Han-earl Park, April 11, 2011: ‘Lab report 2007-2011: signing-out as curator’

“As previously announced, after thirty-two events over three and a quarter years, I’ve stepped down as curator of Stet Lab as of February 2011.”

Corey Mwamba, December 9, 2010: ‘Lab report december 6th 2010: thank you!’

“It always helps if the other people are wanting to do the same thing and I think that happened—there were some lovely moments where things really came together. I was even relaxed enough to go on the drums—which as I am sure you’ll hear, was a mistake, but a relaxed mistake.”

Susan Geaney, December 6, 2010: ‘Lab report november 15th 2010: let the rant begin…’

“We improvisers dig the ego or can’t escape it. Like a game of snakes and ladders, we chop and change direction every 2–5″.”

Colm Pattwell, November 23, 2010: ‘Lab report october 11th and november 15th 2010: humming, buzzing’

“One thing I want to hear is someone just grooving on something limited or ‘standard’ for want of a better word. For all the different music being played at the lab, sometimes it just doesn’t sound that different to itself!”

Han-earl Park, April 26, 2010: ‘Lab report april 12th 2010: consequences of actions’

“A single quote… can have interesting and problematic consequences for interaction. The effectiveness of the quote—to be able to collapse and redirect and improvisation—is also what makes them hard to deal with.”

John Godfrey, April 23, 2010: ‘Lab report april 12th 2010: kudos’

Han-earl Park, April 7, 2010: ‘Lab report march 8th 2010: 3+1 questions’

“Is ‘success’ (however that’s defined) a meaningful idea in approaching (as listener or performer) improvisation?”

Ruti Lachs, February 7, 2010: ‘Lab report january 11th 2010: get together and make weird noises’

“I played some stuff that I couldn’t recognise as a tune, but the audience seemed to recognise it as valid, cos they clapped, and even laughed once or twice at the funny bits!”

Han-earl Park, January 26, 2010: ‘Lab report december 7th 2009: futzing’

“Neither ‘intentional’ (‘deliberate’ and ‘authorial’) nor ‘noise’ (e.g. the Cagian denial of agency). These things—‘noise’/‘intention’—exist on a line, and it isn’t so much about riding the border between them, but steeping off that line. We want to enter a space that is not about control, nor the lack of it, but about surprises, densities and irregularities; about relationships—differences and negotiations….”

Han-earl Park, November 21, 2009: ‘Lab report november 10th 2009: history and lineage’

“I want, at bare minimum, to be able to play—to have a relationship with the guitar that is technically accomplished—but I also want to want to be heard—that listeners/audiences would seek out my playing and my performances.”

Han-earl Park, November 2, 2009: ‘Lab report october 12th 2009: a conversation with eliza’

“Most of my work in the last few years has been in the jam session mold. People fly in, or I fly out, and there’s an ad-hoc meeting. What I miss is the band.”

Piaras Hoban, October 20, 2009: ‘Lab report October 12th 2009: be no shelter to these outrages’

“tap
“low end light a little
“the
“blow tap tap wind
“blow tap tap wind tap
“on”

Han-earl Park, July 3, 2009: ‘Lab report June 8th 2009: play different’

“I did have fun, but I think I also realized (remembered?) why I’d been avoiding this particular mode of interaction. It’s too easy; the choices are the most obvious. It’s like movies that, uncertain of the intelligence of their audience, get loaded with too much exposition.”

Veronica Tadman, June 13, 2009: ‘Lab report June 8th 2009: the alarm will sound if you don’t back away’

“So, why was it annoying me? I think it’s because I love control. (Why then am I interested in performing improvisation?) I wasn’t in control of the alarm: one could argue that I wasn’t in control of my fellow improvisers, but my argument to that is, if I wanted to I could have pulled the plug and prevented power. Also as we were an ensemble my input had a consequence on what happened (especially with what Piaras [Hoban] was doing because i was linked to his computer). Likewise he was in control of what happened with my input so it was almost like equilibrium.”

Han-earl Park, June 10, 2009: ‘Lab report May 11th 2009: parking your idiom’

“…I want the listening experience to be rich and interesting. If you’re sharp, you’d have caught it, made connections, and patted yourself on the back for being a clever listener; if not, well, no biggie, hopefully there’s enough complexity to provide ear-candy and (unintended) connections.”

