Seeking performance opportunities for the quartet of Josh Sinton (saxophone and clarinet), Han-earl Park (guitar), Adam Hopkins (double bass) and Dominic Lash (double bass) in the UK, early/mid 2015. Interested promoters, venues and sponsors, please get in touch!
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-practitioner’s 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…]
The theme of cuttlefish’s inaugural issue is “work-in-progress (sketches, doodles, journal entries, streams of consciousness…),” and features contributions by Wim Bollein, Laura Duran, Evgeniy Aleksandrovich (=dozen), Graham Holliday, ja’s ink on paper, Daniel Kan, Francisco Martins, Corey Mwamba, Ciarán Ó Dochartaigh, Peter O’Doherty, Han-earl Park, Kiyomitsu Saito, Tom Tebby, Nicolas P. Tschopp, Andrea Valle, Krysthopher Woods and Alice Xiang.
If you are interested in contributing to future issues of cuttlefish, please contact cuttlefish[at]peterodoherty.net.
I don’t expect my approach to real-time, interactive play and improvisative noise overlaps much with Richard Pinnell’s tastes, but Pinnell takes time to write a short overview of some of my download releases in the July issue of The Wire:
Four ‘name your price’ downloads from… guitarist Han-earl Park in various improv formations situated at the more traditional, loquaciously active end of the spectrum…. The sense of energy and joy in Park’s playing spills over into this flurry of online activity… fans of the talkative brand of improvised music will find something of value.
Traditional? Talkative? Vague? Relentless? Claustrophobic? What do you think?
With the release of the recording with Paul Dunmall and Mark Sanders, I’ve completed the current series of download albums, and I’ve been taking a break from releasing new recordings. The albums so far—all Creative Commons licensed, and free or ‘name your price’—are collated here and on the downloads page. With a break in the release schedule, I’ve taken the opportunity to overhaul the downloads page; the most significant update since I started, in September 2010, formally offering complete concert recordings online.
One notable update to the downloads page is the addition of the recommended Bandcamp albums that accompanied the current series. As I wrote previously, there are some very fine and inspiring creative, improvised and experimental music on Bandcamp, but it isn’t always easy to find the recordings. Here’s my small contribution to help people get started. Enjoy, download, share—support creative musicians!
Two non-stop sets of improvised music. This live recording juxtaposes the formidable creativity and muscular technique of veteran improviser-saxophonist Paul Dunmall, the imaginative cyborgian virtuosity of guitarist Han-earl Park, and the ever inventive playing of Mark Sanders, arguably the most sought-after improviser-drummer of his generation. [More info…]
Murray Campbell, Randy McKean, Han-earl Park, Gino Robair and Scott R. Looney
The Gargantius Effect is the brainchild of Murray Campbell and Randy McKean. This album documents Gargantius Effect’s August 2011 tour of Northern California with special guest and fellow Sonologist Han-earl Park, plus Bay Area veteran improviser, composer and electronic artist Gino Robair, and hyperpianist Scott R. Looney. [More info…]
A solo performance by guitarist-constructor Han-earl Park exploring, with feedback and resonant buzzes, the complex, cavernous acoustics of the Lewis Glucksman Gallery, and the interactions between artifact (guitar) and the body (guitarist). For ‘Strokes and Screwballs,’ Park is joined by violinist-improviser Marian Murray for a conversational improvisation. [More info…]
A stark, real-time evolution of on-stage relations. The performance took place during Seoul-based experimental electronic musician Jin Sangtae’s European tour. Featuring clanking hard drives, buzzing electronics, noisy guitars and machine gun percussion, this recording captures Jin’s meeting with guitarist-improviser Han-earl Park, and composer, drummer and intermedia artist Jeffrey Weeter. [More info plus the 24-bit edition…]
“Sounds reverberate and carry in unexpected ways, and music improvised here [The Glucksman Gallery] runs the risk of losing all definition. That [Han-earl] Park and his co-improviser Franziska Schroeder gracefully avoided this testifies to their alertness, sensitivity and experience working together in other spaces…. Indeed the evening had the feeling of conversation, with the instrumentalists demonstrating the improvisatory give-and-take of a convivial exchange of ideas.” [More info…]
