Original photographs/images © 2015 Han-earl Park; © 2015 Translating Improvisation; © 2015 Peter Fay; © 2015 Caroline Pugh; © 2015 65Fen Music Series; and © 2015 Michael Foster.
Happy New Year: 2016
thanks: Park-Lash-Sanders-Pugh (Fizzle, Birmingham; BtB, Bristol; and OTO London), Laubrock-Park (New Revolution Arts, Brooklyn) and Didkovsky-Park-Sinton (65Fen, Brooklyn)
Five performance this final month of 2015! A great privilege to have shared the stage with so many awesomely creative, smart and generous people. Let’s get to the hat-tips…
Okay, start with a thanks to my co-conspirators, Dominic Lash, Mark Sanders and Caroline Pugh, who consistently created fascinating, difficult, infuriating, confounding and beautiful spaces for interaction. Listening to the music play out in real-time, all I could think was that it sounds great whenever the guitarist shuts-up. (As Josh Sinton pointed out later, that’s really a wonderful position to be in; not knowing how to contribute to—to add to—an already perfect ensemble at play.)
Thanks to Ingrid Laubrock for the play—it was great to come-off a… logistically challenging set of gigs into a relaxed performance where, well, anything might happen… and we ended up in some interesting and unexpected places. (Felt very good about this one.)
To Josh Sinton and Nick Didkovsky, well… That. Was. A. Blast. …Thanks, Josh, Nick, for the Loud Jazz (best possible sense!).
Big thanks to all the venues and promoters, DIYers and supporters: to the indefatigable Andrew Woodhead at Fizzle; to Seth Cooke and everyone at Bang the Bore for an awesome event; to Fielding Hope, Oli Barrett and everyone at Cafe OTO for their support, and for their patience with all the ups’n’downs; to Josh and everyone at 65Fen Music Series; and to Cisco Bradley for inviting me to perform at New Revolution Arts (a beautiful space—socially, musically).
Thanks to Tom Durham the gentleman who lent me his amplifier in Birmingham (sorry, can’t remember your name!), and to Andrew Drury and Chris Welcome who did the same in Brooklyn—y’all made my travels so much more pleasant!
The tour by my ensemble with Dom, Mark and Caroline was made possible with funding from Culture Ireland, and I am extremely grateful for their support.
I am also grateful to Franziska Schroeder, Elspeth Murray, Helen Petts, ODD7’s Towards the Margins, London Korea Links, and Alma Ní Choigligh of Embassy of Ireland (London) who all helped to spread the word of the performances. A special thanks to Cath Roberts of LUME, Avant Music News, and George Haslam of SLAM Productions for their continued support. Similarly, thanks to Editor Laurence Donohue-Greene for tying-in a review in The New York City Jazz Record to coincide with my Brooklyn performances.
Thanks to Dom Lash and Kate Hendry, and to Josh Sinton and family, for offering a place for this itinerant musician to crash a night (or three). Kudos to Nasc Ireland for helping me navigate some border… technicalities 😉
And a very special thanks to the Best Sound Engineer in the Known Universe, Alex Fiennes, for taking time to make the music sound great in London.
Finally, as always, thanks, thanks, thanks, everyone, for listening.
Next up…
Performing again with Dom Lash, Mark Sanders and Caroline Pugh, this time in Cork, January 2016. See the performance diary for up-to-date info.
Birmingham, Bristol and London performances presented with funding from Culture Ireland, and support from SLAM Productions.
updates
12–20-15: add Tom Durham’s name (thanks, Andy).
reminder: Nick Didkovsky, Han-earl Park and Josh Sinton at 65Fen Music, Brooklyn
Tomorrow (Monday, December 14, 2015), at 9:00pm (doors: 8:30pm): Nick Didkovsky (guitar), Han-earl Park (guitar) and Josh Sinton (saxophone) perform at 65Fen Music Series (65 Fenimore Street, Brooklyn, NY 11225). $10 suggested donation.
As I said previously, we never got to do a launch gig for Anomic Aphasia, so, despite Catherine Sikora’s absence (next time, Catherine!), I’m thinking of this as an unofficial record launch event. Come down to hear some noise!
frightening atmospherics (New York City Jazz Record review: Anomic Aphasia)
“Plucky heroine faced with rebellious robots”? “ingot-like density”? “human triumph”? “electronically plugged in as well as pointedly blended”? Ken Waxman, writing in The New York City Jazz Record, reviews ‘Anomic Aphasia’ (SLAMCD 559) by Han-earl Park, Catherine Sikora, Nick Didkovsky and Josh Sinton:
Guitarist Han-earl Park joins those improvisers who conceive of a playbook for interactive tactics….
As the guitarists clip staccato whines with ingot-like density from below the bridges and along the necks, her [Sikora’s] wistful soprano saxophone variations preserve the linear form, eventually making common cause with offbeat folksy strums from one string player. Hear Sikora’s final unaccompanied cadenza as potential human triumph over, or coexistence with, the widening machine-produced tremolo pumps. A folk-like overlay also makes its appearance on the concluding “Stopcock”, although the tenor saxophonist’s concentrated upwards snarls and magnetic near-string-tearing pops from guitar strings make the track so atmospheric as to become almost frightening.
The wailing vigor of Sinton’s bottom-pitched horns adds to the reeds’ aleatoric strategies on the other three
tracks. Nearly verbalized reed tones are so euphonious on “Flying Rods” that the subsequent layered lines nearly move into songbook territory. But Park’s parallel flanges and hard thumping keeps the results electronically plugged in as well as pointedly blended.Sardonically printing a faux questionnaire about Metis 9 application in the CD booklet shows that Park champions music over theory. With associates like Sikora, Didkovsky and Sinton, it appears he can have it both ways. [Read the rest…]
— Ken Waxman (The New York City Jazz Record)
In a few weeks, I’ll be performing in New York with Josh and Nick on December 14, and with Ingrid Laubrock on December 12. See the performance diary for up-to-date info.
