I had also due to help behind-the-scenes at the launch event for mumei, the profoundly curious and adventurous music journal edited by Ryoko Akama and Heather Frasch. That event is taking place on Saturday (December 18) at KM28, Berlin. Should be a fascinating evening; please check it out if you’re able. [Reserve seat…]
Han-earl Park (guitar). A solo performance, plus a discussion (with Corey Mwamba) as part of The Sound of Science. Also performing and presenting: Johnny Hunter’s Pale Blue Dot with Mark Hanslip, Seth Bennett, Gemma Bass, Aby Vulliamy and Michael Bardon. Presented by Jazz North East.
Free but ticketed.
March 20, 2022
18–22 Ashwin Street
London E8 3DL
This Friday (July 16, 2021), at 8:00pm: The Names (Heather Frasch: flute; Carina Khorkhordina: trumpet; Koen Nutters: upright bass; Han-earl Park: guitar; and Quentin Tolimieri: melodica), plus Duchamp & Wizard Ashdod, perform as part of the Keith Bar Open Air Music Series (Outside Keith Bar, Schillerpromenade 2, 12049 Berlin). Admission is free.
Outside Keith Bar
The Names (Heather Frasch: flute; Carina Khorkhordina: trumpet; Koen Nutters: upright bass; Han-earl Park: guitar; and Quentin Tolimieri: melodica) presented as part of the Keith Bar Open Air Music Series. Also performing: Duchamp & Wizard Ashdod. Free admission.
I am sad to announce that I will unfortunately not be taking part in the events in Birmingham (March 17, 2020), Cheltenham (March 19), and London (March 21 and 22). All the events, however, are still taking place without me, so please support the fantastic community of local musicians and curators.
My warmest thanks to all the artists involved, big thanks to Jamie Dawson for again offering to lend me the use of his guitar amp, and special thanks to Tom Ward, Andrew Woodhead and Chris Cundy for inviting me to perform. I hope we can set up a rematch in the future.
The Lamp Tavern
Birmingham B5 6AH
Han-earl Park (guitar) presented by Fizzle. Also performing: Bruce Coates (saxophones), Sarah Farmer (violin), Walt Shaw (percussion) and Lee Boyd Allatson (drums). Admission: £7/5 at the door.
16 Bennington Street
Cheltenham GL50 4ED
Chris Cundy (reeds) plus Han-earl Park (guitar) presented by Radio Egypt.
Admission: £5 at the door.
March 21, 2020
Unit 2 Mantle Court
209–211 Mantle Road
London SE4 2EW
7:00pm (doors: 6:30pm)
Tom Ward (saxophone) and Han-earl Park (guitar) presented by BRÅK. Also performing: Cath Roberts and Charlotte Keeffe, and Colin Webster and Matthew Grigg. Admission: one Bank of England note.
Han-earl Park (guitar), (trumpet and electronics) and Cath Roberts (baritone saxophone). Also performing: (Tom Ward: bass clarinet and flute; and Tim Fairhall: double bass). Admission: one Bank of England note.
Pour la dernière soirée, le directeur artistique Rui Neves nous a réservé un trio d’une radicalité absolue, proposition courageuse voire casse-gueule dans le contexte d’une salle de plusieurs centaines de places…. Et même pour les spectateurs aguerris, il s’est agi sans nul doute du concert le plus difficile d’accès du festival, présentant peu de repères auxquels se raccrocher. Il faut ici saluer la grande majorité des spectateurs, déterminés à suivre les musiciens dans leur recherche ou idée fixe, voir où le voyage va les mener. Le son est magnifiquement restitué. Park joue beaucoup de l’accordage de la main gauche, dans le registre de la basse. Les guitaristes dessinent des paysages métalliques, via un jeu non conventionnel, selon leurs propres codes, multipliant les dissonances…. Catherine Sikora est une révélation, son jeu oblique, sensible et lumineux offrant un contrepoint idéal aux élucubrations crépusculaires de ses partenaires. Le ténor adopte une approche décidément tonale et mélodique, et néanmoins exploratoire. D’un bout à l’autre un set sans concession aucune, dont on ressort essoré, mais ravi que de telles expériences soient tentées. Art music! [Read the rest…]
Meanwhile, Erik Ellestad, reviewing Eris’ most recent album, sketches a verisimilar portrait of the trio (Han-earl Park “functioning as the de facto rhythm section in Eris 136199”; Catherine Sikora’s “unvarnished and unapologetic sound… while at the same time maintaining a core of melodicism”, and Nick Didkovsky expressing “digitally warped washes of static-like sound and angry slashes of melody”):
It is 50-plus minutes of riveting music making from three fantastic and fascinating musicians. I’ve been listening avidly to Eris 136199 all week on my commute and have looked forward to it every day. Wondering what new thing I will discover in Sikora’s technique while at the same time trying to pay attention and tease out which guitarist is playing what.