Han-earl Park, May 25, 2009: ‘Lab report April 14th 2009: little instruments’

“My mentors include those who enroll gargantuan complex of musical resources and those who do not. How do I figure in this equation? There are, of course, pragmatic dimensions to this… but nonetheless what are the political/ideological implications of subscribing to one position?”

Ros Steer, April 1, 2009: ‘Lab report March 10th 2009: beginner bassist’s blathering blog’

“Leaving aside any personal taste in the aesthetics of sound, I think it’s more fun to perform together. I don’t mean that the performers should always be ‘in tune’ with each other or mimicking each other but just in tune to each other.”

Han-earl Park, March 29, 2009: ‘Lab report March 10th 2009: the possibility of failure’

“There’s a logic to the… abandonment of safety nets. Their absence can reveal who you are (and might be) without those prothesis. In engineering terms, by removing a component, you can test out the behavior of the rest of the (cyborgian) system…. What I discovered wasn’t exactly wonderful.”

Han-earl Park, February 23, 2009: ‘Lab report February 10th 2009: train wrecks and other fascinating disasters’

“I’m not sure what ‘opposite’ might mean in a musical-performance context (never mind one in which identities and relationships are being (re)negotiated in real-time). Isn’t saying that this (performance infected by agendas, etc.) is not improvisation, akin to saying that polemical or ideological disagreements are not democratic?”

Andrea Bonino, February 22, 2009: ‘Lab report February 10th 2009: on playing and being played’

“In the best moments when music really works, I still have the impression that music is coming through the musicians, and the musicians receive it and transmit it more or less like a radio set… think about that weird and beautiful sound that came out of your instrument almost by accident, and that you are trying to recreate with no success and you get the picture.”

Han-earl Park, January 30, 2009: ‘Lab report 2007-2009: how to run an improvised music club’

“Whether you would want to organize a regular improvised music event depends on what you’re looking to gain from it. Stet Lab, for me, is partly a long-term scene-building exercise; it is, at times, a place of research into the pedagogical, sociological and political dimensions of improvisative practice; an excuse to bring over practitioners whose work I am excited about; and a place to play.”

Han-earl Park, January 18, 2009: ‘Lab report January 12th 2009: healthy disrespect for the comfort zone’

“I’ve been prone to sports metaphors in the past, but Murray [Campbell] came up with a new one: table tennis. A great game of table tennis is not one that you score points, but in which all your resources—your body, your mind, your training—tells you one thing, but circumstances outwit you. You reach for the ball, but it ball heads in a completely different direction. You loose a point, but you go wow, how did that happen?”

Veronica Tadman, January 18, 2009: ‘Lab report January 12th 2009: detoxes really do work’

“I cannot quite figure out what was the key factor that made this months Lab stand out above the rest: Was it Murray [Campbell]? Was it the large crowd? The press release that constantly went on about a party?”

Han-earl Park, December 16, 2008: ‘Lab report December 9th 2008: when is a cliché a cliché’

“Are my gestures the same size? are my ideas-per-minute constant? I think, on a good day, on the microscopic level, my playing exhibits (complex / interesting / infuriating / contradictory) variation, but I fear that, on a macroscopic level, it’s often (simple / boring / predictable / coherent) uniformity that rules the day. Am I getting too comfortable in this space?”

Kevin Terry, November 24, 2008: ‘Lab report November 10th 2008: mindful auto-pilot nonsense’

“The aspiration for this month’s Lab (though I admit I decided on it less that five minutes before playing) was to play quasi-logically; pick a strategy and don’t budge… So I decide early on… to shadow Andrea [Bonino] and try to limit myself to playing while he isn’t. This is then complemented/complicated by playing pianissimo lyrically when he is playing. This is maintained throughout.”

Han-earl Park, November 20, 2008: ‘Lab report November 10th 2008: out of my depth’

“…By and large, if my adrenaline-choice-machine was doing anything, it was always looking for the nearest, most convenient route, avoiding interesting, circuitous options—the ones that lead off-the-edge into ugly-beutiful spaces and serendipitous-contradictory relationships.”

Veronica Tadman, November 19, 2008: ‘Lab report November 10th 2008: the rockstar wannabes’

“…As the only performer that doesn’t have an instrument that is material to hide behind, I often feel exposed and perhaps somewhat uncomfortable; this has consequently had a knock-on affect on my performance. However, not so much this month.”

