius Muller, Mathew Shipp’s ‘London Quartet,’ also playing with Fred Frith, Wadada Leo Smith and Shabaka Hutchins amongst many others.
Christian Marclay’s ‘Everyday’ project includes Mark with Christian, Steve Beresford, John Butcher and Alan Tomlinson, he also works regularly in the projects of Mikolaj Trzaska, Gail Brand, Paul Dunmall, Peter Jaquemyn, and Simon H. Fell.
Mark has performed in the USA, Canada, Brazil, Japan, Morrocco, South Africa, Mozambique and Turkey, playing at many major festivals including, Nickelsdorf, Ulrichsburg, Glastonbury, Womad, Vancouver, Isle of Wight, Roskilde, Berlin Jazz days, Mulhouse, Luz, Minniapolis, Banlieue Bleues, Son D’hiver and Hurta Cordel.

He has released over 120 CDs.

“A gifted player capable of seamless movement between free-rhythms and propulsive swing.”

John Fordham (The Guardian)

updates

10-24-14: add link to LUME page and Fizzle listings.

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performance diary 08-16-14 (Birmingham, Cork, London)

upcoming performances
date venue time details
September 28, 2014 The Roundy
Castle Street
Cork, Ireland
8:30pm (doors: 8:15pm) Han-earl Park (guitar), Roslyn Steer (bass) and Dan Walsh (drums), with Caroline Pugh (voice) and Tony O’Connor (bass).
Admission: One euro note (€5/10/20…).
[Details…] [The Roundy page…]
October 20, 2014 The Roundy
Castle Street
Cork, Ireland
8:30pm (doors: 8:15pm) Han-earl Park (guitar), Roslyn Steer (bass) and Dan Walsh (drums), with John Godfrey (guitar) and Kevin Terry (guitar).
Admission: One euro note (€5/10/20…).
[Details…]
October 28, 2014 The Lamp Tavern
Barford Street
Birmingham B5 6AH
England
8:00pm Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) presented by Fizzle. Also performing: A, B & C (Lee Allatson: drums; Stewart Brackley: bass and voice; and Bruce Coates: saxophones). Admission: £5 (£3).
[Details…] [Fizzle listings…]
October 30, 2014 Long White Cloud
151 Hackney Road
London E2 8JL
England
8:30pm (doors: 8:00pm) Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) presented by LUME. Also performing: Strikethrough Me & You (Sam Andreae and Rodrigo Constanzo). Admission: £5.
[Details…] [LUME page…]
2014– Europe I am based in Europe as of 2014, and I am seeking performance opportunities for, in particular, my Europe-based projects including Numbers (with Richard Barrett), Mathilde 253 (with Charles Hayward and Ian Smith). Interested promoters, venues and sponsors, please get in touch!
2015 UK Seeking performance opportunities for the quartet of Josh Sinton (saxophone and clarinet), Han-earl Park (guitar), Adam Hopkins (double bass) and Dominic Lash (double bass) in the UK, early/mid 2015. Interested promoters, venues and sponsors, please get in touch!

Read More »

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site update: Han-earl Park bio plus YouTube playlist

Although nowhere near a big a revision as the last major update, I’ve made some significant changes to my bio. Below is the new verbose, everything-but-the-kitchen-sink, 472 word version [shorter versions…].

Improviser, guitarist and constructor Han-earl Park (박한얼) (www.busterandfriends.com) has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces in Austria, Denmark, Germany, England, Ireland, The Netherlands, Scotland and the USA.

Park engages a radical, liminal, cyborg virtuosity in which mind, body and artifact collide. He is driven by the social and revolutionary potential of real-time interactive performance in which tradition and practice become creative problematics. As a constructor of musical automata, he is interested in partial, and partially frustrating, context-specific artifacts; artifacts that amplify social relations and corporeal identities and agencies.

Ensembles include Mathilde 253 with Charles Hayward and Ian Smith, Eris 136199 with Nick Didkovsky and Catherine Sikora, and Numbers with Richard Barrett. Park is the constructor of the machine improviser io 0.0.1 beta++, and instigator of Metis 9, a playbook of improvisative tactics. He has performed with Wadada Leo Smith, Paul Dunmall, Evan Parker, Lol Coxhill, Mark Sanders, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder. He has guested with Gargantius Effect (Murray Campbell and Randy McKean), the Mark Hanslip/Dominic Lash/Phillip Marks Trio, and Swim This (Nick Didkovsky, Gerry Hemingway and Michael Lytle); performed as part of large ensembles led by Wadada Leo Smith, Evan Parker and Pauline Oliveros; and participated in improvisative meetings with Gerald Cleaver, Andrea Parkins, Tom Rainey, Mike Pride, Anna Webber, Jack Wright and Ingrid Laubrock. He has studied with improviser-composers Wadada Leo Smith, Richard Barrett, Joel Ryan, Mark Trayle, Chick Lyall and David Rosenboom, composers Clarence Barlow and Marina Adamia, and interactive media artist Sara Roberts.

