Tag: Han-earl Park

Brittle? Tough and dense? Accessible and captivating? Exhilarating? Or verging on lyrical? John Eyles at All About Jazz gives ‘Anomic Aphasia’ (SLAMCD 559) with Han-earl Park, Catherine Sikora, Nick Didkovsky and Josh Sinton ☆☆☆☆½:

The guitarists’ [Nick Didkovsky’s and Han-earl Park’s] two very different styles could have clashed, but they find ways of fitting them together that leave space for the saxophone. [Catherine] Sikora could have been crowded out but she skilfully adapts to the soundscapes created by the guitars, and integrates her playing without compromising her style…. At times that playing does fit Park’s “noisy, unruly complexity” description, but when they are in full flow together, their exchanges fit together perfectly and are simply exhilarating, sometimes verging on lyrical….

Key to the success of the album’s middle three tracks is their line-up of Park and Sikora with Josh Sinton on baritone saxophone or bass clarinet; one guitar plus two reeds works better than one saxophone plus two guitars. Aurally, the separate contributions of these three individuals are easier to determine. Sinton’s confident, fluent improvising stands out as this trio’s trademark sound…. The interweaving of the trio’s three strands works effectively, with credit going equally to each member. [Read the rest…]

— John Eyles (All About Jazz)

In his ☆☆☆☆ review, Paul Acquaro at Free Jazz finds a “great set of free jazz trio work” in which “every twist and turn, scrape, squeak and melodic idea contributes to this adventurous and exciting recording”:

The album clocks in at a generous 71 minutes, and none of it is wasted. Starting with the 20 minute ‘Monopod’ with the cast of Sikora, Park and Didkovsky, things are off to a (briefly) squeaky start, then track begins in earnest, with the tenor sax’s free form melody cutting through the slashing tones of the guitars. What starts brittle, grows tough and dense. The ‘conversation’ between the sax and the guitars is intense at times, and at other times tender. Generally speaking, Park tends to be more atmospheric while Didkovsky is more biting.

The track ‘Pleonasm’ features the trio of Sinton, Sikora and Park. The rich tones of Sinton’s baritone sax and bass clarinet contrast nicely with Sikora’s vivacious playing on the tenor and soprano saxes. The track begins with Park’s minimalist approach—he employs a vocabulary of textures and taut phrases as the saxes reply with staccato bursts of melodic runs. The song, like the others, is abstract but there is something at the nexus of the trio’s playing that remains accessible and captivating.

‘Stopcock’ is the long burning closer to the album. Back to Sikora, Park and Didkovsky, the trio delivers a fascinating performance that starts with arpeggios and rhythmic picking lending a somewhat metal feel to the introduction. The two guitars play in parallel for a while—some time reaching agreement, other times in friendly competition. When Sikora joins, she delivers a vigorous melody that pulls the track together.

Between the four musicians, Anomic Aphasia is a great set of free jazz trio work. Every twist and turn, scrape, squeak and melodic idea contributes to this adventurous and exciting recording. [Read the rest…]

— Paul Acquaro (Free Jazz)

[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.