Han-earl Park, October 16, 2008: ‘Lab report October 9th 2008: being paul desmond’

“Searching for a way to operate in this group, I was trying to reach Braxton’s Desmond in my musical personality (i.e. carefully considering many choices, but selectively executing only a small number of them). And that’s not a position I’ve tried to occupy in a long time…. It turned out, however, to be an interesting scheme for generating tactics in real-time, if not one that I feel compelled to return to.”

Tony O’Connor, July 30, 2008: ‘Lab report July 10th 2008: consequences of a noisy head’

“Perhaps it would be more accurate to say that the insurmountable difficulties of the situation forced my mind to give up and get on with it…. The problem, I think, is that this type of improvisation should be an immediate response, and every time a thought gets in the way, it puts a filter between the event and the response. There are times in the first piece where this barrier breaks down, like the strange antiphony section, but mostly I was just quietly panicking along to my own internal monologue. ‘An E major? What are you THINKING!? Oh great, some more string noise, yeah, that’ll win them over… Muppet.’”

Han-earl Park, July 25, 2008: ‘Lab report July 10th 2008: fitting the square piece into that triangular hole’

“You know… that you’ve lost the game in improvisation when you’re preempting the music. You don’t want to be thinking this is how it should be, goddamnit, and I will fit that square piece into that triangular hole. Much more fruitful is to approach the problem almost like resource management: given our context, what can we do? given our current location, where can we go? given where we’ve been, how we’ve travelled, what exciting places could this route(s) lead us? This becomes a question of possibilities—what we can make of what we have (and who we are).”

Melanie L. Marshall, July 7, 2008: ‘Lab report June 12th 2008: thoughts of a newbie improviser’

“Now I know what goes through a newbie improviser’s head, or at least through this newbie’s head: sheer terror.”

Han-earl Park, June 26, 2008: ‘Lab report June 12th 2008: being the odd-one-out’

“Secondary problem with this strategy: although ‘having plenty of time to think about my re-entrance’ is indeed a luxury, like a lot of ‘prepared means’, they come with Improviser’s Hazard No. 697: exactly when would be a good time to act?”

Eoin Callery, June 17, 2008: ‘Lab report June 12th 2008: noisiest “hoedown”’

“A special mention must be made of the vocal talents of two heavily intoxicated eastern european (they never quite managed to explain exactly where they were from!) who entered the fray at various points. People may say that you could never perform something like Zappa’s ‘Lumpy Gravy’ live—well given the right balance of whatever they were on, they may decide to stage it yet….”

My thanks also to all the guest artists who have shared the stage with us, generously contributing to, and transforming, this practice. There’s too many names to mention, but I’d like to thank, in particular, two club-runners, Bruce Coates (who with Sarah O’Halloran and I kicked-off Stet Lab in November ’07) and Mike Hurley for their advice, cautionary tales and encouragement; to Murray Campbell, Franziska Schroeder and John Godfrey who took time out of their busy schedules, and stepped-up when others would/could not; and to Corey Mwamba, Ian Smith, Justin Yang and Alex Hawkins for encouraging words, and an unwavering belief in grass-roots music organizations. Special thanks to Paul Dunmall, Mark Sanders and Don Malone; heavy-hitters who believed in the Lab enough to participate with neophyte improvisers in what must be, by their standards, a low-key event.

Kudos to Jesse Ronneau for supporting improvised music, and the aims of the Lab in particular, during his time in Cork. I apologize for the many whose name I’ve not listed, but y’all have my warmest thanks, and my sincerest admiration for your contributions—we are a better space for it!

Of course, the biggest thanks go to everyone who participated as listener (and I am thinking in particular of the regulars who come every month!), and to those brave ones who jump-in the deep-end!

Signing-off as curator: Thanks, thanks, thanks and thanks to y’all!

BTW, some of my observations about running this space around the half-way point of my tenure as curator are at ‘Lab report 2007-2009: how to run an improvised music club’.

note: I’m plugging the performance here because Franziska’s appearance at the Lab in November ’08, and Bruce’s in December ’08 and in May ’09 rode on the back of this project.

