performance: Hilary Jeffery, Han-earl Park, Andrea Parkins and Simon Rose at Ma Thilda, Berlin

Thursday, March 26, 2015, at 9:00pm: Hilary Jeffery (trombone), Han-earl Park (guitar), Andrea Parkins (accordion and electronics) and Simon Rose (saxophone) perform at Ma Thilda (Wildenbruchstraße 68, Neukölln, 12045 Berlin, Germany). Admission free; donation recommended.

I had a blast performing with Andrea last time (as I said, “insanely fun!”); I look forward to playing with Simon in a small group context (last time was anything but); and, incredibly, this will be my first on-stage meeting with Hilary. I’m looking forward to this mightily.

See the performance diary for up-to-date info. [Facebook event…]

Above audio clip: last time I performed with Andrea Parkins. (Music © + ℗ 2015 Han-earl Park and Andrea Parkins. Retroactive visuals/video © 2015 Han-earl Park.)

performance diary 01-27-15 (Berlin, London, Manchester)

upcoming performances
date venue time details
March 2, 2015 The Roundy
Castle Street
Cork, Ireland
8:30pm (doors: 8:15pm) Canceled! Han-earl Park (guitar), Roslyn Steer (bass), Kevin Terry (guitar) and Dan Walsh (drums).
Admission: One euro note (€5/10/20…).
Details to follow…
March 26, 2015 Ma Thilda
Wildenbruchstraße 68
Neukölln
12045 Berlin, Germany
9:00pm Hilary Jeffery (trombone), Han-earl Park (guitar), Andrea Parkins (accordion and electronics) and Simon Rose (saxophone).
Admission free; donation recommended.
[Details…]
May 2, 2015 St. Margaret’s Church
Rufford Road
Whalley Range
Manchester M16 8AE
England
5:00pm Han-earl Park (guitar) and Dominic Lash (double bass) with Corey Mwamba (vibraphone) as part of the Tubers MiniFestival. Also performing: Bark!, Cathy Heyden and Rogier Smal, Roseanne Robertson, Vitalija Glovackyte and Joe Snape, and Ortho Stice. Details to follow…
May 4, 2015 Bar & Co.
Temple Pier
Embankment
London WC2R, England
8:30pm (doors: 8:00pm) Han-earl Park (guitar) and Dominic Lash (double bass) presented by Boat-Ting.
Admission: £8 (£5).
Details to follow…
Early-May 2015 England Seeking performance opportunities (depending on dates, for my trio with Dominic Lash and Mark Sanders) in England, around 2 and 4 May. Interested promoters, venues and sponsors, please get in touch!
2015– 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) and Mathilde 253 (with Charles Hayward and Ian Smith). Interested promoters, venues and sponsors, please get in touch!

Continue reading “performance diary 01-27-15 (Berlin, London, Manchester)”

Stay tuned…

Harvestworks (New York, October 29, 2013)
Apologies for the paucity of updates. I’m working on several things behind-the-scenes, and will be back shortly with news of performances coming up in Berlin, Manchester, Belfast and elsewhere; updates on Anomic Aphasia (SLAMCD 559); and news of a new amplifier. Be right back….

Prepared Guitar: 13 Questions

13 Questions (Han-earl Park. Harvestworks, NYC, October 29, 2013. Photo copyright 2013 Emilio Vavarella.)
Han-earl Park (Harvestworks, NYC, October 29, 2013). Original photo © 2013 Emilio Vavarella.

For Miguel Copón, Prepared Guitar is a “metaphor about metamorphosis” and a “place to support independent artists”. Prepared Guitar recently published my response to Copón’s 13 Questions, so you can now read, among other things, about my first guitar, my musical roots (as contradictory as they may be), and what I’m currently working on:

A CD with Catherine Sikora, Nick Didkovsky and Josh Sinton in the works. Looking to fire up a couple of European projects after a hiatus: the duo with Richard [Barrett], and Mathilde 253 with Charles Hayward and Ian Smith.

But the thing that’s tugging at me right now is the possibilities of the score in the context of improvisative performance. Ideas, some specific, some nebulous, all as yet untested about what might be possible…

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-practitioners 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…]

You can also read my struggle with a question about the necessity of music, my take on the current digital music scene, and the politics of ‘extended technique’:

So what’s being ‘extended’ by ‘extended technique’? Is it akin to, say, a colonial explorer extending their influence and territory; ‘discovering’ a land (regardless of whether some other people were there first)?

Had an interested online exchange with Hans Tammen on the subject, and it struck me how much the term ‘extended technique’ is a way to distinguish pioneers from the rest of us. Where you draw those lines (between common practice and extended technique) says much more about your own history and prejudices than some essential quality of the technique in question.