[About this recording…] [All reviews…]
Also from SLAM Productions…
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). [About this project…]
© 2011 Han-earl Park.
℗ 2011 SLAM Productions.
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). [About this ensemble…]
© 2010 Han-earl Park.
℗ 2010 SLAM Productions.
performance diary 11-24-15 (Birmingham, Bristol, Brooklyn, Cork, London)
| date | venue | time | details |
|---|---|---|---|
| December 1, 2015 | The Lamp Tavern Barford Street Birmingham B5 6AH England |
7:30pm | Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) [about this trio…] with Caroline Pugh (voice and electronics) presented by Fizzle. Also performing: Lee Griffiths (saxophone) and Olly Chalk (piano). Admission: £5. [Details…] [Fizzle listings…] |
| December 2, 2015 | Cafe Kino 108 Stokes Croft Bristol BS1 3RU England |
8:00pm | Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) [about this trio…] with Caroline Pugh (voice and electronics) presented by Bang the Bore. Also performing: Casey Hale, and Dsic. Admission: £6. [Details…] [Bang the Bore page…] |
| December 3, 2015 | Cafe OTO 18–22 Ashwin Street Dalston London E8 3DL England |
8:00pm | Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) [about this trio…] with Caroline Pugh (voice and electronics). Also performing: John Russell, Terry Day and Billy Steiger. Tickets: £10 (£8 advance) [get tickets…]. [Details…] [OTO page…] |
| December 12, 2015 | New Revolution Arts Series 7 Stanhope Street Bushwick Brooklyn, NY 11221 |
8:00pm | Ingrid Laubrock (saxophone) and Han-earl Park (guitar). Also performing: Joanna Mattrey (viola), Leila Bordreuil (cello) and Sean Ali (bass); and James Ilgenfritz’ Trio Caveat.$10 suggested donation. [Details…] [New Revolution Arts listings…] |
| December 14, 2015 | 65Fen Music Series 65 Fenimore Street Brooklyn, NY 11225 |
9:00pm | Nick Didkovsky (guitar), Han-earl Park (guitar) and Josh Sinton (saxophone). Also performing: Jon Irabagon (saxophone).$10 suggested donation. [Details…] |
| January 29, 2016 | Aula Maxima University College Cork Cork, Ireland |
1:10pm | Han-earl Park (guitar), Dominic Lash (double bass) Admission free. [Details…] [FUAIM page…] |
| 2016– | 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), and my trio with Dominic Lash and Mark Sanders. Interested promoters, venues and sponsors, please get in touch! |
Birmingham, Bristol and London performances presented with funding from Culture Ireland, and support from SLAM Productions.
Continue reading “performance diary 11-24-15 (Birmingham, Bristol, Brooklyn, Cork, London)”
performance: Nick Didkovsky, Han-earl Park and Josh Sinton at 65Fen Music, Brooklyn
‘Free’ is barely sufficient to describe this approach…. The vocabulary of sounds here is as broad as it is unconventional…. While an occasional interlocking harmony might emerge from all of this innovation, it is quickly shattered by unexpected Möbius twists…. An exercise in texture as much as it is in melody, Park, Sikora, Didkovsky, and Sinton don’t just break molds here – they disintegrate anything that resembles the ordinary with authority and prejudice. [Read the rest…]
— Mike Borella (Avant Music News)
Monday, December 14, 2015, at 9:00pm (doors: 8:30pm; our set: 9:00pm): Nick Didkovsky (guitar), Han-earl Park (guitar) and Josh Sinton (saxophone), plus Jon Irabagon (saxophone), perform at 65Fen Music Series (65 Fenimore Street, Brooklyn, NY 11225). $10 suggested donation.
We never got to kick Anomic Aphasia into the world, so, although Catherine Sikora sadly cannot make the gig, I’d like to consider this an unofficial record launch event. See you there!
See the performance diary for up-to-date info. [65fen listings…] [Facebook event…]
Above video playlist of the November 2013 Gowanus Company. Videography by Scott Friedlander. Featuring a stellar cast (seriously worth watching the whole thing for its breadth and depth, and unexpected turns and corners)… yet somehow Josh, Nick and I never managed to all be onstage at the same time! We’ll fix that this time.
By Han-earl Park, Nick Didkovsky and Josh Sinton
Anomic Aphasia (SLAMCD 559) [details…]
Performers: Han-earl Park (guitar), Catherine Sikora (tenor and soprano saxophones), Nick Didkovsky (guitar), and Josh Sinton (baritone saxophone and bass clarinet).
© 2015 Han-earl Park.
℗ 2015 SLAM Productions.
updates
11-20-15: change set time, and add Facebook event.