Stet Lab featuring Bruce Coates and Jonny Marks

Monday, May 11th 2009

9:00 pm (doors: 8:45 pm)

Upstairs @ The Roundy [map…]
Castle Street
Cork, Ireland

€10 (€5)

This month’s Stet Lab, Cork’s improvised music event, will take place at 9:00 pm on Monday, May 11th 2009, upstairs at The Roundy, Castle Street, Cork, Ireland. The event will feature saxophonist Bruce Coates (UK) and vocalist Jonny Marks (UK/New Zealand via China), plus Cork-based improvisers, Han-earl Park (guitar), Owen Sutton (drums), Paul Dowling (bass), Vicky Langan (electronics) and James O’Gorman (guitar).

May’s Stet Lab will see a bold mix of familiar and unfamiliar faces. Returning will be Birmingham-based Bruce Coates, founder of FrImp and the Birmingham Improvisers’ Orchestra, and a saxophonist with a sound both daring and inviting. Having worked with musicians as diverse as Christian Wolff, Lol Coxhill, Tony Oxley, John Edwards, Chris Hobbs, and previous Stet Lab guests Paul Dunmall, Mark Sanders and Mike Hurley, Coates regularly negotiates the intersection between avant jazz, free improvisation and post-Cardew experimentalism. A Stet Lab veteran, he performed twice before at the Lab—in November 2007 and December 2008.

Making his Irish debut at this event will be Jonny Marks from New Zealand via Mongolia and the UK. Marks is an experimental vocalist and throat singer who has worked with Damo Suzuki, Thomas Lehn and Takashi Harada, and with bands such as The Verlaines and Thrashing Marlin. He has appeared at the Wellington International Jazz Festival and the Melbourne International Jazz Festival.

Joining Coates and Marks will be Cork-based improvisers, guitarist Han-earl Park, and the young, up-and-coming drummer Owen Sutton.

The evening will be opened by a trio comprising bassist Paul Dowling, Vicky Langan on electronics, and newcomer to the Stet Lab stage, guitarist James O’Gorman. This eclectic ensemble will showcase three radically divergent approaches to improvisation.

The event will begin at 9:00 pm (doors open at 8:45 pm) and entry is €10 (€5).

Stet Lab will return in June with more real-time, musical mutations and hybrids.

I’m happy and honored for a performance at Stet Lab to be included on a collection that also features Alexander Hawkins, Dominic Lash, Ilia Belorukov, Styles Kauphmann, Skarabee, The Improvising Clarinet Ensemble, Anthony Whiteford, David Curington, Graham Mackeachen, and The Cambridge Free Improvisation Society.

Now go download, read, listen and contribute.

Below, for example, are John Hough’s photos (© 2009 John Hough) of the February 2009 Lab with Andrea Bonino, Paul Dowling, Paul Dunmall, Neil O’Loghlen, Katie O’Looney, Han-earl Park, Mark Sanders, Jamie Smith, Owen Sutton, Veronica Tadman and Kevin Terry:

The diary has now been updated with links to the corresponding photo slideshows. Currently, the events with photo galleries are January and February 2009, March, June and December 2008, and November 2007.

All images copyright their corresponding photographer (currently, these are John Downes for November 2007, John Hough for the others).

If you object to your image being used in this manner, please contact me.

Anyway what’s this got to do with Stet Lab? Well I found that January’s Lab was easily the healthiest lab yet: there was an electric atmosphere, there was a crowd and the improvisations kicked ass! Something just seem to click and after the mishaps of the December Lab it was definitely well rewarded. The Roundy cannot possibly ‘double book’ again because the ratio of punters between upstairs and downstairs was invertly proportional (i.e there were more people at the Lab than casually drinking downstairs).

I cannot quite figure out what was the key factor that made this months Lab stand out above the rest: Was it Murray? Was it the large crowd? The press release that constantly went on about a party? Whatever it was, it worked and I hope that we can learn from this Lab because it proved that Stet Lab can be a worthy event on the monthly Cork social calendar.

I think I did some pretty damn good playing on December 9th. Nothing life changing perhaps, but I think it was a reasonable contrast my contribution to October and November’s Labs. But here’s the question: how do I know when I’m getting a little too… complacent is the wrong word—comfortable?