Festival appearances include Freedom of the City (London), Sonorities (Belfast), International Society for Improvised Music (New York), dialogues festival (Edinburgh), VAIN Live Art (Oxford), Center for Experiments in Art, Information and Technology Festival (Los Angeles) and Sonic Acts (Amsterdam). In addition to numerous self-released albums, his recordings have been released by Slam Productions, Creative Sources, Vicmod Records, FrImp, Owlhouse Recordings and DUNS Limited Edition. His music has been featured on anthologies released by Bridge Records, farpoint recordings and Frog Peak Music. He has performed live on Resonance FM (London), Drift Radio (Scotland), and KVMR 89.5 FM (Nevada County), interviewed on RTÉ Morning Ireland and RTÉ Nova (Ireland), and his recordings have been broadcast around the world.

Park taught improvisation at University College Cork (2006–2011), and founded and curated (2007–2011) Stet Lab, a space for improvised music in Cork. He is a recipient of grants from the Arts Council of Ireland (2007, 2008 and 2009) and Music Network (2009 and 2010), and of the Ahmanson Foundation Scholarship (1999) and the CalArts Scholarship (1999 and 1999–2000).

[Han-earl Park’s biography (16–472 words) plus press quotes…]

I’ve also taken the opportunity to create a new video playlist of selected performances. With 52 videos, and clocking in at around 13 hours, my previous playlist of ‘recent’ performances was no longer able to be an effective portfolio reel. Thanks as always to the videographers (Don Mount, Kevin Reilly and Scott Friedlander), and to all the performers.

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online: Paul Dunmall and Han-earl Park, ‘Boolean Transforms’

The entire catalog of Paul Dunmall’s record label, DUNS Limited Edition, is now online:

Duns Limited Edition has ceased production, but during its lifetime it was pretty prolific. Having founded the label himself, Paul relished in the freedom to record and release on cdr a multitude of projects, playing with like-minded, creative musicians at his invitation. All the music is totally freely improvised. [Read the rest…]

[DUNS on YouTube…] [Facebook…]

And, as part of that catalog, you’ll find Boolean Transforms (DLE-067) by Paul Dunmall and Han-earl Park recorded way back in November 2009. Physical copies of this and some other DUNS albums are still available from Downtown Music Gallery and from Mind Your Own Music, and you can view some video footage from this concert.

Also by Paul Dunmall and Han-earl Park

Paul Dunmall, Han-earl Park and Mark Sanders: Dunmall-Park-Sanders (Birmingham, 02-15-11)

Dunmall-Park-Sanders (Birmingham, 02-15-11) [details…]

Performers: Paul Dunmall (saxophones and bagpipes), Han-earl Park (guitar) and Mark Sanders (drums).

(cc) 2013 Paul Dunmall/Han-earl Park/Mark Sanders.

Han-earl Park, Paul Dunmall, Mark Sanders and Jamie Smith: Live at the Glucksman gallery, Cork (owlcd002) CD cover (copyright 2012, Owlhouse Recordings)

Live at the Glucksman gallery, Cork (owlcd002) [details…]

Performers: Han-earl Park (guitar), Paul Dunmall (saxophone), Mark Sanders (drums) and Jamie Smith (guitar).

© 2009 by Owlhouse Recordings.
℗ 2009 Han-earl Park/Paul Dunmall/Mark Sanders/Jamie Smith.

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cuttlefish: Study of Notation

I’m honored to find my concept thumbnail (‘Study in Notation’) in the pages of cuttlefish (issue #1, summer 2014), a “zine for contemporary culture, music, art, aesthetics, politics,” edited by Peter O’Doherty. The piece was accompanied by an excerpt from my interview with Miguel Copón:

I’m not sure at all where this is leading, but having through some combination of ideology and necessity (ain’t it always the way?) found myself somewhat involuntarily in the ‘Total Improvisation’ camp, I’m beginning to look on the other side of the fence. Let me be clear, the, to borrow Lewis’ term, Eurological conception of the score and the practice that surrounds it (theorized in detail by Small, Cusick, Nicholas Cook and others), with its limited models of control and dogma of reproducibility, and naive notions of aesthetics, does not interest me at all.

