Han-earl Park digs deep into techniques and sounds and presents a fresh palette for the guitar. Pyrotechnics abound, but not in any kind of traditional sense. [Read the rest…]
Plus, with the inclusion of Catherine Sikora’s corners (“absorbing, pushing against and playing off the natural reverb”), and Nick Didkovsky’s CHORD IV, aJazzNoise’s selection almost like an informal Eris 136199 reunion!
Keith Prosk also chooses Of Life… for his Top 10 at Free Jazz, and in his review at harmonic series, Prosk writes of a music that “explores and rearranges material, or things whose characters seem similar though never the same, through its durations”:
Along with what’s kept there is always something left and something new. The country twang tune with popping harmonics from ‘Naught Opportune.’ The unsettling mandolinesque trill or quivering sustain in hazy delay from ‘Are Variant.’ The distorted suck, psychedelic and ecstatic, in slow crescendo from ‘Of Life, Recombinant.’ In its representation of real-time activity that ruminates on its material, it is as if it provides a glimpse into the improvising process, whose hushed reality of painstaking practice might often be misinterpreted as something closer to strokes of inspiration out of the ether. In between chaos and composure, it is something closer to the complexity of life. [Read the rest…]
Park’s approach changes, from jangling notes, to ambient passages, to twangy folk themes, to long-held chords. In doing so, he incorporates extended techniques into more conventional practices to the point where the former guide and direct the latter. [Read the rest…]
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.
Details to follow…
March 20, 2022
18–22 Ashwin Street
London E8 3DL
This suite might be my first self-consciously poetic work if not for the fact that I couldn’t have told you that’s what it was when I was in the middle of it (visibility low; uncertain, uncertain, uncertain). Of Life, Recombinant is the work in which I most want listeners to hear, in it, themselves.
Thanks again to the project director at NEWJAiM, Wesley Stephenson, for inviting me to have my work represented on this most awesome label. Thanks also to Annette Krebs for helping me, with one simple question, to decide to release these listening guides to my listeners.
Grunting tonal bursts? atmospherics? weaving sinuous melody? In his review of Eris 136199’s Peculiar Velocities, Paul Acquaro at Free Jazz describes a “masterful slice of trifurcated dialog” by turns “haunting, gracious and grating”, with tones that cut “like an exacto-blade.” He writes that, by the third track (‘Peculiar Velocities I’) of the album:
The guitars have adopted a slightly different aesthetic, using choppy, brittle sounds, they lay down a fractured soundscape replete with sonic barbs and suspended tones. Sikora finds her footing on this shifting ground and plays freely. As the track continues into ‘Peculiar Velocities II’ the fascinating part is realizing how connected the three actually are: this is not parallel play, rather it connects deep in the sub-systems. [Read the rest…]
This music does stem from a knowledge and practice of free improvisation, and can fit inside various ‘art music’ categories, but on one level to me it feels as good as any ‘noise rock’ served up by Sonic Youth, The Dead C, or any new-wave influenced beat combo who tend to attract the ‘angular’ adjective. [Read the rest…]
Having previously selected Peculiar Velocities as one of the Best of 2020, Dave Foxall writes in aJazzNoise that:
It’s mind-twisting stuff. Intensely ‘musical’ (whatever that means) and harshly jarring, gently testing Broca’s convolutions, seeking points of entry and storage, delicately inserting sounds, probing for reaction, disconcertion and delight. (i.e. It gets inside your head)….
An uncomfortable joy, a can’t-be-reproduced-in-the-laboratory combination of rare elements, a new musical alloy, an ongoing experiment, the perfect distillation of uneasy listening. [Read the rest…]
Of Life, Recombinant is unlike anything I’ve done before, and the music goes to some strange and unexpected places (are those sounds of a networked biome, or the echos of, and through, an urban maze?). The album is a single improvisative suite that takes the guitar, and the solo form, as the starting point to fabricate a composition in the studio. The piece is the result of over a year of work, and I’m so very much looking forward to finally sharing this music with you!
CD: £12 plus shipping. Download: £6.
