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…]
QLH (Quentin Tolimieri: organ; Luca Marini: drums; and Han-earl Park: guitar) with Catherine Sikora John Dikeman (saxophone). Also performing: Deep Turtle (Conor Cunningham, Alessandro and Joey Gavin). [PAS program…]
January 15, 2022
TBA
Wiesbaden
Germany
TBA
QLH (Quentin Tolimieri: organ; Luca Marini: drums; and Han-earl Park: guitar).
Details to follow…
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.
[Details…] [Gosforth Civic Theatre page/tickets…]
March 20, 2022
Cafe OTO
18–22 Ashwin Street
Dalston
London E8 3DL
England
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
Schillerpromenade 2
12049 Berlin
Germany
8:00pm
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.
[echtzeitmusik calendar…]
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
Barford Street
Birmingham B5 6AH
England
7:30pm
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.
[Fizzle page…] The event is still taking place, but Han-earl Park will no longer be taking part.
March 19, 2020
Smokey Joe’s
16 Bennington Street
Cheltenham GL50 4ED
England
8:00pm
Chris Cundy (reeds) plus Han-earl Park (guitar) presented by Radio Egypt.
Admission: £5 at the door. The event is still taking place, but Han-earl Park will no longer be taking part.
March 21, 2020
waterintobeer
Unit 2 Mantle Court
209–211 Mantle Road
Brockley
London SE4 2EW
England
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.
[BRÅK page…] The event is still taking place, but Han-earl Park will no longer be taking part.
Han-earl Park (guitar), Alex Bonney (trumpet and electronics) and Cath Roberts (baritone saxophone). Also performing: Ti/om (Tom Ward: bass clarinet and flute; and Tim Fairhall: double bass). Admission: one Bank of England note.
[100 Years Gallery page…] The event is still taking place, but Han-earl Park will no longer be taking part.
A “control of noise”, “saturated electricity” and “fighting… with the underground”? or “free-wheeling” with experiments in sound injected with lyricism? or “electronic mayhem” with “a full bodied sound”? In among the reviews of Eris 136199’s performance at Jazz em Agosto, David Cristol, writing in Jazz Magazine, follows “a trio of an absolute radicality”, and concludes by discovering “art music!”
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.
CD: €11 minimum (‘name your price’) plus shipping.*†
Download: €8 minimum (‘name your price’).†
* Limited edition glass-mastered CD. CD includes additional material (liner notes, artwork, etc.) not included in the download version of the album.
*† Both digital and physical purchases give you streaming via the free Bandcamp app, and option to download the recording in multiple formats including lossless.