However, I’m feeling a gravitational tug. Maybe it’s due to coming into close contact with musicians who have a much more sophisticated (if often, from an non-practitioner’s POV, misunderstood and under theorized) relationship with the score and the possibilities of notation. But it’s a distinct pull. Still working—struggling—through some ideas, and studies, and have far, far more questions than answers about the possible role notation and the score might have in an improvisative context, but that’s the new thing that’s exciting me at the moment. [Read the rest…]

The theme of cuttlefish’s inaugural issue is “work-in-progress (sketches, doodles, journal entries, streams of consciousness…),” and features contributions by Wim Bollein, Laura Duran, Evgeniy Aleksandrovich (=dozen), Graham Holliday, ja’s ink on paper, Daniel Kan, Francisco Martins, Corey Mwamba, Ciarán Ó Dochartaigh, Peter O’Doherty, Han-earl Park, Kiyomitsu Saito, Tom Tebby, Nicolas P. Tschopp, Andrea Valle, Krysthopher Woods and Alice Xiang.

If you are interested in contributing to future issues of cuttlefish, please contact cuttlefish[at]peterodoherty.net.

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thanks: Eris 136199 (ISIM, NYC), Rasmussen-Foster-Niggenkemper-Park (DMG, NYC) and Park-Rainey (Why Not Jazz Room, NYC)

A belated note of thanks for all involved in the June 6, June 6 (no that’s not a typo—two performances on that day), and June 8 events. Thanks to the folk at ISIM, and in particular to Richard Robeson, Billy Satterwhite and Ed Sarath for organizing, curating and facilitating the event, and to Christopher Hoffman for the tech support; to Bruce and everyone at Downtown Music Gallery, the World’s Greatest Record Store (seriously, go buy a record from them right now); and to Andrea Wolper and her amazing series, and to Why Not Jazz Room. Thanks also to the multiple documentarists: videographers Don Mount and Juan Ant [watch/listen…], and to photographer Peter Gannushkin [see…].

As always, big thanks to the creative folk who shared the stage with me; it’s always a privilege. Applaud these folk: Mette Rasmussen, Michael Foster, Pascal Niggenkemper; Tom Rainey (how does one perform with a drummer who can anticipate every move?); and the two that complete Eris 136199: Nick Didkovsky and Catherine Sikora (always a blast).

Finally, thanks to all who came to listen. That’s to be my last visit to New York for sometime, and, audience big or small, it’s always a pleasure to perform for you.

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Lost at the Border: Improvisation, Conservation and Transformation (a twitter transcript)

Previte: “I’m a bit of a mongrel.” #isim2014
…and w/ that simple statement, is not the enterprise of Cross-Cultural Improvisation nuked? #isim2014

More tweets from an institutionally unaffiliated, sometimes teacher, amateur scholar and anthropologist [a previous twitter transcript…]. Below is an unedited transcript of my observations from ISIM: Cross-Cultural Improvisation III. My original observations came in the form of live tweets via @hanearlpark that spanned the opening ceremony on June 5, the conference plus performances between June 6 and 8, plus some post-event reflections.

My questions and observations are indebted to discussions with @AndreaWolper, @jkais, @nickreynoldsatw, @MarkImprov, @drmelmarshall and @coreymwamba both on- and off- the twitterverse.

My rants, however, are entirely my own ;-)

Twitter transcript (unedited)

Opening Ceremony: New York, June 5, 2014

Heading to the #isim2014 opening ceremony. (‘Ceremony’ sounds so ostentatious. Conference folk, seriously…)

After my comments about #diversity and #rsa2014 & #amspittsburgh, was ready to be disappointed by #isim2014. Better, maybe, but not perfect.