Walls rusted lichen curve into a canopy.
Concrete weaves of roots.
Dew-covered moss memory foam.
On NEWJAiM’s ninth disc of adventurous music, guitarist and improviser Han-earl Park takes the solo form, and, refracting improvisations through studio-based techniques, flips the form on its head.
Rather than attempting to ‘reinvent’ the guitar, Park navigates the gaps and borders of the instrument, and what it means to be a guitarist. Park creates a music that alternately embraces and short-circuits genre tropes and expectations. Of Life, Recombinant doesn’t shy away from the solitude of the solo form; instead it tightly hugs aloneness—its joys and fears.
Of Life, Recombinant explores the ways in which studio-based techniques can be used as a fluid compositional strategy in the context of improvisative play; how techniques such as montage, collage, and the language of dissolves, cross cuts and match cuts might be enrolled to explore improvisative counterpoint and juxtapositions, the pleasures of discord, parallelism and linearity, and the repurposing of gestures and their meanings.
Conceived as a single improvisative suite, the techniques and strategies used to build Of Life, Recombinant were developed over a year during periods of lockdown. The bulk of the suite was recorded in a single contiguous take, a single improvisation, in June of 2021. That recording remains, more-or-less-intact-but-broken, as the title track, while fragments of it litter, as improvisative detritus, through the rest of the album.
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, Korea and the USA.
Park is the mastermind behind ensembles including Eris 136199 with Catherine Sikora and Nick Didkovsky; and Sirene 1009 with Dominic Lash, Mark Sanders and rit.; and has a duo with Richard Barrett. He 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, Pauline Oliveros, Josh Sinton, Louise Dam Eckardt Jensen, Gino Robair, Tim Perkis, Andrew Drury, Pat Thomas and Franziska Schroeder.
His ensembles have appeared at festivals including Jazz em Agosto (Lisbon), Freedom of the City (London), Brilliant Corners (Belfast), ISIM (New York), dialogues festival (Edinburgh) and Sonic Acts (Amsterdam). His recordings have been released by labels including SLAM Productions and DUNS Limited Edition. Park taught improvisation at University College Cork, and founded and curated Stet Lab, a space for improvised music in Cork.
New Jazz and Improvised Music Recordings
The New Jazz and Improvised Music Recordings project was established during the height of the COVID-19 pandemic, offering a creative output for musicians when live performance opportunities were unavailable and encouraging artist independence.
Emphasising sustainability for artists and music studios, the ethos of sustainability also carries through the production process by employing a carbon neutral manufacturing plant and distributors, using recycled and biodegradable materials whenever possible.
Graphic design by Andrew Delanoy.
Portrait photography by Nella Aguessy.
Project director: Wesley Stephenson.
“Many thanks to everyone that contributed and supported our Crowdfunder campaign for the New Jazz and Improvised Music Recordings project. This release was made possible with additional support from Arts Council Ireland, Arts Council England and North East Local Enterprise Partnership. Additional thanks to Chris Sharkey for mastering and Andrew Delanoy for graphic design. Very special thanks to Nella Aguessy for the portrait photograph of Han-earl Park, you can find some really great work on her website.” — NEWJAiM Recordings.
“Thanks to Annette Krebs, Richard Barrett, and Anne Wellmer, and hugs for Asha and Melanie. The construction of this piece was made possible by funding from the Arts Council of Ireland” — Han-earl Park.
Track listing: Ballad of Tensegrity I (≥ 5:12), Ballad of Tensegrity II (2:28), Peculiar Velocities I (3:46), Peculiar Velocities II (3:36), Sleeping Dragon (5:22), D-Loop I (≥ 6:16), D-Loop II (5:13), Polytely I (≥ 5:01), Polytely II: Breakdown (5:33), Anagnorisis I (2:09), Anagnorisis II (2:19). Total duration ≥ 46:54.
New album from Han-earl Park will be released by New Jazz and Improvised Music Recordings in November 2021! This suite has been in the works for over a year; it’s unlike anything I’ve done before, and I’m so very much looking forward to sharing this music with you. More soon!
