Tag: press

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Downtown Music Gallery: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources

The “intense exchange between these two gifted improvisers.” Bruce Lee Gallanter of Downtown Music Gallery reviews Richard Barrett and Han-earl Park’s ‘Numbers’ (CS 201 cd):

Featuring Richard Barrett on electronics and Han-earl Park on guitar. Richard Barrett is a UK composer as well as an improvising electronic musician who plays in Furt, Forch and with Evan Parker, all of whom record for the Psi label. Originally UK-based guitarist Han-earl Park has been living in NY for the past couple of years and working with many Downtown players like Louise Jensen & Michael Evans (who he played with here at DMG last Sunday – 1/20/13), Harris Eisenstadt, Tim Perkis and Anthony Braxton. When Mr. Park was living in the UK, he worked with Paul Dunmall, Charles Hayward and invented a device called io 0.0.1 Beta, that played its own improvisations. An impressive resume for sure. Han-earl left us with this duo effort and I’m glad he did.

I dig the intense exchange between these two gifted improvisers. There are a number of bent sounds which make it hard to determine who is doing what. What electric guitar sounds I recognize are sharp, focused and quickly formed & let loose. Han-earl does not sound like a jazz guitarist and doesn’t play any of those popular licks. More often he is playing a series of broken yet tight phrases which fit perfectly with Mr. Barrett’s more rounded electronics. The fractured phrases that erupt throughout this disc often sound like just one musician playing by himself since we never know where one sound begins or ends or what it will turn into. There are a few rubbed string sounds which remind me of Fred Frith at times but that is the reference I can pull out of my own listening encounters. Otherwise this is duo is completely unique, exciting and engaging.

[Original newsletter…] [DMG catalog page…]

You can get the CD from DMG for a limited time price of $14 (normally $16)!

btw, I have yet to perform with Mr. Braxton (I assume Bruce meant Wadada), and I’m from California, but otherwise the description, especially “fractured phrases that erupt throughout this disc often sound like just one musician playing by himself since we never know where one sound begins or ends or what it will turn into”, is pretty accurate! Thanks for listening, Bruce.

‘Numbers’ (CS 201 cd) is available from Creative Sources Recordings. [More info…] [All reviews…] [Get the CD…]

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more reviews: Catherine Sikora, Ian Smith and Han-earl Park (Cork, 04–04–11)

artwork for Catherine Sikora, Ian Smith and Han-earl Park: Sikora-Smith-Park (Cork, 04-04-11)
“Courageous, exciting and iconoclastic.” Of Catherine Sikora, Ian Smith and Han-earl Park’s download album, Andrew Rigmore writes in the December 2012 issue of jazzColo[u]rs:

Questo album è solo un assaggio della musica coraggiosa, entusiasmante ed iconoclastica che si può trovare gratuitamente — sotto licenza Creative Commons— sul sito dell’etichetta Bandcamp ed altri ad essa collegati. “Cork, 04-04-11” è la registrazione — di ottima qualità — del concerto tenuto dalla sassofonista Catherine Sikora, dal trombettista Ian Smith e dal chitarrista Han-earl Park a Cork, Irlanda, nell’aprile del 2011. E da troppo tempo la relativa pagina giace fra i preferiti del browserdi redazione, per cui è giunto il momento di darne conto. Si tratta di creatività made in Ireland, per quanto Park e Sikora oggi si siano stabiliti a New York. La sassofonista di Cork possiede un timbro corposo al tenore ed una limpidezza che la pongono sulla scia di maestri come Jerry Bergonzi o Charles Lloyd (il lungo assolo in Red Line Speed), ma anche fra gli avanguardisti più temerari della scena europea. Particolarmente originale la chitarra di Park, le cui baritonali e caustiche idiosincrasie sembrano fornire lungo tutto il setspunti in prevalenza ritmici agli intrecci fra tenore e tromba. Molto noto in patria, Smith vanta collaborazioni con Evan Parker, Lol Coxhill, Steve Beresford ed è co-leader di rinomati gruppi del free londinese come Forest e Trian: il suo secondo Cd da titolare, “Daybreak” (Emanem, 2000), coinvolge fra gli altri Derek Bailey e Oren Marshall. La sua fantasiosa tromba apre irriverente in 바르트, e si accompagna a chitarra e sax in Red Line Speed, ripartendo, a metà brano, da un pianissimo soffiato che diventa più lungo e sinuoso, fino a tornare a tessere trame aeree e sorprendenti insieme al sax, la cui chiusura solitaria è quasi toccante. Tromba silenziata per Massimo’s Imagined Juxtapositions, con certe inflessioni milesiane tipiche di Wadada Leo Smith ma in qualche piega anche debitrici delle sfumature di Cherry e Dixon. Quanto al progetto dietro all’etichetta, è di per sé innovativo, permettendo agli utenti in molti casi di scaricare gli album battendo essi stessi un prezzo e, come in un’asta, il Cd acquisisce un suo valore di mercato e quindi un costo. Ovvio che chi prima arriva…