Fewer suits and lighter makeup at #isim2014 compared to #rsa2014 & #amspittsburgh. #amateuranthropology

Is the ‘global village’ still a possibility? What violence hides behind such an idea? #isim2014

Can we imagine a global village achieved w/out violence? w/out the erasure of difference? #isim2014

There’s an interesting evocation of a kind of futurism in a lot of improvisative traditions. #isim2014

Conference: New York, June 6, 2014

3pm: #noise #melody #rhythm #contrast #serendipity #contradiction from Eris 136199 w/ @DoctorNerve @CatherineSikora @ @ISIMprov. #isim2014

Cognition vs embodiment. #isim2014

Is cognition a form of computation? Is embodiment a form of (physical) computation? #isim2014

Is a successful improvisation (always) narrative? #isim2014

This reminds me of Paul Berg’s algorithmic composition class… #isim2014

…either you create a process that creates desirable results, or one that creates noise that is selectively filter. #isim2014

Doesn’t (biological) evolution depend on the environment? Doesn’t musicality depend on the (cultural) environment? #isim2014

GenJam: the worst thing to happen to machine improvisation? #discuss #isim2014

Unasked question: how an improviser tries to make the rest of the band sound good. #isim2014

Unasked question: how individual desires (goals) collide to provide long-term formal structures (retroactively). #isim2014

…in this context, concentrating on individual intention may be missing the bigger picture. #isim2014

Problem w/ the Turing Test in creative contexts is that ‘I know it when I see/hear it’ ends up as a mirror of ‘does it swing’ #isim2014

Can we discuss rhythm w/out engaging w/ embodiment? #isim2014

History = cultural context = environment in which evolution takes place? #isim2014

At what point does cooperation & competition diverge in improvisative performance? #isim2014

…or is that a false dichotomy? are those terms meaningless in the context of improvisative play? #isim2014

Why are so many musicians so assured when idiomatic pressures are unambiguous, but uncertain when not? #isim2014

…is freedom that scary? #isim2014

…we know how to be a cog in the machine when the machine tells us to be? #isim2014

…we know our role/place/function in the ensemble if it’s prescribed for us? #isim2014

Is trans-idiomatic musicality a reflection of a kind of white middle-class mobility? #isim2014

…After trans-idiomatic meetings are (white) self-identified non-idiomatic musicians able to see idiom in their own playing? #isim2014

…are trans-idiomatic meetings by definition colonial? #isim2014

“No way to control what’s coming through your ears.” #isim2014

Ah, the sound of my circulation system. #isim2014

Can improvisation be about your ‘actual experience’ divorced from ‘thinking’? #isim2014

…in contrast, earlier presentation modeled improvisation exclusively as a ‘cognitive’ process. #isim2014

…why these simplifying assumptions in the context of something as complicated and human as improvisative play? isim

What’s possible given circumstances/resources = improvisation? #isim2014

…but what is the relation btwn this and the black american composer-improviser tradition? #isim2014

…Braxton said if you don’t compose this piece (for 276 accordions, say), then you will never hear it. #isim2014

After Lacy: “what’s alive for you?” #isim2014

…which is fine as far as it goes, but can we further unpack ‘aliveness’? #isim2014

‘Trust,’ ‘courage,’ ‘openness,’ all terms we use to talk about improvisation. We should unpack these. #isim2014

Reminded of Braxton’s commend about how freedom is knowing your context well enough so that……… you. are. free. #isim2014

Oh, reminded how my skills as an improviser are so, so, so pathetic. #isim2014

I want more talk of noise and frenzy. #isim2014

I desire a discussion of collisions, contradictions, the unintelligible, the unspeakable. #isim2014

Where is improvisation, the destabilizing, the revolutionary, the dissonant, the dissenting? #isim2014

Part of me (uncharitably for sure) want to scream ‘f*ck calm.’ #isim2014

Goddamnnit. I am Asian, and I will not be your model of calm and reserved. #isim2014

Wadada: “try to find something unique in yourself.” #isim2014

…don’t try to fit in. #isim2014

…“I don’t want them to expect nothing!” #isim2014

Is ‘experience’ (unlike, say, subjectivity) (always) a term of resistance? #isim2014

‘Compliment’ or ‘contradict’; what do these terms _mean_ in the context of improvisative play? #isim2014

…we seem to be struggling because we (think we) know the ‘correct’ terms to use. #isim2014

What does the term ‘pattern’ mean in the context of improvisative play? #isim2014

…can ‘pattern’ every be an enabling discursive element in the context of creative music? #isim2014

Often wonder if I should (get back to) playing more (overtly) melodic. #isim2014

Reminded of experiments about the different perceptions of musical construction depending on idiomatic background. #isim2014

…are not cultural misunderstandings so much more interesting than (ostensibly) clear channels of communication? #isim2014

‘notes’; if we just jettisoned that term, our understanding of musical practices would be so much richer. #isim2014