performance diary 09-30-15 (Birmingham, Bristol, Brooklyn, London)
| date | venue | time | details |
|---|---|---|---|
| December 1, 2015 | The Lamp Tavern Barford Street Birmingham B5 6AH England |
7:30pm | Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) [about this trio…] with Caroline Pugh (voice and electronics) presented by Fizzle. Also performing: Lee Griffiths (saxophone) and Olly Chalk (piano). Admission: £5. [Details…] [Fizzle listings…] |
| December 2, 2015 | Cafe Kino 108 Stokes Croft Bristol BS1 3RU England |
8:00pm | Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) [about this trio…] with Caroline Pugh (voice and electronics) presented by Bang the Bore. Also performing: Casey Hale, and Dsic. Admission: £6. [Details…] [Bang the Bore page…] |
| December 3, 2015 | Cafe OTO 18–22 Ashwin Street Dalston London E8 3DL England |
8:00pm | Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) [about this trio…] with Caroline Pugh (voice and electronics). Also performing: John Russell, Terry Day and Billy Steiger. Tickets: £10 (£8 advance) [get tickets…]. [Details…] [OTO page…] |
| December 12, 2015 | New Revolution Arts Series 7 Stanhope Street Bushwick Brooklyn, NY 11221 |
8:00pm | Ingrid Laubrock (saxophone) and Han-earl Park (guitar). Also performing: Joanna Mattrey (viola), Leila Bordreuil (cello) and Sean Ali (bass); and James Ilgenfritz’ Trio Caveat.$10 suggested donation. [Details…] [New Revolution Arts listings…] |
| December 14, 2015 | 65Fen Music Series 65 Fenimore Street Brooklyn, NY 11225 |
9:00pm | Nick Didkovsky (guitar), Han-earl Park (guitar) and Josh Sinton (saxophone). Also performing: Jon Irabagon (saxophone).$10 suggested donation. [Details…] |
| 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), Mathilde 253 (with Charles Hayward and Ian Smith), and my trio with Dominic Lash and Mark Sanders. Interested promoters, venues and sponsors, please get in touch! |
Birmingham, Bristol and London performances presented with funding from Culture Ireland, and support from SLAM Productions.
Continue reading “performance diary 09-30-15 (Birmingham, Bristol, Brooklyn, London)”
performances: Han-earl Park, Dominic Lash and Mark Sanders plus Caroline Pugh (Birmingham, Bristol and London, December 2015)
Han-earl Park (guitar), Dominic Lash (double bass) and Mark Sanders (drums) plus Caroline Pugh (voice and electronics) will be doing a short tour of England in December 2015 (see the performance diary for up-to-date info):
- Birmingham, December 1, 2015: The Lamp Tavern (Barford Street, Birmingham B5 6AH) presented by Fizzle.
[Performance diary entry…] [Fizzle listings…] [Facebook event…] - Bristol, December 2, 2015: Cafe Kino (108 Stokes Croft, Bristol BS1 3RU) presented by Bang the Bore.
[Performance diary entry…] [Bang the Bore page…] [Facebook event…] - London, December 3, 2015: Cafe OTO (18–22 Ashwin Street, Dalston, London E8 3DL).
[Performance diary entry…] [OTO page (get tickets)…] [Facebook event…]
Presented with funding from Culture Ireland, and support from SLAM Productions.
details
Expect playful, noisy and inventive musical interactions as the cyborgian virtuoso guitarist Han-earl Park performs with double bassist Dominic Lash, drummer Mark Sanders, and vocalist and electronics performer Caroline Pugh in Birmingham (1 December 2015), Bristol (2 December) and London (3 December). This three-date tour marks the first European performances of Han-earl Park’s Metis 9, a collection of improvisative tactics for ensemble performance.
Described as “a musical philosopher… a delightful shape-shifter” by Brian Morton in Point of Departure, guitarist Han-earl Park has performed with some of the best improvisers from the Americas, Asia and Europe. He is part of ensembles including the London-based Mathilde 253 with Charles Hayward and Ian Smith, the New York-based Eris 136199 with Nick Didkovsky and Catherine Sikora, and the Berlin-based Numbers with Richard Barrett.
The performances will feature Park’s trio with the virtuosic bassist, composer and sound artist Dominic Lash, and Mark Sanders, arguably the most sought-after avant-jazz and free improvisation drummer of his generation. Joining the group will be Belfast-based experimental folk singer and electronics performer Caroline Pugh, bringing an additional layer of levity and exuberance to the already playful interactions of the trio.
In addition to presenting other improvisative and traditional works, this tour will mark the European premiere of Park’s Metis 9, a playbook of interactive tactics for group improvisation. Initially conceived and performed in New York (in collaboration with New York-based musicians, Josh Sinton and Catherine Sikora), Metis 9 is documented on the album Anomic Aphasia recently released by SLAM Productions to great acclaim (“☆☆☆☆½” All About Jazz, “☆☆☆☆” Free Jazz).
With musicians representing diverse strands of present-day improvised musics, prepare for a performance that fragments and recombines musical histories, a performance that leaps unexpectedly between noise, melody, dissonance, harmony and rhythm.
The events take place: Tuesday, 1 December, Fizzle at The Lamp Tavern (Barford Street, Birmingham B5 6AH), 7:30pm; Wednesday, 2 December, Bang the Bore at Cafe Kino (108 Stokes Croft, Bristol BS1 3RU), 8:00pm; Thursday, 3 December, Cafe OTO (18–22 Ashwin Street, Dalston, London E8 3DL), 8:00pm.
Presented with funding from Culture Ireland, and support from SLAM Productions.
about the ensemble
Hear guitarist Han-earl Park push and pull on the guitar-amplifier dancing partners, Dominic Lash and his double bass damage hanging artwork, Mark Sanders excavate caverns in the smallest spaces for his percussion, and Caroline Pugh sing the lines that border the intelligible and the cryptic. Somewhere out there, there’s an SUV-sized violin tailgating, a No Wave guitarist desperately trying to survive in the Appalachian Mountains, someone dropping sheets of metal during a Jazz Session, an evolutionary biologist finding themselves speaking in tongues (awash in blue).
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)
Scottish vocalist and composer Caroline Pugh borrows old-fangled technologies and honours oral histories to create new performances. With a background in both folk and improvisation, her solo works You’ve Probably Heard These Songs Before, Timing By Ear, Measuring By Hand and Platform Audio also draw on performance art and pinhole photography.
Originally from Edinburgh, Caroline has performed across Europe and North America with new improvisation performances including Los Angeles’ Betalevel in 2012, NIME 2011 in Oslo, Just Listening 2011 in Limerick and Experimentica09 in Cardiff. She is also in a band called ABODE and an improvisation collective called E=MCH.