— Andrew Rigmore (jazzColo[u]rs)

Meanwhile, Stanley Jason Zappa contributes Free Jazz Blog’s third review of this album [other reviews from Free Jazz…]:

…There is no doubt that Sikora is the most luminous of the three, so much so that this recording is, now and forever “one of Catherine Sikora’s early recordings.” This is less the recording’s fault and more the fault of Ms. Sikora’s continued emergence as a leading, steering voice on the tenor saxophone. [Read the rest…]

— Stanley Jason Zappa (Free Jazz)

[More about this recording…] [All reviews…]

Also available for download…

Murray Campbell, Randy McKean with Han-earl Park, plus Gino Robair and Scott R. Looney: Gargantius Effect +1 +2 +3 (Nor Cal, 08-2011)

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.

Han-earl Park plus Marian Murray: Park+Murray (Cork, 07-29-10)

Park+Murray (Cork, 07-29-10) [details…]

Performers: Han-earl Park (guitar) plus Marian Murray (violin).

(cc) 2012 Han-earl Park/Marian Murray.

Jin Sangtae, Han-earl Park and Jeffrey Weeter: Jin-Park-Weeter (Cork, 01–24–11)

Jin-Park-Weeter (Cork, 01-24-11) [details…]

Performers: Jin Sangtae (electronics), Han-earl Park (guitar) and Jeffrey Weeter (drums and electronics).

(cc) 2012 Jin Sangtae/Han-earl Park/Jeffrey Weeter.

Han-earl Park and Franziska Schroeder: Park-Schroeder (Cork, 03-26-09)

Park-Schroeder (Cork, 03-26-09) [details…]

Performers: Han-earl Park (guitar) and Franziska Schroeder (saxophone).

(cc) 2012 Han-earl Park/Franziska Schroeder.

Coming soon…

Paul Dunmall, Han-earl Park and Mark Sanders: Dunmall-Park-Sanders (Birmingham, 02-15-11)

Dunmall-Park-Sanders (Birmingham, 02-15-11) [details…]

Performers: Paul Dunmall (saxophones and bagpipes), Han-earl Park (guitar) and Mark Sanders (drums).

(cc) 2012 Paul Dunmall/Han-earl Park/Mark Sanders.

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Le son du grisli: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources

Do you feel the need for some gargling? convincing? crawling? craziness? dizziness? …or telegraphs? Luc Bouquet’s take, at Le son du grisli, on ‘Numbers’ (CS 201 cd) by Richard Barrett and Han-earl Park:

Le gargarisme est convaincant. D’un côté les electronics de Richard Barrett, de l’autre la guitare d’Han-Earl Park. Tous deux grouillent et cisaillent les volumes, réactivent la matière folle, rendent la télégraphie à sa fonction première : transmettre (Tolur). Leur improvisation en miroir engorge leur transe succube, fait déborder le vase, bouche la robinetterie (Tricav).