Ishmael Wadada Leo Smith once pointed out how Stockhausen claimed the invention of certain ‘extended techniques’ for the trumpet that were patently false if you had even a passing knowledge of practices outside of West European traditions. Did Stockhausen, and his supporters, claim these techniques because of a kind of ignorance, or as a deliberate erasure of other traditions? Either way, it requires a heavy dose of privilege to ignore, to justify your ignorance, or to mark peoples and cultures as irrelevant. [Read the rest…]

Looking through the list of respondents to the 13 Questions, I’m honored to find my name among those guitarists whose work I admire. I’m grateful that Miguel Copón asked me to participate.

seeking performances (Europe, 2014)

I will be moving back to Cork this month, and I am seeking performances for the following projects/ensembles in Europe, 2014. Interested promoters, venues, festivals and sponsors, please get in touch!

In addition, I (Han-earl Park) will be available for performances in solo or (ad-hoc) ensemble contexts.

Contact me for further information, audio recordings, etc. (some material only available to promoters).

site update: scrapbook

web audio player widget
I’ve finally updated and reorganized my scrapbook. It’s been a few years since I last made changes to this audio and video archive, so there’s a good few additions, and a few more tracks (with Richard Barrett, Paul Dunmall and Mark Sanders) will be added in the coming weeks. Below is a sample of some of the more recent additions. Enjoy!

All music and audio recordings © + ℗ their respective owners.

Gargantius Effect (Murray Campbell: violin, double reeds; Randy McKean: saxophone, clarinet) with Han-earl Park (guitar) and Gino Robair (energized surfaces, voltage made audible).

Music by Murray Campbell, Randy McKean, Han-earl Park and Gino Robair.
Recorded live August 30, 2011 at Studio 1510, Oakland.
Recorded by Randy McKean. Mastered by Han-earl Park.

[Download complete recording…]

Han-earl Park (guitar) and Richard Scott (electronics).

Music by Han-earl Park and Richard Scott.
Recorded Recorded on October 23, 2010 at Richard Scott’s studio, Berlin.
Recorded and mixed by Richard Scott.

[Download complete recording…]

io 0.0.1 beta++ (itself) and Bruce Coates (saxophone).

Music by Han-earl Park, Bruce Coates and Franziska Schroeder.
Recorded May 25, 2010 at the Ó Riada Hall, UCC Music Building, Cork.
Audio clip courtesy of SLAM Productions. ℗ 2011 SLAM Productions.
Recorded and mixed by Han-earl Park.

[More…] [Get the CD/download…]

CD available: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources Recordings

Released as part of Creative Sources Recordings’ February 2012 CD catalog: ‘Numbers’ (CS 201 cd), a duo recording by composer, performer and electronic musician Richard Barrett and guitarist, improviser and constructor Han-earl Park.

[Creative Sources catalog page…]
[Numbers project page…]
[Discography entry…]

description

Lively, relevant, dizzying electroacoustic music; music that seems to be daring us to try and catch it. [More…]

— François Couture (Monsieur Délire)

The fractured phrases that erupt throughout this disc often sound like just one musician playing…. Completely unique, exciting and engaging. [More…]

— Bruce Lee Gallanter (Downtown Music Gallery)

By means of an intricate web of sonic hiccups, scrapes, scouring, gluts, gargles and cuts, they build an acoustic lucid computational delirium, whose trajectory is impossible to outguess. [More…]

— Vito Camarretta (Chain D.L.K.)

Bazillions of events… for the joy of individuals who take pleasure in getting their brain zapped and scrambled by the rivalry between transonic beauty and extreme structural atomization. This is in fact a full hour of frantically jagged live improvisation…. [More…]

— Massimo Ricci (Touching Extremes)

Kaleidoscopic music, a rubato flux of superimposed noises in which lightning-fast progression from one galvanising sound event (noise thru silence) to another, and the musicians’ constant attention to overall form… it’s music of the moment, a process of constantly tweaked evolutionary recombination. [More…]

— Tim Owen (Dalston Sound)

[More reviews…]

Numbers is a high-energy, quick-footed, scatter-brained two hander—a looping, convoluted, interactive dance made audible—a musical fender bender involving electroacoustic complexities and (physio)logical splutter-cuts, jump-cuts and match-cuts—an intense white-knuckle extemporization unit—the duo of composer, performer and electronic musician Richard Barrett and guitarist, improviser and constructor Han-earl Park.

Celebrated for his dense, complex, intricate music, Richard Barrett is perhaps best known for his work with Paul Obermayer as part of FURT, as part of the Evan Parker Electro-Acoustic Ensemble, and his close collaborations with the Elision Ensemble. At home in both composition and improvisation, Barrett’s music increasingly problematizes the distinction between them. Described by Brian Morton as “a musical philosopher… a delightful shape-shifter”, Han-earl Park is drawn to real-time cyborg configurations in which artifacts and bodies collide. He has performed with some of the finest practitioners of improvised music, and is part of Mathilde 253 with Charles Hayward and Ian Smith. First performing together as duo in at AUXXX, Berlin, October 2010, Barrett and Park engage in a continuing improvisative conversation; alternately claiming autonomy and independence, and group action and solidarity.