Now based in Belfast, Caroline sings in a folk duo with Meabh Meir and together with Myles McCormack they run traditional song sessions at the Garrick Bar on Mondays from 7.30-10pm.
In 2011, Caroline was awarded an Art Council Northern Ireland grant for her solo work and gained a Distinction for her AHRC-funded Master of Music at Newcastle University. She coaches students at Queen’s University Belfast and has worked in collaboration with visual artists (Connecting through Scape 2008), theatre practitioners (hour8+9 2009), video artists (SAAB 2009), dancers and psychologists (Newcastle and Northumbria Universities 2010). She also got a BA in Scottish Music from the Royal Academy of Music and Drama in Glasgow, and studied Contemporary Music at the University of Central Lancashire for a wee while too.
“Every once in a while you happen upon a gig or event that’s so fundamentally unlike anything you’ve experienced before that you can’t help but reconsider your own thoughts on what defines music, performance and entertainment.”
Brian Coney (BBC Across The Line)
images
Iconography/graphics
portraits
All photographs copyright the respective photographer: respect the terms of usage where stated. (Thumbnail images, above L–R: © 2010 Seán Kelly; © 2013 Peter Gannushkin; and by Andrew Putler.)
From SLAM Productions…
Anomic Aphasia (SLAMCD 559) [details…]
Performers: Han-earl Park (guitar), Catherine Sikora (tenor and soprano saxophones), Nick Didkovsky (guitar), and Josh Sinton (baritone saxophone and bass clarinet).
© 2015 Han-earl Park.
℗ 2015 SLAM Productions.
updates
10–13-15: embed video teaser.
10–20-15: add Facebook events.
11–20-15: add Bang the Bore page.
beautiful noise (reviews: Anomic Aphasia)
‘Anomic Aphasia’ (SLAMCD 559) with Han-earl Park, Catherine Sikora, Nick Didkovsky and Josh Sinton makes Avant Music News Best of 2015 (So Far). Honored to find my work among such illustrious company. [Read the Avant Music News review…]
Meanwhile… “dynamic, articulate”? “jarring, discordant, loud and experimental”? “interesting acoustic altercations?” sounds that are simultaneously “alien and captivating”? (I certainly love the idea that my guitar “breaks constantly with magmatic rumblings.”) Accompanying the interview with Han-earl Park in jazzColo[u]rs, Andrew Rigmore and Antonio Terzo review ‘Anomic Aphasia’:
Votato all’improvvisazione basata su macro tattiche, artefice di un impiego ritmico—molto personale—della chitarra, e fautore di sonorità comunque aliene e trascinanti al tempo stesso, Han-earl Park è musicista conscio dei propri limiti, che cerca di superare con un approccio “alternativo”, umile e di ricerca. A beneficiarne, innanzitutto, la voce della sassofonista Catherine Sikora, sonora, multicolore e sfaccettata…. Mette in campo due diverse formazioni: la prima, stridente, discordante, rumorosa e sperimentale, con il chitarrista Nick Didkovsky, ossia l’Eris trio, l’altra, più dinamica, articolata e meno dissonante, invece, insieme al sassofonista—anche lui sui generis—Josh Sinton, ossia Metis 9…. Han-earl Park lo dice chiaramente: il terreno è, specie per Metis 9, quello della sperimentazione, e dal punto di vista pratico, siamo certo molto lontani da quel che si intende per jazz. Ma è anche vero che essere pratici spesso impedisce di vedere il possibile. E, soprattutto in arte, uccide la fantasia.
— Andrew Rigmore and Antonio Terzo (jazzColo[u]rs)
Elsewhere… you can get your copy of the CD from Downtown Music Gallery who call it “challenging music where all of the players help determine the direction and interaction”:
Mr. Park moved here for a few years not too long ago and worked with a number of Downtown musicians…. This is Mr. Park’s first disc with those Downtowners, an interesting cast from different scenes…. Mr. Park wrote or provided directions for each piece…. The first trio is for two guitars and Ms. Sikora on saxes. It is very long and both guitars sound well-integrated, Mr. Park played those fractured notes similar to Derek Bailey and Mr. Didkovsky using some sustain or other devices to thicken up his tone or provide alien textures. Ms. Sikora… works well in the two guitars or two saxes context here. This is a strong, long and spirited disc of challenging music where all of the players help determine the direction and interaction. Another great thing about this disc is getting to hear bari sax great Josh Sinton stretching out at length. [Read the rest…]
— Bruce Lee Gallanter (Downtown Music Gallery)
Finally, KFJC 89.7 FM hears music that spans “cacophony to melody”, and a “beautiful noise”:
It’s all about guitars versus sax. Sax versus guitars. Sax and guitars together. They are challenging and phenomenal works with the musicians playing off of each others ideas. The guitars are each unique in approach and Sikora goes for it with her sax taking them on note for note. There is pause and space, much needed allowing the listener to appreciate it all. Cacophony to melody…. What is clear is the stunning trio work…. The feeling is different but still crazy, intertwining each others notes, letting them stand, then facing off, blending, melding, challenging each other. A beautiful noise. Free jazz continuing to experiment. [Read the rest…]
Thanks to KFJC 89.7 FM for all the support over the years (shout outs to Carson Street, Edison Einstein, Cousin Mary, Dada Diogenes and Spliff Skankin!), and I’d like to take this opportunity to thank, in particular, WNUR 89.3 FM, CHRW 94.9 FM, KALX 90.7 FM and WFMU 91.1 FM for their airplay.
[About this recording…] [All reviews…]
More updates
In addition to Downtown Music Gallery, ‘Anomic Aphasia’ is now also available from Wayside Music. So you can now get your copy from:
[Downtown Music Gallery…] [Wayside Music…] [Disk Union…] [Improjazz…] [Crazy Jazz…] [Jazzcds…] [Proper Music (distributor)…] [More purchase options…]
And above is the latest trailer for the album. Watch, listen and share….