A performance by Catherine Sikora, a saxophonist with a striking, compelling sound. She has been described as “a free-blowing player’s player with a spectacular harmonic imagination and an evolved understanding of the tonal palette of the saxophone”. Sikora was joined by cofounder of the London Improvisers’ Orchestra, trumpeter Ian Smith, and guitarist Han-earl Park. Smith and Park had just come off the tour as part of the power-trio Mathilde 253 (with Charles Hayward) with Wadada Leo Smith. [More info…]
In the piece, Medwin describes the recording with Marian Murray as the “best way into Park’s protean guitar syntax”:
Park slams through blocks of sound and these deteriorate into shreds and scraps, punctuated with what can only be described as ululations, which become more prominent as things proceed. Park’s often-distorted fingerwork, much of it conjuring shades of the human voice, also references Derek Bailey’s rapid-fire volume shifts and Joe Morris’ fleet runs while sounding like neither. [Read the rest…]
…The outer limits of timbre, especially on the epic “Old Robots Never Rust”. Campbell’s violin slides are an excellent foil to the more vocal qualities in Park’s improvising, not to mention similar devices used by multi-reedist Randy McKean as the trio converge and diverge in pitch space. [Read the rest…]
…Eschewing conventional groove but adhering to solos and telepathic communications, conjuring the jazz trio hierarchy as imagined by Albert Ayler. Dunmall even channels some Ayler, his tenor growling and moaning through key moments as Park handles guitar and bass duty simultaneously. Only Sanders’ occasional chiming percussion bespeaks a more contemporary vibe. As always, Park fills out the texture as much or more than do most keyboard instruments, but his playing is never overwhelming and always tasteful. [Read the rest…]
Sax, guitarra e bateria em uma sessão ao vivo de improvisação livre, com muita intensidade conduzida pelos britânicos Paul Dunmal [sic] e Mark Sanders. A eles se juntou o guitarrista Han-earl Park, com seu toque que, em muitos momentos, denuncia ecos de baileyanos. A gig foi registrada em Birmingham, dois anos atrás, e é um exemplar bem vivo e intenso da cena free impro europeia atual. [Read the rest…]
…[Han-earl] Park’s guitar is sliding and sputtering, delivering accents and tonal clusters neatly between Mark Sanders pulsating percussion and Paul Dunmall’s intense and melodic saxophone work. The three musicians are nicely balanced, each instrument an integral voice in the improvisation. Dunmall is the main voice as the first track picks up, and when Park’s guitar emerges as the driving force, he relies on creating biting textures and rhythmic figures intersecting with percussion.
Sanders and Dunmall are veterans of free jazz and have worked together many times in the past. Here, as usual, Sander’s percussion work is invigorating, pushing the musicians and directing the energy. There are moments where he drops out, or holds back, that reveal how powerful of a presence he is. Dunmall seems to always have the most appropriately unexpected lines, whether the solo voice or providing comping. Park is a newer voice, and he holds his own with this virtuosic crowd. His approach on the electric guitar veers between clean and slightly overdriven tones, and has unique melodic approach, favoring fragments and tonal clusters, often filling in the spaces and painting with contrasting colors. [Read the rest…]
A very special recording—high energy, left-field improvisations beautifully captured by Chris Trent—that, had it not been sandwiched between two other CD releases, would likely have been issued on physical media. Originally released in December 2011, this recording was the last of a series of download releases hosted at busterandfriends.com before the move to bandcamp. This bandcamp-hosted edition offers the option to download the recording in multiple formats (mp3, Ogg and AAC) including lossless (FLAC and ALAC).
Recommended price: €8+
In line with the current series of download releases, this record is hosted at Bandcamp, and available as a ‘name your price’ album. Although you can download the recording for free (name €0 as your price) with certain restrictions, please consider paying at least the recommended price. Your generosity will help support the performers and their work.
Paul Dunmall, Han-earl Park and Mark Sanders (original photos: HeP by Stephanie Hough; and MS by Andrew Putler)
…Eschewing conventional groove but adhering to solos and telepathic communications, conjuring the jazz trio hierarchy as imagined by Albert Ayler. Dunmall even channels some Ayler, his tenor growling and moaning through key moments as Park handles guitar and bass duty simultaneously. Only Sanders’ occasional chiming percussion bespeaks a more contemporary vibe. As always, Park fills out the texture as much or more than do most keyboard instruments, but his playing is never overwhelming and always tasteful.