Parfois, au milieu des monstres soniques qu’ils viennent de créer, émerge une guitare façon Bailey (Ankpla). Mais rarement rassasiés (Uettet pour me faire mentir), les voici rassurant leur nervosité naturelle en un final aux brûlures fatales (II……). Le gargarisme est convaincant. Le vertige, tout autant.

[Original article…]

And, by the way, on Tuesday (December 18, 2012) François Couture (Monsieur Délire) will be playing selections from his 2012 Demanding Music Top 30 at Délire Actuel (CFLX 95.5 FM, Sherbrooke, Quebec). Along with some other great music from this year, it might be an opportunity to hear a little of ‘Numbers’. [More info…]

‘Numbers’ (CS 201 cd) is available from Creative Sources Recordings. [More info…] [All reviews…] [Get the CD…]

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Top 30 des musiques exigeantes 2012: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources

François Couture (Monsieur Délire) has selected ‘Numbers’ (CS 201 cd) with Richard Barrett for Délire actuel’s 2012 Demanding Music Top 30:

The demanding music radio show Délire Actuel (CFLX-FM 95.5, Sherbrooke, Quebec) unveiled today its top 30 experimental music albums you shouldn’t have missed in 2012. This list culls 30 titles, the 2012 crème de la crème in demanding music, i.e. the avant-gardist or experimental fringe in every music genre (contemporary, avant-garde jazz, free improvisation, avant-rock, electronica, etc.)….

Two special editions of Délire Actuel will be broadcasted tonight (December 11) and next Tuesday (December 18), from 8 pm to 10 pm (EST), on CFLX 95.5 FM in the Sherbrooke area and live on the web at www.cflx.qc.ca/en-direct/. The show is broadcasted in French, but the music is universal. A track from each selected CD will be featured. The Top 30 was posted this morning on Mr. Couture’s blog Monsieur Délire…. Shows are available to stream or download from CFLX’s website for a week after their broadcast date. [Read the rest…]

I’m honored to find our record in such distinguished company.

  1. Westerhus, Stian: ‘The Matriarch and the Wrong Kind of Flowers’ (Rune Grammofon)
  2. Drake, Bob: ‘Bob’s Drive-In’ (ReR Megacorp)
  3. Bishop, Jeb/Blonk, Jaap/Mallozzi, Lou/Rosaly, Frank: ‘At the Hideout’ (Kontrans)
  4. Perkin, Miles Quartet: ‘Objects in Mirror are Closer Than They Appear’ (ind.)
  5. Adkins, Monty: ‘Four Shibusa’ (Audiobulb)
  6. Zorn, John: ‘Mount Analogue’ (Tzadik)
  7. Carvalhais, Hugo: ‘Particula’ (Clean Feed)
  8. Berne, Alexander: ‘Self Referentials Vols. 1 & 2’ (Innova)
  9. New Songs, The: ‘A Nest at the Junction of Paths’ (Umlaut Records)
  10. Smith, Wadada Leo: ‘Ten Freedom Summers’ (Cuneiform)
  11. Homler, Anna/Hallett, Sylvia: ‘The Many Moods of Bread and Shed’ (The Orchestra Pit)
  12. Ratchet Orchestra: ‘Hemlock’ (Drip Audio)
  13. Endresen, Sidsel/Westerhus, Stian: ‘Didymoi Dreams’ (Rune Grammofon)
  14. Barrett, Richard/Park, Han-earl: ‘Numbers’ (Creative Sources)
  15. Bernier, Nicolas: ‘Travaux mécaniques’ (empreintes DIGITALes)
  16. Cactus Truck: ‘Brand New for China!’ (Public Eyesore)
  17. Bruckmann, Kyle: ‘On Procedural Grounds’ (New World Records)
  18. Capece, Lucio: ‘Zero by Zero’ (Potlatch)
  19. Petit, Philippe: ‘Hitch-Hiking Thru Bronze Mirrors (Extraordinary Tales of a Lemon Girl, Chapter 3)’ (Aagoo)
  20. Nicols, Maggie/Hargreaves, Phil: ‘Human’ (whi music)
  21. Huijbregts, Nico: ‘Dialogue Dreams’ (Vindu Music)
  22. Esseiva, Kiko C.: ‘Drôles d’oiseaux’ (Hinterzimmer)
  23. Plaistow: ‘Lacrimosa’ (Insubordinations)
  24. Grimal, Alexandra: ‘Andromeda’ (Ayler)
  25. Normand, Éric 5: ‘Sur un fil’ (Setola di Maiale)
  26. Zorn, John: ‘Templars: In Sacred Blood’ (Tzadik)
  27. Dilloway, Aaron/Lescalleet, Jason: ‘Grapes and Snakes’ (Pan)
  28. eriKm/Rivière, Arnaud/DJ Sniff/Tétreault, Martin: ‘Drift 01’ (Art Kill Art)
  29. Perelman, Ivo/Shipp, Matthew/Dickey, Whit: ‘The Clairvoyant’ (Leo Records)
  30. Trapist: ‘The Golden Years’ (Staubgold)