Some additional insight if you understand both English and 한국말. #isim2014

Are terms such as ‘discipline’ and ‘pattern’ (discursively) limiting in the contacts of improvisative play? #isim2014

Reminded of Wadada once saying that when he puts his horn to his mouth, it’s a command. #isim2014

Previte: “I’m a bit of a mongrel.” #isim2014

…and w/ that simple statement, is not the enterprise of Cross-Cultural Improvisation nuked? #isim2014

The unresolved contradiction btwn agency and sublimation? #isim2014

#isim2014 http://t.co/bypjiQMRiS

how much of my views/practices are shaped by my teachers; how much convergence of approach because of who I chose as teachers? #isim2014

“Social aspects of musicality.” #isim2014

…an enormous amount of stuff blackboxed in that statement. #isim2014

‘Leading’ and ‘following’; do these terms have any utility in the context of improvisative play? #isim2014

“Where was I going?” (unintentionally?) good description of what we are doing. #isim2014

…Something I learned when I started teaching improvisation was the utility I jettisoning these terms. #isim2014

Conference: New York, June 7, 2014

However you cut it, solo is that impossible thing in improvisation. #isim2014

…you have _got_ to have something pretty damn important to say/present. #isim2014

…in that sense, by analogy, Romey’s speeches during the last election would be an example or a useless solo. #isim2014

…I’ve consciously engaged w/ the solo context self-consciously on and off for the last ten years, but I still haven’t cracked it. #isim2014

Echoes of Philip Glass? or of Chris Cutler? #isim2014

Random thought: what does the term ‘oppositional politics’ mean, if anything, in improvisative practices? #isim2014

…what does the term ‘ideology’ mean, if anything, in improvisative practices? #isim2014

…’cause, despite talk of the social, what I have heard little of (so far) at #isim2014 is the (explicitly) political.

…which may be a reflection more of my own predilections, but I worry about the gentrification of improvisation. #isim2014

…what happens to improvisation as an oppositional force when, say, academic classical performers ‘dabble’ in it… #isim2014 [1/2]

…w/out necessarily interrogating their own tradition/practice/history and the structures of power? #isim2014 [2/2]

A new kind of cross-cultural musicology that “can only be fathomed by the improviser.” #isim2014

…but to paraphrase Previte, are we not (always already) mongrels? #isim2014

“India, Korea, then Wadada, then Bobby.” hmm #isim2014

Is ‘merging’ a useful notion in the context of improvisative performance? #isim2014

…Is ‘merging’ a useful notion in the context of improvisative (cross-cultural) meetings? #isim2014

“Not trying to drop a bomb.” But are bombs unambiguous across cultural borders? #isim2014

…one might intend Operation Enduring Freedom, others might interpret Invasion and Empire Building. #isim2014

Dissent! Yay. #isim2014

“Tradition is not a dead thing.” #isim2014

…yes, but traditions sometimes die/petrify/fossilize. #isim2014

…under what conditions do traditions die/petrify/fossilize? #isim2014

“What an [musical, performative] action signifies.” #isim2014

‘Notes’—that word again. #isim2014

“There is that elasticity in _everything_.” #isim2014

Can we unpack the term ‘energy’ in the context of these discussions of improvisation? #isim2014

“To feel secure in that uncertainty is the biggest challenge of any musician, or human being for that matter.” #isim2014

“Leave it up to analyst to explain what happened [in spontaneous creation].” #isim2014

…part agree, but then why are we here? #isim2014

…there is this constant tension btwn intellectual and anti-intellectualism in the traditions of improvisative performance. #isim2014

“A future event can affect the present.” #isim2014

…reminds me of Ted Chiang’s story of the performative language changes consciousness and sense of causality. #isim2014

…which might relate to the quip about leaving analysis to the analyst. #isim2014

I have little patience for the regurgitation of amateur physics. #isim2014

Going out for air. #isim2014

improvised music “goes beyond style.” But does it? #isim2014

Is #isim2014 attempting to turn #improvisedmusic into the emblem of salvation for academic (study of) music? #isim2014

…where does tokenism end, and revolutionary equality begin? #isim2014

…Is it unfair to compare this to (post-)colonial ideas of savages as agents of renewal? #isim2014

To borrow from @vijayiyer: “The Jazz Educational Complex.” #isim2014

“Transdisciplinary space”—well, okay, but how to reconcile this (utopian) notion w/ the “cross-cultural”? #isim2014

“Institutions need to rebuild from the foundation.” #isim2014

…yes, but https://t.co/EOidN6pSmp

…yes, but https://t.co/yZHlEQRSVK

…or https://t.co/txouBTMx45

…yes, but https://t.co/gzEsSwYCvl

We want to _study_ improvisation, but we precisely do not want interactive destabilizing forces in the structures of academia. #isim2014

…Is it possible to rebuild academic (study of) music while keeping the formal structures intact? #isim2014

…so where does tokenism end? #isim2014

More talk of meditation. #isim2014 tropes.