Track titles derive from the final section of numbers, an extended poem by Simon Howard, published in 2010 digitally by Mark Cobley and in book form by The Knives Forks And Spoons Press.

audio excerpts




Audio excerpts courtesy of Creative Sources Recordings.
Music by Richard Barrett and Han-earl Park.
Audio ℗ 2012 Creative Sources Recordings. Please do not distribute the audio files.

personnel

Richard Barrett (electronics) and Han-earl Park (guitar).

track listing

tolur (15:38), tricav (10:42), ankpla (10:46), uettet (5:17), creens (6:03), ll……. (11:42). Total duration: 60:00.

recording details

All music by Richard Barrett and Han-earl Park.

Recorded March 10, 2011 at the Institute of Sonology, The Hague.
Recorded by Richard Barrett and Han-earl Park. Mixed by Richard Barrett.
Design and artwork by Carlos Santos.
Produced by Ernesto Rodrigues.

© + ℗ 2012 Creative Sources Recordings.

about the performers

Richard Barrett (www.richardbarrettmusic.com) is internationally active as both composer and improvising performer, and has collaborated with many leading performers in both areas, while developing works and ideas which increasingly leave behind the distinctions between them. His long-term collaborations include the electronic duo FURT which he formed with Paul Obermayer in 1986 (and its more recent octet version fORCH), composing for and performing with the Elision contemporary music group since 1990, and regular appearances with the Evan Parker Electro-Acoustic Ensemble since 2003. Recent projects include “CONSTRUCTION”, a two-hour work for twenty performers and three-dimensional sound system, premiered by Elision in November 2011. He is based in Berlin and currently teaches at the Institute of Sonology in The Hague. His work as composer and performer is documented on over 20 CDs, including five discs devoted to his compositions and seven by FURT.

Improviser, guitarist and constructor Han-earl Park (www.busterandfriends.com) works within/from/around traditions of fuzzily idiomatic, on occasion experimental, mostly open improvised musics, sometimes engineering theater, sometimes inventing ritual. He feels the gravitational pull of collaborative, multi-authored contexts, and has performed in clubs, theaters, art galleries and concert halls in Austria, Denmark, Germany, England, Ireland, The Netherlands, Scotland and the USA.

He is part of Mathilde 253 with Charles Hayward and Ian Smith, and is involved in ongoing collaborations with Bruce Coates, Franziska Schroeder, Alex Fiennes and Murray Campbell. He has recently performed with Ishmael Wadada Leo Smith, Lol Coxhill, Pat Thomas, Paul Dunmall, Mark Sanders, Matana Roberts, Richard Barrett, Pauline Oliveros, Thomas Buckner and Kato Hideki. Festival appearances include Sonorities (Belfast), Sonic Acts (Amsterdam), dialogues festival (Edinburgh), and CEAIT Festival (California). His recordings have been released by labels including Slam Productions and DUNS Limited Edition.

also by Han-earl Park

‘io 0.0.1 beta++ (SLAMCD 531) CD cover (copyright 2011, Han-earl Park)

io 0.0.1 beta++ (SLAMCD 531) [details…]

Performers: io 0.0.1 beta++ (itself), Han-earl Park (guitar), Bruce Coates (alto and sopranino saxophones) and Franziska Schroeder (soprano saxophone).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

‘Mathilde 253’ (SLAMCD 528) CD cover (copyright 2010, Han-earl Park)

Mathilde 253 (SLAMCD 528) [details…]

Performers: Charles Hayward (drums, percussion and melodica), Han-earl Park (guitar) and Ian Smith (trumpet and flugelhorn) plus Lol Coxhill (saxophone).

© 2010 Han-earl Park.
℗ 2010 SLAM Productions.

updates

10-04-13: add audio excerpts and reviews, plus some small formating changes.

download release: artillery

‘artillery’ (VMDL11)  (copyright 2011, Han-earl Park / Vicmod Records)
‘artillery’ (VMDL11) © 2011 Han-earl Park / Vicmod Records

This seems to be the month for download releases! Vicmod Records releases ‘artillery’ (VMDL11) with Han-earl Park and Richard Scott. Recorded on October 23, 2010 at Richard Scott’s studio, Berlin. Recorded, mixed and mastered by Richard Scott.