‘Numbers’ (CS 201 cd) is available from Creative Sources Recordings. [More info…] [All reviews…] [Get the CD…]

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Jazz Convention: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources

Density and expressive urgency. Romualdo Del Noce at Jazz Convention reviews ‘Numbers’ (CS 201 cd) by Richard Barrett and Han-earl Park:

Assai suggestivo l’interattivo duo protagonista: Barrett… sospinge oltre l’ostacolo dei vincoli della forma le pulsioni delle elettroniche di cui dispensa e vaporizza esponenzialmente le valenze e i caratteri timbrici, laddove Park, forte della sperimentazione viva e costante sullo strumento a sei corde, assai esagitato nel potenziale armonico-melodico, dilata le ispirazioni a nervi scoperti e le destrutturazioni alla Derek Bailey, e il tutto scattando un’immagine in movimento ed (es)agitata di una avant-garde – già, di suo, indocile soggetto – e che qui trova convinti e motivati praticanti – esegeti.

Cinque tracks-passaggi per un’ora esatta di forte urgenza espressiva che si staglia dimensionalmente per impeto psico-attivo, densità partecipativa ed acidità di smalti e pigmenti – reinterpretata e rivissuta dal concentratissimo duo Barrett-Park, Numbers si fa “danza interattiva ad alta energia e a passo veloce, scriteriata, looping a due mani, danza contorta, interattiva e resa udibile, unità di estemporizzazione intensa e da brivido” secondo la concitata definizione autoriale e che, così enunciata, lascerebbe assai poco di accattivante al pubblico generale – ma poco importa, data la vocazione settoriale e la dedizione (peraltro con coscienza perseguita e coronata) all’acting gravido di rischio e all’esplorazione avventurosa.

[Read the rest…]

‘Numbers’ (CS 201 cd) is available from Creative Sources Recordings. [More info…] [All reviews…] [Get the CD…]

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Revue & Corrigée: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources

Sporty and dynamic! The September 2012 issue of Revue & Corrigée prints a review of Richard Barrett and Han-earl Park’s ‘Numbers’ (CS 201 cd):

Je connais de nombreuses pièces de Richard Barrett enregistrées, écrites ou improvisées. C’est une figure importante de la musique contemporaine, malheureusement sous-estimée en France. Je vous invite vivement à écouter ce répertoire et vous plonger dans cette solide radicalité: l’écoute de la pièce symphonique Vanity (1996) devrait remettre de nombreuses pendules à l’heure. Lorsqu’il improvise (compose en temps réel), m’avec un dispositif électronique lui autorisant avec souplesse les parcours les plus inattendus.

Nous connaissons déjà plusieurs disques avec Furt, où il intervient avec Paul Obermayer, se jouant lui aussi d’un système électronique.