Frustrated. Going out for air. #isim2014

“Nobody [at #isim2014] understands that we can’t talk about this w/out being critical!”

My thoughts on #isim2014 http://t.co/OWKnq76VFN

An academic would never present work w/out citing their sources. #isim2014 [1/6]

Should not the academic who studies improvisative practices/traditions also cite specific artists…? #isim2014 [2/6]

…rather than hide behind nebulous/generic language? #isim2014 [3/6]

If there’s a specific musical/artistic/creative element you’re talking about, surely you must be able to name a source. #isim2014 [4/6]

Why the double standards? Are scholars more important? #isim2014 [5/6]

…are their ‘possessions’ more valuable than the practitioners of your (supposed) area of expertise? #isim2014 [6/6]

Concert: New York, June 7, 2014

Problem w/ oval halls is that, if you’re at the focal point opposite the stage, those on stage will hear everything you say. #isim2014

#ugh ##isim2014

If tomorrow’s gig is my last, then it’ll be the most important one I play. w/ Tom Rainey @ @whynotjazzroom NYC. http://t.co/Pwb2ZXJkZh

If ‘tradition’/‘patterns’ remain an unchanged backbone to improvisative meetings, what is achieved by those meetings? #isim2014

…seriously. Why bother? #isim2014

…or put it another way: re continued enterprise of ‘cross-cultural improvisations,’ an obvious question: now what? what next? #isim2014

…I am beginning to suspect that ‘cross-cultural improvisation’ is a cute arts marketing term that, however… #isim2014

…signifies little; no goal or purpose in mind. We can happily go our own merry ways at the end of the day… #isim2014

…safe from the transformative/revolutionary possibilities of improvisation. #isim2014

You know ‘notes’ and ‘patterns’ are the least interesting things about improvisation… #isim2014

…and though folk at #isim2014 have mentioned in passing that there’s this other stuff at play in improvisation…

…people have been reluctant to open up those black boxes. #isim2014

Safe in the knowledge that the scary, truly transformative aspect of improvisation can be left unexplored. #isim2014

Is it okay to feel betrayed by these (I have no reason to doubt) Masters of Tradition? #isim2014

Is it okay to feel angry about the prescriptions made by these Masters of Tradition? #isim2014

I’ll be honest. I walked out of the last thing. But I’m drawn back by Wadada. #isim2014

The AACM used two terms to denote their music and practice: ‘creative music’ and ‘free music.’ #isim2014

…and _this_ thing I’m hearing right now, I can get behind. #isim2014

…singular, powerful, noisy. That African American noise that showed the world How It Could Be Done. #isim2014

…a Music of Unbound Possibilities. #isim2014

Wadada’s left the stage. I’m leaving this time for real. See y’all tomorrow. #isim2014

.@nickreynoldsatw or academia only studies/legitimizes improvisative practices/traditions that emphasize the narrative… #isim2014

.@nickreynoldsatw …or academia chooses to impose narrativity onto improvisative practices/traditions. #isim2014

Conference: New York, June 8, 2014

How does one know when you cross an idiomatic or traditional border? #isim2014

…Rather than thinking of idiomatic vs free improvisation… #isim2014 [1/2]

…can we not just think of those borders as having shifted (or simply immaterial). There may be no inside/outside. #isim2014 [2/2]

Do you distinguish/delineate those elements inherited from the tradition, the practice, and your own inventions? #isim2014

Make an Early Music Noise Here. #isim2014

Make a New Music Noise Here. #isim2014

How is it that so many introduce improvisation into their practice, and the idiom becomes _more_ a caricature of itself? #isim2014

…why is it that improvisation leads us back into the familiar (rather than, as Lacy said, leap into the Unknown)? #isim2014

…how is that even possible? (Not a rhetorical question) #isim2014

…it’s like being free to do anything, and we end up telling that same anecdote over and over again. #isim2014

…it’s like giving what you _presume_ to be the right answer (even though there is no right answer). #isim2014