Free jazz, in no uncertain terms. I don’t know what it is about Han-Earl’s groups’ sounds. Ten seconds in, I think to myself, “Man, this isn’t my thing.” But by the time the tune is over, I realize that I’m totally into it and enjoying it. If a musician can convert my ears within the span of one tune, in my eyes, that’s a sign of talent.
On sait les liens qui unissent Dunmall et Sanders – ce qu’ils ont pu donner par le passé : de Shooters Hill enregistré en sextette en présence de Paul Rutherford à I Wish You Peace du Moksha Big Band –, c’est donc la présence de Park – que l’on a pu entendre récemment auprès d’un autre britannique de taille, Lol Coxhill, sur Mathilde [Mathilde 253], et se fit remarquer déjà auprès de Dunmall et Sanders sur un Live at the Glucksmann Gallery – qui intéresse ici. Aux salves imparables du ténor, il oppose des nappes et quelques arpèges accrochés quand Sanders compte les points avec aplomb.
Plus loin, c’est à la cornemuse puis au soprano qu’intervient Dunmall : pour déjouer ses tours (de force et d’adresse), Park choisit une nouvelle fois la subtilité : ses accords étouffés renversent les échanges du trio, transformés bientôt en horizontalité sur laquelle les trois hommes s’entendent alors en apaisés.
Two non-stop sets of improvised music. This live recording juxtaposes the formidable creativity and muscular technique of veteran improviser-saxophonist Paul Dunmall, the imaginative cyborgian virtuosity of guitarist Han-earl Park, and the ever inventive playing of Mark Sanders, arguably the most sought-after improviser-drummer of his generation. The performance took place three months after Park and Sanders’ improvisative meeting with another saxophonist, Matana Roberts, and a month prior to Dunmall and Sanders’ performances with another guitarist, Hasse Poulsen.
For thirty years Paul Dunmall has carved out a reputation for himself and is now widely recognised as one of the most uncompromising and talented reed players on the international improvised music scene. Whether playing in small groups or big bands his musical sensitivity and imagination combined with a powerful sound make him one of the most distinctive improvisers playing today.
His octet and Moksha big band showcases his abilities both as a composer drenched in the Jazz and Folk traditions and as a sympathetic leader able to give maximum freedom to an elite group of fellow improvisers.
Founder member of groups Spirit Level, Tenor Tonic, Mujician, Paul Dunmall Quartet and Paul Dunmall Octet.
Has played in Nigel Morris’ trio, the London Jazz Composers Orchestra, Danny Thompson’s Whatever, several of Elton Dean’s ensembles, Brian Irvine’s 14 piece band amongst others.
Launched own improvised music record label with Philip Gibbs in 2000 called Duns Limited Edition, which has 52 releases to date.
“Whether in a trio with Mujician’s rhythm section or with the larger band of sympathetic fellow improvisers, Dunmall consistently produces powerful and passionate music.”
(BBC Music Magazine)
“…Robust and heavy-hitting performer who has gone on to concentrate largely on free improvisation without sacrificing a rigorous melodic logic, a sparing lyricism and the technique to drop in on bebop occasionally.”
John Fordham (The Guardian)
Improviser, guitarist and constructor Han-earl Park has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for over fifteen years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces in Austria, Denmark, Germany, England, Ireland, The Netherlands, Scotland and the USA.
Park is part of Mathilde 253 with Charles Hayward and Ian Smith, Eris 136199 with Nick Didkovsky and Catherine Sikora, and Numbers with Richard Barrett. He is the constructor of the machine improviser io 0.0.1 beta++, a project performed in coalition with Bruce Coates and Franziska Schroeder. He has recently performed with Ishmael Wadada Leo Smith, Paul Dunmall, Lol Coxhill, Mark Sanders, Gino Robair, Tim Perkis, Pat Thomas, Andrew Drury, Josh Sinton, Dominic Lash, and as part of ensembles led by Wadada Leo Smith, Evan Parker, and Pauline Oliveros. Festival appearances include Freedom of the City (London), Sonorities (Belfast), Sonic Acts (Amsterdam), dialogues festival (Edinburgh), and CEAIT (California). His recordings have been released by labels including Slam Productions and Creative Sources.
Park taught improvisation at the UCC Department of Music, 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)
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.”
05–20–13: updated the ‘also available for download’ list, updated reviews, and add audio format list. 11–01–15: add A Little Brittle Music to downloads list, and change currency from USD to EUR.
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!
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.
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.
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.