Je découvre ici sa collaboration avec le guitariste Han-Earl Pak [sic] (un autre créateur plutôt discret sur les scènes hexagonales), qui s’inscrit dans la tradition “post Derek Bailey” avec une saine volonté d’en découdre (cet artiste est aussi concepteur de systèmes interactifi originaux).

Sportif et dynamique.

Thanks to Lê Quan Ninh for helping source the text of the review.

‘Numbers’ (CS 201 cd) is available from Creative Sources Recordings. [More info…] [All reviews…] [Get the CD…]

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SLAM Productions featured in The New York City Jazz Record

SLAM Productions featured in The New York City Jazz Record, 08-2012. Copyright 2012 The New York City Jazz Record.
© 2012 The New York City Jazz Record (click to view PDF…)

This month, The New York City Jazz Record puts a spotlight on the record label SLAM Productions. In the article, Ken Waxman quotes label owner and curator George Haslam as saying:

When a recording is offered to me, I listen to it and consider, is SLAM the right place for it? I don’t have a style template to which the music must fit. The SLAM slogan has always been ‘Freedom of Music’. I remember years ago playing a concert with Lol [Coxhill]. He was asked to play a solo piece and was going to play ‘Autumn Leaves”. “But this is a free gig, Lol” someone said. “So,” said Lol “Am I free to play what I want?” What ties the SLAM catalogue together is the objective of preserving music that may otherwise be lost and making this music available to a listening public. To try to ‘educate’ or lead a public would be counterproductive but the music is there to be discovered. [Read the rest…]

It’s really great to see George Haslam and his label get some well deserved recognition, and I am honored that a couple of my recordings are available on SLAM. Thanks, George, for your support over the years, and especially for taking a gamble with a recording of a machine improviser! (And, incidentally, Paul Dunmall, who initially recommended SLAM to me, and the late Lol Coxhill, who guested on my first recording on SLAM, also make appearances in the article.)

Available from SLAM Productions…

‘io 0.0.1 beta++ (SLAMCD 531) CD cover (copyright 2011, Han-earl Park)

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).

© 2011 Han-earl Park.
℗ 2011 SLAM Productions.

‘Mathilde 253’ (SLAMCD 528) CD cover (copyright 2010, Han-earl Park)

Mathilde 253 (SLAMCD 528) is available from SLAM Productions [details…]

Performers: Charles Hayward (drums, percussion and melodica), Han-earl Park (guitar) and Ian Smith (trumpet and flugelhorn) plus Lol Coxhill (saxophone).

© 2010 Han-earl Park.
℗ 2010 SLAM Productions.

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CD reviews: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources

How’s your Portuguese? Rui Eduardo Paes reviews Richard Barrett and Han-earl Park’s ‘Numbers’ (CS 201 cd):

Quem partir para a audição de “Numbers” com uma ideia feita do que esperar de Richard Barrett e Han-Earl Park ficará, com certeza, surpreendido. Se o Barrett compositor de música contemporânea e o Barrett improvisador de electrónica no duo Furt e no Electro-Acoustic Ensemble de Evan Parker são, já à partida, bastante diferentes (apesar da sua convicção de que improvisar é apenas outra forma de compor), o que deste ouvimos agora distancia-se do “sampling” esquizóide a que nos habituou – os seus “outputs” neste disco identificam-se mais com as sonoridades sintetizadas dos antigos jogos de computador e videojogos. Por sua vez, o Park que aqui está não é o inventor e construtor de robôs e próteses musicais, mas o guitarrista. Percorrer outros caminhos implica neste disco aspectos positivos e negativos, mas verdade seja dita que a energia, o “drive” e o labor de sedimentação do ruído que vão desenvolvendo depressa nos conquistam. [Original article…]

— Rui Eduardo Paes

Meanwhile, Massimo Ricci at Touching Extremes suggests the recording might be a way to have your “brain zapped and scrambled by the rivalry between transonic beauty and extreme structural atomization”:

…It is… impractical to verbally interpret the bazillions of events that this CD warrants, for the joy of individuals who take pleasure in getting their brain zapped and scrambled by the rivalry between transonic beauty and extreme structural atomization. This is in fact a full hour of frantically jagged live improvisation that will definitely expose, in a good number of subjects, the inability of receiving and synthesizing a large quantity of data, given the inborn impossibility of switching to multi-channel mode in their neural constitution. These persons will end describing this barely imaginable tit-for-tat as unendurably non-brooding, or just “out of fashion”. Indeed the methods through which the (mostly) clean sounds of the electric guitar get stretched, warped, mangled and thrown back at the source demolish any propensity to rumination. As if a premix of Fred Frith, Hans Reichel and – why not – Christopher Willits had been subjected to a journey inside the circuits of a billboard. Mere seconds before its explosion, that is. [Read the rest…]

— Massimo Ricci (Touching Extremes)

I wonder if Ricci had anyone particular in mind when he wrote of those with an “inability of receiving and synthesizing a large quantity of data, given the inborn impossibility of switching to multi-channel mode in their neural constitution” 😉

‘Numbers’ (CS 201 cd) is available from Creative Sources Recordings. [More info…] [All reviews…] [Get the CD…]

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Monsieur Délire: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources

Catch me if you can! François Couture at Monsieur Délire describes a complex music that moves in multiple directions in his review of Richard Barrett and Han-earl Park’s ‘Numbers’ (CS 201 cd):

Electronician Richard Barrett (of Furt) and guitarist Han-earl Park are working together to create music both spontaneous and premeditated, music that launches into several directions at a time (that’s Furt’s trademark). The guitar is wildly spatialized, and the electronics intermingle with it, manipulating in real-time, adding pointillistic fluries of sounds that make it impossible de isolate a single contribution. The result is lively, relevant, dizzying electroacoustic music; music that seems to be daring us to try and catch it.

[Read the rest…]

‘Numbers’ (CS 201 cd) is available from Creative Sources Recordings. [More info…] [All reviews…] [Get the CD…]

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Free Jazz: Catherine Sikora, Ian Smith and Han-earl Park (Cork, 04–04–11)

artwork for Catherine Sikora, Ian Smith and Han-earl Park: Sikora-Smith-Park (Cork, 04-04-11)
Free Jazz Blog publishes a rare double review of the download release by Catherine Sikora, Ian Smith and Han-earl Park. In one review, Philip Coombs describes a “wonderful gem of a recording,” focussing, in particular, on Catherine Sikora’s sound:

These rare folk have the ability to spin a tale you have possibly heard before but can retell it with such clarity that you are captivated or better yet hypnotized. They can give you a new understanding of something you thought you already knew. This is a beautiful power and an ability that is rare to possess.

Catherine Sikora is such a person/player. She has a clean and colorful voice that could read me my autobiography and still have me in suspense….

The main story on the recording is track three. Clocking in at almost 25 minutes, Red Line Speed, is, to continue a theme here, the Shakespearian tragedy of the album. It starts with the chatter of a couple sitting at a table close to one of the microphones. The guitar comes in but the conversation continues in the background. Park changes up his percussive touch and somehow gets his guitar to sound like a tuba of sorts. The trumpet is next, adding to the subplot. By the time Sikora joins in, the stage has been set for quite the journey….

A wonderful gem of a recording. [Read the rest…]

— Philip Coombs

Tom Burris’ review also puts the spotlight on ‘Red Line Speed’ while imaging hearing a lost “Sonny Rollins and Derek Bailey duet”:

…‘Red Line Speed,’ best represents the trio’s interplay and dynamics. There is a moment where you’d swear you were listening to a Sonny Rollins and Derek Bailey duet. Smith plays spastic trumpet figures with a mute, while Sikora plays fluid lines and Park darts in between them. Smith plays a short solo of hissing sounds. My favorite moment occurs when Smith sounds like a drunken bumblebee & Sikora plays spiral figures as if she’s waving her arms, shooing him away. Then Park appears with sonic smacks, clumsily chasing the bee with an oar. When the piece comes to an abrupt end, amid trilling saxophone, muted trumped, and guitar smears, it sounds like they ripped a peanut butter sandwich apart and smashed it back together with the captured bee inside.