Also from SLAM Productions…
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). [About this project…]
© 2011 Han-earl Park.
℗ 2011 SLAM Productions.
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). [About this ensemble…]
© 2010 Han-earl Park.
℗ 2010 SLAM Productions.
updates
09–23-15: update Downtown Music Gallery link.
jazzColo[u]rs: al ritmo afasico della chitarra
![‘Han-earl Park: al ritmo afasico della chitarra’, jazzColo[u]rs (Sommario Ago./Set. 2015, Anno VIII, n. 8-9)](http://www.busterandfriends.com/_buster_wordpress/wp-content/uploads/2015/08/jazzcolours_08-2015-620x507.jpg)
The current edition of jazzColo[u]rs (Sommario Ago./Set. 2015, Anno VIII, n. 8–9) has an interview with me by Andrew Rigmore. It covers a broad range of my work, from my close collaboration with Catherine Sikora, my working relationships with Paul Dunmall, Evan Parker, and drummers such as Mark Sanders, Charles Hayward, Gino Robair and Tom Rainey, to ensembles and projects such as Eris 136199, Mathilde 253 and io 0.0.1 beta++. We also discuss the location of noise, rhythm, harmony and melody in my work, and the relationship between structure and improvisation. Andrew Rigmore opened by asking me about the meaning of ‘tactical macros’ in the context of Metis 9:
Descrivo Metis 9 come insieme di “tactical macros”, una sorta di libretto di strategie di gioco per l’improvvisazione pensato per un insieme di improvvisatori. Si tratta di schemi interattivi: Metis 9 non detta mai un evento preciso — un suono, un rumore — che chi suona debba eseguire — sarebbe un anatema per un’indagine seria nell’improvvisazione —, ma ha in sé i parametri per [intendere] quali tipi di interazione siano praticabili e quali invece risulterebbero… difficili. Le macro tattiche che creano Metis 9 sono spesso ambigue, perfino nebulose, a tal punto da paralizzare chi non è abituato ad improvvisare. Sono per certi versi simili alle regole dei ragazzini che giocano liberamente: esistono solo se funzionali al gioco — se sono divertenti, interessanti o portano a un gioco più intrigante — e vengono liberamente mutate, reinterpretate e mollate quando il gioco porta altrove. Dun- que non si tratta di composizioni in sè — che implicherebbero una sorta di appropriazione d’autorità, ingiusta verso gli sforzi dei performer —, per cui ho introdotto il termine “macro”: un’istruzione abbreviata che si espande in un processo reale non conoscibile tramite l’istruzione iniziale e di cui sono responsabili i performer — i veri agenti interattivi.
[I describe Metis 9 as a collection of ‘tactical macros,’ and by that I mean that Metis 9 is a kind of playbook for improvisation; it’s designed for an ensemble of improvisers, and it’s, in a way, about improvisation. These are interactive schema: Metis 9 never dictates the exact gesture—each bloop or bleep—that the performers are to execute—that, I think, would be an anathema to a serious inquiry into improvisation—but it does lay the parameters for what kinds of interactions might be possible, and what kinds of interactions might be… difficult. These tactical macros that make up Metis 9 are often ambiguous, possibly nebulous, to the point of, I suspect, being paralyzing to non-improvisers. They are somewhat akin to the rules that are enrolled when you see young children in free play. The rules only exist if they serve the play—if they are fun or interesting or lead to further engaging play—and are freely mutated, reinterpreted and jettisoned when play leads elsewhere. So they aren’t really compositions as such—that would take a kind of authorial appropriation that would be unfair on the efforts of the performers—which is why I stuck the term ‘macro’ on it: it’s a shorthand instruction that expands into a real process, but the process itself is not knowable from the initial instruction; the performers—the actual interactive agents—are responsible for that.]
You can read more in the current issue of jazzColo[u]rs. The issue also includes Andrew Rigmore and Antonio Terzo’s review of Anomic Aphasia (SLAMCD 559).
Thanks to Andrew Rigmore, Antonio Terzo, Piero Rapisardi and jazzColo[u]rs for the profile and their support, and to Scott Friedlander and Fergus Kelly for the photographic portraits that accompany the article.
Out now: Anomic Aphasia
Anomic Aphasia (SLAMCD 559) [details…]
Performers: Han-earl Park (guitar), Catherine Sikora (tenor and soprano saxophones), Nick Didkovsky (guitar), and Josh Sinton (baritone saxophone and bass clarinet).
© 2015 Han-earl Park.
℗ 2015 SLAM Productions.
selected discography
Gargantius Effect +1 +2 +3 (Nor Cal, 08-2011) [details…]
Performers: Murray Campbell (violins, oboe and cor anglais), Randy McKean (saxophone, clarinets and flutes) with Han-earl Park (guitar), plus Gino Robair (energized surfaces, voltage made audible) and Scott R. Looney (hyperpiano).
(cc) 2012 Murray Campbell/Randy McKean/Han-earl Park/Gino Robair/Scott R. Looney.
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). [About this project…]
© 2011 Han-earl Park.
℗ 2011 SLAM Productions.
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). [About this ensemble…]
© 2010 Han-earl Park.
℗ 2010 SLAM Productions.
Boolean Transforms (DLE-067) [details…]
Performers: Paul Dunmall (saxophone and bagpipes) and Han-earl Park (guitar).
© 2010 DUNS Limited Edition.
℗ 2010 Paul Dunmall/Han-earl Park.
Broken Families: Collectivism, Violence, Imagined Utopias and Improvisation (a twitter transcript)
Simon Rose: “Did you know how loud you were?”
Han-earl Park: “Oh. Yes.”
Rose: “I thought you did.”