…it’s like being afraid to give the wrong answer (when the question was entirely open). #isim2014

…do we not know how to be free? or are we afraid? #isim2014

…reminded of Mark Sanders saying that you should not listen to your inner critic; the one who knows the ‘right answer.’ #isim2014

Borders can be demolished. Let’s All Cross Borders. Right. Now. #isim2014

Godammit. #isim2014

Talking to D Ewart about how cultural/material exchanges have been happening since the beginning of time. #isim2014

…along w/ Previte’s comment, does this not nuke the whole premise of ‘cross-cultural improvisations’? #isim2014

I am going to start ISIT: the International Society for Indignant Tweeters. Who’s with me?

Some great comments from the floor: concrete suggestions to increase diversity and accessibility. #isim2014

“Breaking down the [academic] structure of [how presentations are made].” #isim2014

“How was it funded?” #isim2014

I am reminded again how much I am the wrong Asian to participate in a ‘cross-cultural improvisation.’ #isim2014

…and again: https://t.co/26M9aOMV0p #isim2014

Can’t directly compare #isim2014 with #rsa2014 or #amspittsburgh, but I will say that…

#isim2014 does speak seriously/passionately about the need/desire for greater diversity/access.

…even if we don’t always have concrete plans. #isim2014

Yesterday… Yesterday I… Yesterday I walked… Yesterday I walked past… Yesterday I walked past Philip…

But today I swapped CDs with Douglas Ewart. How frickin’ cool is that?!? #isim2014

Post-conference reflections…

Final thoughts on #isim2014: the main thing I learned (and in retrospect why I was angry), was about my own prejudices… [1/9]

…I had made a lazy, unexamined assumption about improvisation (its practice and its implications)… #isim2014 [2/9]

…I had assumed (w/out evidence) that improvisation was intrinsically tranformative/revolutionary/disruptive/noisy/etc, and… #isim2014 [3/9]

…that any tradition that incorporated it, must themselves be revolutionary/disruptive//noisy/etc… #isim2014 [4/9]

…That, in retrospect, was a naive, unfounded postulation that in turn lead to an erroneous conclusion… #isim2014 [5/9]

…I learned that improvisative traditions may not have the tranformative/revolutionary/disruptive/etc as thier focal point… #isim2014 [6/9]

…that improvisative traditions/practices might conceivably be conservative/reactionary/etc… #isim2014 [7/9]

…I learned that what I (unquestioningly) took as a universal improvisative impulse… #isim2014 [8/9]

…was a particular expression of a specifically (post-)Civil Rights African-American (derrived) one. #isim2014 [9/9]

Anyway, in case you missed it, this is still my best summary of my reponse to #isim2014: https://t.co/tjv7SOP8k6

0. One more thought on #isim2014’s ‘Cross-Cultural Improvisations’: What, in retrospect, appears to have been at stake is not just the…

1. …nature of improvisation as a means of conservation vs a means of self-determined transformation, but… #isim2014

2. …specific expressions of these notions within a specific discursive framework. #isim2014

3. So we had representatives from practices that are, to varying degrees and in varied ways, post-colonial, nationalist… #isim2014

4. …in which the priorities might be described as a kind of classicism; we had a representative from a… #isim2014

5. …Civil-Rights fueled, Afro-Futurist community; a representative from a vernacular-immersed post-modern avant-garde. #isim2014

6. The idea that we would have dissonance at such a meeting shoudn’t perhaps be surprising, but for a… #isim2014

7. …‘benevolent’ liberal-humanism that acted as the formal umbrella… #isim2014

8. …that, surely, was the single biggest reason for the lack of productive dialogue. #isim2014

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reminder: Han-earl Park and Tom Rainey at Why Not Jazz Room, New York

Tomorrow (Sunday, June 8, 2014), at 7:30pm: a performance by Han-earl Park (guitar) and Tom Rainey (drums), presented as part of Andrea Wolper’s Why Not Experiment? Series, takes place at Why Not Jazz Room (14 Christopher Street, New York, NY 10014) [map…]. Recommended donation: $10 per set.

A long-time fan of Mr Rainey’s work, I’m tremendously honored and excited to be sharing a stage with him. And multiply that with Andrea Wolper’s series which promises an open, intimate space for artistic experimentation.