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Over the last several months I’ve been busy behind-the-scenes working on a solo guitar project. In a few months I hope to announce some exciting developments. In the meantime, you can catch up with some short videos of solo guitar improvisations by following #lockdownminiature both on Twitter and on Facebook.
Elsewhere Corey Mwamba (Freeness, BBC Radio 3) describes “exquisite music-making” with musicians that “fuse and create this gorgeous glitchy stew together”, and, writing in Vital Weekly, Nick Roseblade describes Peculiar Velocities as an album in which “everything feels pushed as far is it can go”:
Like what rock music could, and possibly should, have sounded like it if musicians like Ornette Coleman became the norm. There is a freeness to the playing that is astounding, but there is also organisation. During sections, the guitars work together to give Sikora something tangible to stand on. When this happens ‘Eris 136199: Peculiar Velocities’ becomes something very special indeed. ‘Polytely I’ sees the guitars constantly churning to create vortex-esque soundscapes why Sikora’s light and airy saxophone wafts above it. Like stream on a freshly brewed tea. This is an album that reminds you of how good it is when musicians don’t care about the rules and just play. [Read the rest…]
And while Brady Gerber’s ‘7 For Seven’ finds a space in which “a nervous guitar fills an orange sky and empty beach”, and Takeshi Goda in JazzTokyo writes of velocities, perception, collisions, fusions, joy and brain-reforming experiences:
それはあたかも地球外の異境から到来した明滅する運動エネルギーによって脳外科手術を施されるような驚喜の頭脳改革体験である。 [Read the rest…]
And finally, Ken Shimamoto/The Stash Dauber writes about sounds that “slither and spatter like radio interference, shimmer like molten silver, or ring like a cymbal’s decay” music in which “the spirit of electricity becomes a living thing”:
The best type of musical conversation, abstract and oblique as it might be at times…. I’ve listened to this thing a half dozen times since I started writing yesterday, and am happy to have its company to help me get through what looks like it’s going to be a very tough winter… and the hopeful spring to follow. [Read the rest…]
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.
And one more thing: In his survey of solo guitar recordings, Paul Acquaro at Free Jazz reviews my recording released by, and in support of, The Vortex Jazz Club:
[Han-earl Park’s] playing was unusually expressive…. On Two+ Bagatelles, this same musical spirit that has stuck with me for so long, has been captured…. Melodies becoming almost like the sounds of an 8-bit shower. [Read the rest…]
I will create a suite of new improvisative, obliquely narrative, experimental pieces for the solo guitarist. The bursary award will grant me time to research ways in which to effectively incorporate elements transposed from narrative forms (e.g. the manipulation of genre expectations) into my solo practice with its physical techniques and interactive tactics that I have developed systematically over twenty years. In addition, I will explore the ways in which studio-based techniques (editing, montage, etc.) may be used as a fluid compositional strategy in the context of improvisative work….
My solo practice was built on my studies with improviser-composers such as Wadada Leo Smith, and periods of independent study in 2003 during which I transposed to the guitar improvisative techniques of pianists such as Marilyn Crispell and Keith Tippett, and in 2008 during which I incorporated techniques from drummers such as Rashied Ali and Tony Oxley. I aim to expand on this practice by transposing to the musical domain, elements of genre manipulation found in works by writers such as Jeff VanderMeer and film-makers such as Bong Joon-ho. In addition, I aim to amplify these possibilities via the interactions between improvisation and studio-based compositional strategies.
To this end, in addition to my independent studies, I will consult with film-maker Han-Ter Park to explore aspects of cinematic techniques relevant to this project, and work closely with mentors improviser and composer Richard Barrett, and composer and sound artist Annette Krebs. Barrett and Krebs have unique insights into the intersection of improvisation and composition, the incorporation of programmatic and/or narrative elements, and studio-based techniques.
I am very, very grateful for the support of the Arts Council, and my collaborators. I feel privileged to be given the opportunity to work on this project, and I am very much looking forward to sharing this work with you. Please stay tuned: I will be announcing soon ways you can follow this work-in-progress.
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.