Thoughts and questions in response to Translating Improvisation’s symposium back in May from the POV of an institutionally unaffiliated, sometimes teacher, amateur scholar and anthropologist [previous twitter transcripts…]. Below the fold is an unedited twitter transcript of my observations from Just Improvisation. My original observations came in the form of tweets (some written ‘live’, most posted subsequently) via @hanearlpark that spanned the first panel discussions, Ellen Waterman’s keynote presentation, concert performances by Okkyung Lee and Maria Chavez, the Deep Listening Workshop with Pauline Oliveros, and the workshop-performance which forms the main subject of my discussions.
My questions and observations are indebted to discussions with @franzschroeder, @wildsong, @tomarthursmusic, @pauljstapleton, @MortButane, @olivep, @davekanemusic, @zeittraumism, @nickreynoldsatp and @JoshSinton both on- and off- the twitterverse.
The rants (and typos), however, are entirely my own 😉
Twitter transcript (unedited)
Responses to Symposium Day 1: Belfast, May 29, 2015
May 29: Let’s start this w/ informal, visible demographic survey (a la #isim2014 #amspittsburgh #rsa2014)… #amateuranthropology #justimprovisation
May 29: …Suits. Lots* of suits. #amateuranthropology #justimprovisation
May 29: …* ‘Lots’ may be relative.** #amateuranthropology #justimprovisation
May 29: …** ‘Relative’ may speak more to the prejudices of the observer. #amateuranthropology #justimprovisation
May 29: ‘Adversity’ noun: “difficulties; misfortune”… #justimprovisation
May 29: …Potential tripping hazard in interdisciplinary meetings? possible misunderstanding(s) (creative or otherwise)? … #justimprovisation
May 29: …What is, for eg, the relationship btwn ‘adversity’ and ‘struggle’? #justimprovisation
May 29: …‘Adversity’ is not a term afaik improvisers enroll in their discussions, but ‘struggle,’ yes, often, maybe always. #justimprovisation
May 29: …Also ‘difficulty,’ ‘problematic,’ ‘risk’—difficult/problematic terms w/ differing creative/social ramifications. #justimprovisation
May 29: …false friends? I doubt these terms say much about the specifics of the creative or the social… #justimprovisation [1/2]
May 29: …—or their corresponding discourses—but it may be tempting to draw simple correlations. #justimprovisation [2/2]
May 29: …Like I said, potential tripping hazards. #mistakenembrace #justimprovisation
May 29: “Start to grapple with that fluidity.” #justimprovisation
May 29: ‘Proceduralized.’ Good word. Potential #artspeak right there. #linguisticdetritus #randomactsofpoetry #justimprovisation
May 29: “We’ve seen an 18% increase…” I’d love to write program/liner notes w/ this language. #technocracy #artspeak #justimprovisation
May 29: …How do we reconcile the need for ‘fluidity’ when the rhetorical justification uses… #linguisticdetritus #justimprovisation [1/2]
May 29: …such technocratic, bureaucratic language? #linguisticdetritus #justimprovisation [2/2]
May 29: “Risk”; that word again. #artspeak #linguisticdetritus #justimprovisation
May 29: Improvisation as an “unruly domain”. #justimprovisation
May 29: …Improvisation as a ’domain’? as a ‘site’? (Not an act?) #performance #identity #sociality #justimprovisation
May 29: Didn’t multiculturalism die at the hands of diversity? … #genuinequestion #justimprovisation
May 29: …or at least did not diversity explode the problematics (and necessary violence) of multiculturalism? #justimprovisation
May 29: “Musically satisfying ensemble.” ‘Satisfying’ #hmm By what criteria? #justimprovisation
May 29: ‘Recognition’ as the mechanism of identity (w/ minorities)? What about whiteness? heteronormativity? #hegemony #othering #justimprovisation
May 29: Equality = refusal to recognize difference. #justimprovisation
May 29: ‘Authentic self’? Is there the trap of essentialism there? #justimprovisation
May 29: Is the mechanism of improvisation based on exchanges? #genuinequestion #justimprovisation
May 29: I’ll ask this again for emphasis: Is exchange the primary/necessary/root mechanism of improvisation? #genuinequestion #justimprovisation
May 29: “Identities are always contingent.” Yes. This. #justimprovisation
May 29: Do the musical terms dissonance/harmony correspond to social/power relationship? … #justimprovisation
May 29: …or are we falling back on (liberal humanist) bad habits of old musicology? #justimprovisation
May 29: “Unvoicing of ulterity.” #justimprovisation
May 29: I don’t buy the distinction btw ‘traditional’ and ‘creative’ improvised musics. #idiom #tradition #creativity #justimprovisation
May 29: …pretty much said the same in a discussion with @tomarthursmusic afterwards. #justimprovisation
May 29: More thoughts: everytime I see OL perform, I think, damn; she’s better than the rest of us put together. #justimprovisation
May 29: Much transducer based music or #soundart would be improved by judicious enrolling of highpass filters. #impedance #justimprovisation
May 29 [in reply to…]: .@nickreynoldsatp I just don’t buy the one-on-one correspondence of musical and social dissonance/harmony. Instead… #justimprovisation [1/2]
May 29: .@nickreynoldsatp …it strikes me that _making_ the distinction btwn dissonance & harmony is the political act. #justimprovisation [2/2]
Responses to Symposium Day 2: Belfast, May 30, 2015
May 31: 0. Some more thoughts from the #justimprovisation symposium coming up…
May 31: 1. Find myself (my accident, of course) sitting next to @olivep during the Deep Listening workshop… #justimprovisation
May 31: 2. …and learned that I can not only listen thru the soles of my feet, but… #justimprovisation #body #physiology #listening
May 31: 3. …that I can triangulate the source of the vibration w/ two feet. Stereo! #justimprovisation #body #physiology #listening
May 31: 4. During the course of discussions, an improvising ensemble is frequently compared to that of a family… #justimprovisation
May 31: 5. …but escaping familiar relations are by degrees of magnitude so much harder than leaving an ensemble. #justimprovisation
May 31: 6. I am, however, reminded of the oft used terms ‘leader’ & ‘collective’ in the context of improvising micro-societies. #justimprovisation
May 31: 7. And tho we often idealize one form over another, ‘leader’ & ‘collective’ denote only 2 possible ways of organizing… #justimprovisation
May 31: 8. …each problematic, each utopian, in their way; neither quite fully descriptive of the dynamics of social play. #justimprovisation
May 31: 9. Leaders: such strong personalities (egos?) holding ensembles together… #justimprovisation
May 31: 10. …Ellington? Mingus? Bley? Guy? Mitchell? Paternalistic, nurturing, playful, autocratic, managerial, or bullying… #justimprovisation
May 31: 11. …Were we waiting for (or in need of) the ‘leader’ (such as @olivep) in the #justimprovisation ensemble…?