Obviously, Eris 136199 isn’t Lawrence Welk, however, there is something in the players expressiveness and in their interactions which prevents it from being too harsh or overwhelming.
Rough enough to keep it exciting, yet tender enough to keep you coming back. [Read the rest…]
I think I might want “Eris 136199 isn’t Lawrence Welk” on a T-shirt.
First, my thanks as always to those who came to listen and witness musicking in real-time collisions. It was great to see so many old friends and new faces; to hear from so many of how you made your way into this music. My heartfelt thanks to you for embarking on the journey with us!
I am so very grateful to all our hosts: a big, big, big thanks to Jazz em Agosto for making all this possible. My deepest gratitude to Rui Neves for first inviting this unruly trio to perform at the festival, and to his unerring belief in the necessity of difficult music. Thanks also to the super-professional sound and stage team; to Petra Cvelbar for the awesome photography; to João Brilhante for all the media work; and to the unshakable patience and enthusiasm of Inês Nunes who got this trio from A-to-B and back again (I expect big things in all your future endeavors).
Warmest thanks everyone at The Vortex for their generosity and enthusiasm—what a true community! In particular, thanks to the amazing Kathianne Hingwan for her kindness and generosity, to Kim Macari for the invitation to perform, and to our fantastic sound engineer Ali Ward for the faster-than-light energy. (And of course Nutmeg for greeting the band!)
Thanks to everyone behind the scenes at the Dublin event: to Note Productions (to Matthew Nolan for putting together the program), and to Improvise Music Company (to Aoife Concannon, Adam Nolan, Kenneth Killeen, and, in particular for the Question & Answer, to Caitríona O’Mahony). Thanks also to Zeropunkt (Fergus Cullen, Jamie Davis and Damien Lennon) for graciously sharing the stage with us.
Kudos, Sean Woodlock, mastermind behind Hackney Road Studios for the smoothest, quickest, most professional of setups, and for creating the most musically, technically, logistically and acoustically satisfying studio recording experience I’ve ever had. Truly, if anyone needs a recording, hit Sean up. (And thanks to Colin Webster for recommending the studio.)
Thanks to Laurent Carrier and everyone Colore for handling all the paperwork, and to the tireless Lee Paterson who helped negotiate the details, and guided this musician carefully through the whole paperwork process. You were just above-and-beyond, Lee! (And thanks to Ingrid Laubrock for introducing me to Lee, and to Alex Hawkins and Charles Hayward for BTS consultations.)
Last, but certainly not least, thanks go to my travel companions, both in musical and geographical space (and in hypothetical lived simulations and dream states). A big thanks to Catherine for the big note, the moments of harmonic serendipity, and the unexpectedly expected interjections; and to Nick for the super-critical noise, the human-controlled virtual reverb chamber, and for the dreamy soundscapes (or is that the sound dreamscapes). Thank you both for observing and noting the synchronicity in our travels (of foxes, of tango, of almost forgotten ancestors, of frozen assets). As we discussed on multiple occasions on the tour, the ensemble is the composition, and it was a pleasure to study this composition more fully with each performance: experiencing the music of changes from energetic play of weight and light (Vortex, London), high-risk explorations of the outer reaches of idiom (Hackney Road, London), games of serendipity and of disjunction (Lisbon), and music of counterpoint and real harmony (Dublin).
Track listing: Therianthropy I (≥ 3:43), Therianthropy II (8:56), Therianthropy III (3:55), Therianthropy IV (6:30), Adaptive Radiation I (6:44), Adaptive Radiation II (8:48), Adaptive Radiation III (5:54), Universal Greebly (10:58), Hypnagogia I (8:03), Hypnagogia II (4:45). Total duration ≥ 68:25.