[Get it from Vicmod Records…]

personnel

Han-earl Park (guitar) and Richard Scott (electronics).

track listing

call (13:04), catch/pitch (10:45), carrier (7:38), artillery (13:17). Total duration: 44:44.

site update: Numbers: Richard Barrett + Han-earl Park

Han-earl Park and Richard Barrett (original photos by Stephanie Hough and Luis Neuenhofer)
original photos by Stephanie Hough and Luis Neuenhofer

The (provisional) page for Numbers: Richard Barrett + Han-earl Park is now live. More to come including audio recordings and news about future performances. Here’s an excerpt:

Richard Barrett (electronics)
Han-earl Park (guitar)

Numbers is a high-energy, quick-footed, scatter-brained two hander—a looping, convoluted, interactive dance made audible—a musical fender bender involving electroacoustic complexities and (physio)logical splutter-cuts, jump-cuts and match-cuts—an intense white-knuckle extemporization unit—the duo of composer, performer and electronic musician Richard Barrett and guitarist, improviser and constructor Han-earl Park.

Celebrated for his dense, complex, intricate music, Richard Barrett is perhaps best known for his work with Paul Obermayer as part of FURT, as part of the Evan Parker Electro-Acoustic Ensemble, and his close collaborations with the Elision Ensemble. At home in both composition and improvisation, Barrett’s music increasingly problematizes the distinction between them. Described by Brian Morton as “a musical philosopher… a delightful shape-shifter”, Han-earl Park is drawn to real-time cyborg configurations in which artifacts and bodies collide. He has performed with some of the finest practitioners of improvised music, and is part of Mathilde 253 with Charles Hayward and Ian Smith. First performing together as duo in at AUXXX, Berlin, October 2010, Barrett and Park engage in a continuing improvisative conversation; alternately claiming autonomy and independence, and group action and solidarity.

Their first CD, ‘Numbers’ (CS 201 cd), recorded at the Institute of Sonology (The Hague), will be released by Creative Sources Recordings in November 2011 2011/2012.

[More…]

‘Numbers’ (CS 201 cd)

The CD, ‘Numbers’ (CS 201 cd), recorded at the Institute of Sonology (The Hague), will be released by Creative Sources Recordings in November 2011 2011/2012.

personnel: Richard Barrett (electronics) and Han-earl Park (guitar).

track listing: tolur (15:38), tricav (10:42), ankpla (10:46), uettet (5:17), creens (6:03), ll……. (11:42). Total duration: 60:00.

© + ℗ 2011 Creative Sources Recordings.

updates

08–04–11: update CD catalog number to ‘CS 201 cd.’

11–15–11: update release schedule [details…].

Download of the Day at All About Jazz: Han-earl Park and Richard Scott

I’m happy and honored to again have a recording selected as Download of the Day at All About Jazz. ‘Carrier’ by myself and Richard Scott is AAJ’s featured download for today! Thanks to Dave Sumner who runs the series for selecting the recording, and for the heads up. [Download the complete session…]

audio recordings: Han-earl Park and Richard Scott (Berlin, 10–23–10)

Update: now available, newly remixed and remastered by Richard Scott, as a download release from Vicmod Records! [More info…] [Get it from Vicmod Records…]

The complete recording A track from the October 23, 2010 session by Han-earl Park and Richard Scott is now available for download below.

details

Han-earl Park (guitar) and Richard Scott (electronics).

Recorded on October 23, 2010 at Richard Scott’s studio, Berlin. Recorded and mixed by Richard Scott.

//www.busterandfriends.com/
http://richard-scott.net/

Above recordings (Cell, Catch | Pitch, Carrier, and Artillery) released under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License. Please attribute the recordings to Han-earl Park and Richard Scott.

Still available…

The complete recording of the July 29, 2010 performance by Han-earl Park plus Marian Murray. [More…]

The complete recording of the March 26, 2009 performance by Franziska Schroeder and Han-earl Park. [More…]

updates

06–25–11: withdraw three tracks (Cell, Catch | Pitch, and Artillery).

12–06–11: add Vicmod Records release details.

Thanks: Maynooth, Berlin and Vienna

Lichtblik Kino (Berlin) 10-23-10

Thanks to Jesse Ronneau of EIMM, Hilary Jeffery and Richard Scott of AUXXX, Marco Eneidi of the Neu New York / Vienna Institute of Improvised Music for organizing the performances, and for hosting this itinerant musician. Thanks also to Jaap Pieters whose films added an extra interactive complication (in the best possible sense) to the AUXXX performance, Richard Scott for the informal recording session in Berlin, and to all the performers who were involved in EIMM and Neu New York / Vienna Institute of Improvised Music.

And a big, big thanks to Richard Barrett for the pushing/pulling me. I’m in awe of Richard’s skill and craft, and I hope I managed to keep up with his energy and creativity. I recall, during our twenty-five minute duet, at least four points during which I fumbled the ball, but I still think he got some of the best playing out of me. It was certainly a mental and physical workout, and I leaned a lot during that performance. Hope to play again!

As always, thanks to all who came to listen/watch—it was a pleasure to share the journey.