Park is especially adept at steering the group down side streets they might have otherwise ignored and utilizes simple techniques to arrive at unique sounds, such as sticking a piece of metal between the guitar strings & then finger-picking to approximate an alien banjo. Sikora is often the anchor of the trio, grounding them in traditional sonic terrain while playing every bit as imaginatively as the more unconventional Smith and Park. Smith frequently surprises with blurts and burps in one second, and full open tones in the next. [Read the rest…]

— Tom Burris

[More about this recording…] [All reviews…]

Also available for download…

rerelease: Han-earl Park and Franziska Schroeder (Cork, 03–26–09)
audio recordings: Paul Dunmall, Han-earl Park and Mark Sanders (Birmingham, 02–15–11)
audio recordings: Han-earl Park and Richard Scott (Berlin, 10–23–10)
audio recordings: Han-earl Park plus Marian Murray (Cork, 07–29–10)

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Chain D.L.K.: Numbers: Richard Barrett + Han-earl Park

CD cover of ‘Numbers’ (CS 201 cd) with Richard Barrett and Han-earl Park (copyright 2012, Creative Sources Recordings)
‘Numbers’ (CS 201 cd) © 2012 Creative Sources

Death of an Accountant? In his review at Chain D.L.K. of Richard Barrett and Han-earl Park’s ‘Numbers’ (CS 201 cd), Vito Camarretta imagines an unfortunate scenario for an “accountant, a computer expert or an operational researcher”, and describes an “acoustic lucid computational delirium, whose trajectory is impossible to outguess”:

You can easily imagine an accountant, a computer expert or an operational researcher in the act of falling prey of frightening hallucinations after a session of intensive work on numerical models, impressive balance sheets or other number-covered screed and their colossal equations or string while getting turned into ominous entities which paralyze their own maker in order to obsess, harass and torture him till death while listening to this amazing and fuzzy release by Welsh electronic musician and performer Richard Barrett (some well-trained listeners could know his collaborative project FURT with Paul Obermayer as well as his work within the Elision Ensemble) and guitarist, improviser and very talented performer Han-Earl Park. By means of an intricate web of sonic hiccups, scrapes, scouring, gluts, gargles and cuts, they build an acoustic lucid computational delirium, whose trajectory is impossible to outguess.

[Read the rest…]

‘Numbers’ (CS 201 cd) is available from Creative Sources Recordings. [More info…] [All reviews…] [Get the CD…]

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Le son du grisli: Paul Dunmall, Han-earl Park and Mark Sanders (Birmingham, 02–15–11)

Paul Dunmall, Han-earl Park and Mark Sanders (original photos: HeP by Stephanie Hough; and MS by Andrew Putler)
Paul Dunmall, Han-earl Park and Mark Sanders (original photos: HeP by Stephanie Hough; and MS by Andrew Putler)

Guillaume Belhomme (Le son du grisli) reviews the download release by Paul Dunmall, Han-earl Park and Mark Sanders. In it, Belhomme describes a conversation of strength, skill and subtlety:

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, 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.

[Read the rest…] [Download the recording…]

Thanks to Melanie L. Marshall for help with the French.

Also available for download…

audio recordings: Catherine Sikora, Ian Smith and Han-earl Park (Cork, 04–04–11)
audio recordings: Han-earl Park and Richard Scott (Berlin, 10–23–10)
audio recordings: Han-earl Park plus Marian Murray (Cork, 07–29–10)
audio recordings: Han-earl Park and Franziska Schroeder (Cork, 03–26–09)