Thanks to everyone who contributed to the noise at the July 26 event. I was bowled over by the awesome time-and-motion-studies of Patricia Franceschy and Kate Gentile (Kate’s composition, in particular, was a highlight). I take my hat off to Swim This (Nick Didkovsky, Gerry Hemingway and Michael Lytle) for their playfully raucous set, and for inviting me to join them on stage. Thanks again to Don Mount for the videography. Last but not least, thanks to all who came to witness the noisy bodies in motion!
Seeking performances in Europe, 2014 for the cyborg ensemble of interactive, semi-autonomous, technological artifact and machine musician io 0.0.1 beta++ (itself) with human musicians Han-earl Park (guitar), Bruce Coates (saxophones) and Franziska Schroeder (saxophones). Interested promoters, venues and sponsors, please get in touch! [Detailed proposal…]
Seeking performances in Europe, 2014 for the cyborg ensemble of interactive, semi-autonomous, technological artifact and machine musician io 0.0.1 beta++ (itself) with human musicians Han-earl Park (guitar), Bruce Coates (saxophones) and Franziska Schroeder (saxophones). Interested promoters, venues and sponsors, please get in touch! [Detailed proposal…]
Belated set of thanks for the performances earlier this month (June 5th and 9th). The biggest thanks to Nick Didkovsky and Catherine Sikora who made this Eris 136199’s stragest performance so far, with unexpected and unpredictable turns and juxtapositions; and big thanks to Michael Lytle who invited me to join him for a duo performance at ABC No Rio. Thanks also to Blaise Siwula for organizing and curating COMA: Citizens Ontological Music Agenda, and to the other musicians who shared the bill and both events. In particular, kudos to Ras Moshe, Shayna Dulberger and John Pietaro for stepping up and contributing a fantastic set (plus John said one of the nicest things about my playing after Eris’ set: “You’re the Rashied Ali of the group!”); and to Craig Flanagin and Frank Marino for their great vibe on and off stage. Special thanks to Scott Friedlander for his indefatigable and expert documentation—audio, video and photographic—and a hat tip to Don Mount for helping Eris come up with a title for our first improvisation. Last but not least, thanks to all who came to listen and witness the noise, complexity and play.
The saxophonist [Laubrock] displayed characteristic versatility with her instrument, while the guitarist [Park] played in his unique percussive style. The two had a resonance in their sound immediately, producing a pensive breathiness with foreboding overtones throughout the 40 minute performance. They seemed to cast away vulgar, simplistic attempts at clarity, preferring to open a liminal space between the benign expected and chaotic nothingness: a glimmer of deeper and deeper windows into the unexplained and undefined, all the while delving towards utter truths in their exploration. Laubrock’s percussive intensity that ultimately erupted into brilliant exclamations over Park’s mellower staccato ultimately merged into receding thunder. [Read the rest…]
Eris 136199 plays on the crossroads of noise, melody, rhythm, space, density, contrast, synchronicity, asymmetry, serendipity and contradiction. Eris 136199 is the noisy, unruly complexity of composer, computer artist and guitarist Nick Didkovsky, the corporeal, cyborg virtuosity of constructor and guitarist Han-earl Park, and the no-nonsense melodic logic of composer and saxophonist Catherine Sikora.
A composer who enjoys blurry boundaries, Nick Didkovsky founded the avant-rock big band Doctor Nerve, and is a member of Swim This with Gerry Hemingway and Michael Lytle. He is a pioneer of small-systems computer music, and has composed music for ensemble including Bang On A Can All-Stars and the California EAR Unit.
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, is part of Mathilde 253 with Charles Hayward and Ian Smith, and Numbers with Richard Barrett.
Catherine Sikora is “a free-blowing player’s player with a spectacular harmonic imagination and an evolved understanding of the tonal palette of the saxophone” (Chris Elliot, Seacoast Online). She has a long-standing duo project with Eric Mingus, and performs as part of ensembles led by Elliott Sharp, François Grillot and Matt Lavelle.
Together, Didkovsky, Park and Sikora forges an improvisative space where melody can be melody, noise can be noise, meter can be meter, metal becomes metal, bluegrass turns to bluegrass, jazz transforms into jazz, all there, all necessary without imploding under idiomatic pressures.
Necessity is the mother of invention. Catherine Sikora initially approached me about a ‘cryptic gig’, saying that Stanley Jason Zappa would be in town. As a last minute event, with little time for organization, I proposed an evening of duos. Pragmatically, if I’d asked for larger ensembles, people would have to check the availability of a larger number of people; something that can be time consuming in this town. So I asked Ingrid Laubrock, who I’d just been talking about playing with when I saw her at Gowanus Company in April, if she’d be interested in a duo. I also asked Andrew Drury if he could put somthing together, and he got Kris Davis onboard. When the dust settled, catching my breath, I looked at the lineup of the evening, and realized what a kick-ass group of musicians we had for the event.
Thanks to all involved in the May 16 event. For the music: Ingrid, Catherine, Andrew, Stanley and Kris; and for pitching the initial idea for the event: Catherine; for the documentation: Don Mount and Kevin Reilly (what we may lack in other resources, we more than make up for in documentation 😉 ; and for the help: Kevin. Thanks for listening: all who came to witness music in real-time!