Let me clarify this: I’m not talking about the fact that ‘sure you’re feeling sick?’ kicked-off with one of my standard gambits (a small interval flutter that I half stole from Parker and half stole from Ligeti). I know from following, say, George E Lewis’ playing over the years that where you start can be as trivial as you make it (as long, of course, as you end up somewhere interesting).

Anyway, how much of these musico-personal clichés are really a hindrance? Take, for example, the bowed-swell-slide that opens ‘has “it” happened?’. The slide goes up in pitch rather than down. I don’t know if I ever start one of those going down. Not really a problem though is it? certainly not one that I’m going to lose sleep over. I’ll take it as a quirk. Ornette, for example, always sounds like Ornette; I’m not going to fool myself into thinking that I have a transcendental musical personality.

Actually, there is one habit of mine that I will be happy to be rid of. That damp-string-yank-neck-swell whump can go (you can hear it at around the 3:44 mark on ‘i read many literary forms’). It’s a lazy (pointless in its current form) trick and I’m tired of hearing it.

I’m also not talking about ‘shaping’ or ‘form’. I think ‘it’s a miracle (like Moses)’, for example, has a very captivating, moment-by-moment geometry—a result of real-time (re)negotiations and (re)configurations.

Yet I’m reminded of Mats Gustafsson’s recent performance with The Thing. Why are all the phrases the same length? why are all the ideas of the same quanta?

Things I had to watch out for in the December Lab: for whatever reason, Bruce Coates and I shared the same rhythm. It would have been faaar too easy to enter and exit in (boring, homogenous) sync. For a large part of the first set (‘it’s a miracle…’ and ‘i read many literary forms’) I spent my time staying out of Sarah O’Halloran’s way, and trying not to overlap too much with Bruce. This was trickier than it might sound since I feel reasonably familiar with Bruce’s sound (not surprising considering that we’ve played together quite a bit over the last 12+ months, and I’ve had time to study his playing a bit).

Aside: from my vantage point, Sarah seemed to navigate (create?) her own space without difficulty. Wonder if it felt like that was the case from her side?

And that’s my issue with my playing at this month’s Lab: are my gestures the same size? are my ideas-per-minute constant? I think, on a good day, on the microscopic level, my playing exhibits (complex / interesting / infuriating / contradictory) variation, but I fear that, on a macroscopic level, it’s often (simple / boring / predictable / coherent) uniformity that rules the day. Am I getting too comfortable in this space?

…And am I right in guessing that this performance was a kind of last hurrah before the (Franziska-driven) change?

I don’t, however, want to end on that note: we played well—heck, some of the strongest Stet Lab moments happened this month—and I’m happily listening to these on my iPod. There’s a good rapport between Bruce and I; Neil O’Loghlen’s addition made certain surprising group dynamics available; and Sarah, as I said before, was funny as hell.

We’re happy to be releasing these recordings under the Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. [More info…] We’d be very interested in hearing any thoughts you may have regarding the license (especially if you have performed at, or plan to perform at, a Stet Lab event) so please leave a comment on the relevant thread.

The December Lab was a great way to end the year with everyone playing at their best: Bruce Coates’ 60+ minutes of invention, Sarah O’Halloran was funny as hell, Neil O’Loghlan anchored the improbable ensemble, Kevin Terry rocked, Christian Martin leapt into the deep end… and even I (Han-earl Park) would have to admit that I played pretty well. It was also a pleasure to perform for an audience in such good form (it wouldn’t have been half as good without you).

A big thanks to Veronica Tadman for holding the Lab together during our recent difficulties; navigating the maze of reshuffles and negotiations. This month’s event could not have happened without Veronica and Kevin’s organizational skills and foot work. (Also a quick thanks again to the Cork Indy for their write-up.)

And thanks to all who’ve come to listen over the last year. Hope to see you again in 2009 for more real-time mutations and hybrids!

Same place (Upstairs @ The Roundy), same time (9:00pm), same remarkable / outstanding / implausible / magical lineup (Bruce Coates, Sarah O’Halloran, Neil O’Loghlen and Han-earl Park).

Our sincerest apologies for any inconvenience caused. We hope that you can still come and participate.

Special thanks to Veronica Tadman for organizing a smooth rescheduling of the Lab under less-than-optimal circumstances, and Kevin Terry for doing the footwork on the posters and publicity.