May 31: 12. In contrast to Call Them Improvisors! in 2011 in which we all bowed down to EP? #justimprovisation
May 31: 13. (Aside: but there may be no leaders, just those willing to be lead. We can too easily mistake effect for cause.) #justimprovisation
May 31: 14. Collective: idealized, utopian, but how do these work? How does collectivism work w/out violence to diversity…? #justimprovisation
May 31: 15. …afaik, closest to coop/‘family’ improvised musics was the AEC. But that ensemble emerged from Mitchell’s group… #justimprovisation
May 31: 16. …Felt as tho the #justimprovisation group desired (or felt we _should_ desire) a collective, but we were so polite (and yet so violent)…
May 31: 17. “Fuck you.” Someone says during the post-workshop discussions. ‘Yeah,’ I think, ‘exactly: “fuck you.”’ #justimprovisation
May 31: 18. Be back later with more thoughts on violence, alliances, autocracy and sociality coming up. #justimprovisation
Jun 24: 19. More thoughts on violence, alliances, autocracy and sociality from @translat_improv’s #justimprovisation symposium coming up…
Jun 24: 20. During #justimprovisation an improvising ensemble is frequently compared to that of a family… http://twitter.com/hanearlpark/status/604953995489234944
Jun 24: 21. …but familial relationships often seem less about choice of partners than, generally, a musical ensemble… #justimprovisation
Jun 24: 22. …we choose our bands in a way we can’t always choose our families (or we get paid)… #justimprovisation
Jun 24: 23. …that aside, are dysfunctions similar in both groups? Maybe (but how you solve/escape them are radically different). #justimprovisation
Jun 24: 24. What happens in an ensemble is brought together w/ radically different agenda, desires, skills, character, or power…? #justimprovisation
Jun 24: 25. …And what happens when those social/musical dissonances/discords are not discussed…? #justimprovisation http://twitter.com/hanearlpark/status/605081182133465088
Jun 24: 26. I want to unpack this (realize this is prob directed at a certain guitarist): http://twitter.com/davekanemusic/status/605734075446513665 #justimprovisation
Jun 24: 27. …I had certain problems w/ the amplified, steady-state ‘drone’ proponents in the #justimprovisation ensemble. I had difficulty…
Jun 24: 28. …hearing the unamplified string players in the #justimprovisation group. (It seemed to me, in such a large ensemble, the…
Jun 24: 29. …only ones who should have free license to play continuous sustained gestures were the unamplified strings/flute)… #justimprovisation
Jun 24: 30. …the rest of us would have to be more careful (we could be loud, but those gestures would have to be short)… #justimprovisation
Jun 24: 31. …talking to one of the drone proponents during the break, he responded that he wanted everyone to play drones… #justimprovisation
Jun 24: 32. …so the question: http://twitter.com/hanearlpark/status/605080336385617921 #justimprovisation
Jun 24: 33. …favorite pt of #justimprovisation may have been @MortButane (musical) response to Bennett Hogg: unexpected, oblique, left-field…
Jun 24: 34. …different, idiomatically discordant; recontextualizing Hogg’s playing (never to be heard the same way again)… #justimprovisation
Jun 24: 35. …how does one catalyze such (transformative) interactions and choices…? #justimprovisation
Jun 24: 36. …catalyze w/out ‘fixing’ the group (reminded of @JoshSinton: he’s not in the business of ‘saving’ an improvisation)… #justimprovisation
Jun 24: 37. When #justimprovisation group w/out the full complement of players (sans many quieter voices) start our performance in the afternoon
Jun 24: 38. …the ensemble launches into full-scale drone-works. I give up. It’s prob. unforgivable, but I walk off stage… #justimprovisation
Jun 24: 39. …I remember thinking: ‘I do not want to be part of this drone warfare.’ (ironic considering what is to follow)… #justimprovisation
Jun 24: 40. …If I have a problem w/ how those drones were articulated, it wasn’t the loudness of it as such, but how it subsumed… #justimprovisation
Jun 24: 41. …how it absorbed diversity and made it part of its identity. Which may be a kind of collectivism, but… #justimprovisation
Jun 24: 42. …not a collective I wanted to be part of. #justimprovisation
Jun 24: 43. Feel it’s disrespectful to walk off stage, but done it x2 since an experience some years ago: http://improvisingguitar.blogspot.ie/2007/02/mob-behavior-and-hegemonic-impulse.html #justimprovisation
Jun 24: 44. …If leaving the stage is unforgivable, then rejoining it seems like, at best, very poor manners… #justimprovisation
Jun 24: 45. …Essentially doing a pick’n’mix on what you decide to participate it. Where is the collective? collectivism? family? #justimprovisation
Jun 24: 46. In retrospect, going back on stage was a mistake, but once there, tried 2do what is the best role for the e. guitar… #justimprovisation
Jun 24: 47. …nudge, push and pull, and catalyze the existing elements that are ‘desirable’… #machiavellian?… #justimprovisation
Jun 24: 48. …but when those totalizing drones started up again for the umpteenth time, I exercised the nuclear option… #justimprovisation
Jun 24: 49. …Nuclear option? I floored it: volume pedal toe down, playing at eleven… #justimprovisation? or #unjustimprovisation?