Above video: last time I performed with Tom Rainey. The set with Ken Filiano and Ingrid Laubrock took place as part of Gowanus Company at Douglass Street Music Collective, Brooklyn. Video by Scott Friedlander. [Watch the rest…]

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tonight: ‘Alias Ra’ with Michael Foster, Pascal Niggenkemper and Han-earl Park, New York

‘Alias Ra’ with Michael Foster, Pascal Niggenkemper and Han-earl Park
Tonight (Friday, June 6, 2014), at 7:00pm: a performance by ‘Alias Ra’ (saxophones) with Michael Foster (saxophones), Pascal Niggenkemper (doubles bass) and Han-earl Park (guitar). Also performing at 6:00pm are Gianni Mimmo (saxophone) and Alison Blunt (violin). The event takes place at Downtown Music Gallery (13 Monroe Street, New York, NY 10002-7351) [map…]. Free admission.

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reminder: Eris 136199 (Nick Didkovsky, Han-earl Park and Catherine Sikora) at ISIM, New York

ISIM: Cross-Cultural Improvisation III kicks-off this week, and on Friday (June 6, 2014), at 3:00pm, Eris 136199 (Nick Didkovsky: guitar; Han-earl Park: guitar; and Catherine Sikora: saxophones) will be performing at The New School for Jazz and Contemporary Music (55 West 13th Street, New York, NY 10011). Conference fees from $25 to $200 [more info and get tickets…].

Incidentally, the performance with ‘Alias Ra,’ Michael Foster and Pascal Niggenkemper that was to take place on the evening of Eris 136199’s performance has been relocated to Downtown Music Gallery, New York. As always see the performance diary for up-to-date info.

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site update: scrapbook redux reboot

web audio player widget
Another summary of the updates to my scrapbook since the last review. A few newer clips from Brooklyn and New York which include some of the best music I’ve been involved in (the duo with Gerald Cleaver, in particular, has, for me, some of my best playing), plus a blast from the past: Mathilde 253 in Cork. With the latest updates, I’ve also taken the opportunity to split the scrapbook across two pages (with so much embedded media, it was getting near impossible for those with slower computers and/or connections to load the page).

Please note that all music and audio recordings © + ℗ their respective owners (i.e. these are not covered by a Creative Commons License).

Han-earl Park (guitar), Catherine Sikora (saxophones) and Mike Pride (drums).

Music by Han-earl Park, Catherine Sikora and Mike Pride.
Recorded live, April 2, 2014 at Spectrum, New York.
Recorded by Don Mount.

Evan Parker (saxophone) and Han-earl Park (guitar), plus Peter Evans (trumpet) and Okkyung Lee (’cello).

Music by Evan Parker and Han-earl Park, plus Peter Evans and Okkyung Lee.
Recorded live, September 19, 2013 at The Stone, New York.
Recorded by Don Mount.

Gerald Cleaver (drums) and Han-earl Park (guitar).

Music by Gerald Cleaver and Han-earl Park
Recorded live, August 13, 2013 at Douglass Street Music Collective, Brooklyn.
Recorded by Don Mount.

Mathilde 253 (Han-earl Park: guitar; Charles Hayward: drums; and Ian Smith: trumpet).

Music by Mathilde 253.
Recorded live, March 30, 2011 at Half Moon Theatre, Cork.
Presented with funding from the Music Network Performance and Touring Award, and support from the UCC School of Music and the Cork Opera House.
Recorded by John Hough. Live sound by Alex Fiennes.

[About this project…]

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performance: ‘Alias Ra’ with Michael Foster, Pascal Niggenkemper and Han-earl Park, Brooklyn

Stop Press: New venue!
‘Alias Ra’ with Michael Foster, Pascal Niggenkemper and Han-earl Park
Friday, June 6, 2014, at 7:00pm: a performance by the mystery saxophonist, ‘Alias Ra’ with Michael Foster (saxophones), Pascal Niggenkemper (doubles bass) and Han-earl Park (guitar) as part of Soup and Sound House Concert. Also performing are Chris Stover (trombone), Russ Johnson (trumpet), Niels Praestholm (bass) and Andrew Drury (drums). The event takes place at Andrew Drury’s home in Lefferts Gardens, Brooklyn (contact him for the location). Recommended donation: $15. Also performing are Gianni Mimmo (saxophone) and Alison Blunt (violin) at 6:00pm. The event takes place at Downtown Music Gallery (13 Monroe Street, New York, NY 10002-7351) [map…]. Free admission.

See the performance diary for up-to-date info.

updates

06–02–14: cancelation.
06–02–14: new venue.

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