Jun 24: 50. …Nuclear option: did I say evoking drone warfare was ironic? http://twitter.com/hanearlpark/status/613656187708510208 #justimprovisation
Jun 24: 51. …I did American Foreign Policy—indiscriminate, “bomb them back into the Stone Age”—on the collective… #justimprovisation
Jun 24: 52. …second time I’ve ever exercised the nuclear option, and, unlike last time, I’m _certain_ it was wrong wrong, wrong… #justimprovisation
Jun 24: 53. …Despite what @wildsong @olivep said, feel my response really was… immoral? Maybe. Unethical? Probably. Wrong? Wrong… #justimprovisation
Jun 24: 54. …Deniz Peters: “You autoerotic guitarist, you.” Ironic following statements about the non-semiotic nature of music? #justimprovisation
Jun 24: 55. …Simon Rose: “Did you know how loud you were?” “Oh. Yes.” “I thought you did.” #justimprovisation
Jun 24: 56. …Should someone ask for one (not that I expect anyone to), I would give my unconditional apology for what I did… #justimprovisation
Jun 24: 57. …but my question is: given the (latent/overt/potential of) violence in the ensemble (as discussed in this thread)… #justimprovisation
Jun 24: 58. …what _should_ I have done? #justimprovisation
Jun 26 [in reply to…]: .@JoshSinton No. Didn’t expect them to, but… your Q gets me asking who they should have apologized to (if at all)… #justimprovisation [1/2]
Jun 26: .@JoshSinton …to those whose voices got absorbed into the hive, or those who had difficulty hearing those voices? #justimprovisation [2/2]
Jun 26 [in reply to…]: .@JoshSinton Good question. Hmm… maybe no apologies are necessary (just some group counseling). #justimprovisation
Jun 26: .@JoshSinton As for my initial statement, for me, it’s the fact that I dropped (the musical equivalent of) nukes… #justimprovisation [1/2]
Jun 26: .@JoshSinton …wrong is wrong regardless of the reasons that compelled it. #justimprovisation [2/2]
cross-cultural entanglements (reviews: Anomic Aphasia)
Yet more reviews of ‘Anomic Aphasia’ (SLAMCD 559) with Han-earl Park, Catherine Sikora, Nick Didkovsky and Josh Sinton. Following up on Cisco Bradley’s profile in JazzTokyo, Takeshi Goda locates my work within the context of cross-cultural meetings in New York, and draws attention to the names and titles:
ジャケット写真に写るのはギターのピックとサックスのリード。アルバム・タイトルは「失名詞症（失語症のひとつ。ものの名称を言ったり認識できない症状のこと）」の意味。便宜的にトラック・タイトルは付されているものの、言葉のない楽器同士の対話である即興演奏に名前をつける事は出来ない訳で、ギターとサックスの音響が重なり合う物音の交歓を総称するのにこれほど適したタイトルはないだろう。
友人たちに「ハン」（ハン・ベニンクと同じ発音）と呼ばれているというパクの在籍するグループには他にも数字絡みの名前が多い（Mathulde 253、io 0.0.1 beta++、Numbersなど）。数学を突き詰めると具体的な数値の存在しない哲学思想に近づくというから、名詞化できない即興の極致を求めるハンたちの活動理念の表出かもしれない。
2013年末にアイルランドに帰国し、現在はヨーロッパ中心に演奏活動を続けるハンだが、このアルバムにスナップされたNYシーンとの恊働が、今後も失われる事なく継続することは間違いない。[Read the rest…]
— 剛田 武 Takeshi Goda (JazzTokyo)
And this is probably a good point to remind those in Japan that you can order the CD from Disk Union.
Meanwhile Beppe Colli at CloudsandClocks, while writing a detailed blow-by-blow account of the record (with two guitarists as Sunny Murray and Jimmy Garrison), also takes time to unpack the names and terms enrolled in the album:
Given my background in sociology, I thought I understood what ‘anomic aphasia’ stood for, but had a look at the dictionary anyway, and that’s what I found: that while words such as ‘anomie’ and ‘anomy’ are part of the vocabulary of social sciences, the Medical meaning of the word ‘anomia’ is ‘a form of aphasia in which the patient is unable to recall the names of everyday objects’. Interested readers are invited to think about the ways in which the above-mentioned definition and the questionnaire that appears in the CD booklet—a series of questions which investigate important issues with a light tone—relate to improvisation….
Then there’s the trio of Park and Sikora plus Josh Sinton on baritone saxophone and bass clarinet, a trio that on two occasions employs ‘tactical macros’ devised and specified by Park himself bearing the name METIS 9. At first I thought that ‘macro’ stood for ‘meta-rule’, but the ‘anomic’ episode made me interrogate my dictionary one more time, so I found a meaning of macro as “a single instruction that expands automatically into a set of instructions to perform a particular task”. In fact, the transition from Monopod—the long improvised track that opens the CD—to Pleonasm—a track that has musicians making use of ‘tactical macros’—runs parallel to a transition towards shared rules that are correctly understood by the featured musicians. [Read the rest…] [In Italian…]
— Beppe Colli (ClocksandClouds)
[About this recording…] [All reviews…]
Also from SLAM Productions…
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). [About this project…]
© 2011 Han-earl Park.
℗ 2011 SLAM Productions.
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). [About this ensemble…]
© 2010 Han-earl Park.
℗ 2010 SLAM Productions.
updates
08–15-15: add new video trailer.