Han-earl Park, Catherine Sikora, Josh Sinton – ANOMIC APHASIA:  If you’re looking 
for guitar that’s great, but "different", you’ll love what Han-earl and his companions 
(Catherine on tenor/soprano sax, Nick Didkovsky on guitar for tracks 1 & 5 and Josh on 
baritone sax & bass clarinet) are doing on this improvised set… I’ll tell you right now, 
though, this isn’t music for background, or listeners who are timid!  You’ll hear that right 
away on the 27:19 opener, "Monopod"… twists, turns and constant motion that will eat 
your brain if you forget to put on your tinfoil hat – ha! ha!  The 7:34 "Hydraphon" will 
bring to mind images of Dune worms and aliens… this reminds me (a lot) of some of the 
works I used to hear (and on occasion participate in) with Davey Williams and LaDonna 
Smith (way back in the day).  Of the five (very long) tracks on the album, it was the closer, 
"Stopcock", that got my vote for personal favorite… very tasty guitar licks on this one.  
 I give Han-earl and his pals a MOST HIGHLY RECOMMENDED, particularly for listeners 
who love strange in all its forms; "EQ" (energy quotient) rating is 4.98.  Get more information 
at the Slam Productions page for this release.         Rotcod Zzaj
http://rotcodzzaj.com/42-2/improvijazzation-162/improvijazzation-nation-issue-162/
 
 
Han-earl Park, Catherine Sikora, Josh Sinton – ANOMIC APHASIA:  
If you’re looking for guitar that’s great, but "different", you’ll love 
what Han-earl and his companions (Catherine on tenor/soprano sax,
Nick Didkovsky on guitar for tracks 1 & 5 and Josh on baritone sax 
& bass clarinet) are doing on this improvised set… I’ll tell you right 
now, though, this isn’t music for background, or listeners who are timid!  
 You’ll hear that right away on the 27:19 opener, "Monopod"… twists, 
turns and constant motion that will eat your brain if you forget to put on 
your tinfoil hat – ha! ha!  The 7:34 "Hydraphon" will bring to mind images 
of Dune worms and aliens… this reminds me (a lot) of some of the works 
I used to hear (and on occasion participate in) with Davey Williams and 
LaDonna Smith (way back in the day).  Of the five (very long) tracks on 
the album, it was the closer, "Stopcock", that got my vote for personal 
favorite… very tasty guitar licks on this one.  I give Han-earl and his pals 
a MOST HIGHLY RECOMMENDED, particularly for listeners who love 
strange in all its forms; "EQ" (energy quotient) rating is 4.98.  Get more 
information at the Slam Productions page for this release.         
Rotcod Zzaj  
 http://rotcodzzaj.com/42-2/improvijazzation-162/improvijazzation-nation-issue-162/
 
 
Okay, these words are long overdue, given that this disc arrived here at the end of last summer. But however long it spends on the review pile, 
it’s far to engaging and intriguing to put aside without at least attempting to scribble something.
"anomic aphasia": a condition in which an individual has consistent inability to produce words for that which they want to talk about. Hmmm…

So, oblique apologies for tardiness aside, here we go…
These five tracks represent two trios, which not infrequently dissolve/resolve into revolving duos.
On face value, this is a hugely enjoyable  and unpredictable set of free improvisation performances. However, there’s an added level of intrigue 
beneath the surface once the first track is past.
That first track however, takes some getting past. Monopod is a sprawling, non-idiomatic (and non-repetitive) improvisation of suite-like proportions 
(27 minutes and counting). Impressive in scale, overwhelming in execution, it’s a cyclic frenzy of fragmented sounds without an ounce of entropy, 
yet somehow with a sense of clear movement and progression. Warning: close listening can produce altered states.
Tracks #2 and #3 make use of Park´s METIS 9. What, you may ask, is METIS 9. In Park’s words, "Metis 9 is a collection of improvisative tactics, 
and higher-level interactive macros for ensemble performance designed, designated and specified by Han-earl Park."
Confused? I was. Emperor’s new clothes? Maybe, maybe not; given the playful nature of Park’s website, a little leg-pulling is not entirely out of the 
question. Nor does the questionnaire in the liner notes dispel the possibility with its mix of obfuscation and subversion. But the web text does goes 
on to ‘explain’ a few of these "macros" and while the explanations left me feeling Park is clearly some kind of obscure genius – either a genius 
improviser or a genius charlatan, and I’m inclined towards the former – damned if on a re-listen, I didn’t think I could spot some of these tactics at 
play. Stroke your chin and check out the ‘interrupting continua’ emerging about two-thirds of the way through Pleonasm… I think… maybe… whatever, 
it’s fascinating to listen with that possible strategic structure in mind. And besides, you can use it as a rebuttal to those who pooh-pooh free improvisation 
as just ‘random messing about’. Anyway, make your own mind up:
After all the preceding intensity (fully maintained on Hydraphon despite the lack of a METIS 9 designation) Stopcock’s intro – in which actual guitar 
strings can be discerned – is almost light relief, despite its tricky density. Then second guitar begins to play hide and seek, giving the uncanny sense 
of listening to two separate pieces at the same time in serendipitous juxtaposition. Cue Sikora’s ever free, ever inventive tenor and the layers are 
complete for a highly worthwhile finale.
Beauty is, of course, in the ear of the listener… but unless you are someone irrevocably wedded to comforting familiarity and resolution, I promise 
you’ll find beauty in these five fractured pieces. 
Dave Foxall 20/6/2016   http://ajazznoise.com/han-earl-park-anomic-aphasia/
 
 
 
Guitarist Han-earl Park joins those improvisers who
conceive of a playbook for interactive tactics—his is
called Metis 9. He uses what he calls "focused
complexity" to formulate strategies alongside tenor
and soprano saxophonist Catherine Sikora throughout
Anomic Aphasia, as well as baritone saxophonist/bass
clarinetist Josh Sinton on three tracks and guitarist
Nick Didkovsky on two others.
Like a plucky heroine faced with rebellious robots
in a sci-fi flick, Sikora’s vocally inflected timbres,
especially on the nearly 27½ minute "Monopod", add
necessary human-sourced harmony to the complex
jangles and static interference from the guitars. As the
guitarists clip staccato whines with ingot-like density
from below the bridges and along the necks, her wistful
soprano saxophone variations preserve the linear form,
eventually making common cause with offbeat folksy
strums from one string player. Hear Sikora’s final
unaccompanied cadenza as potential human triumph
over, or coexistence with, the widening machineproduced
tremolo pumps. A folk-like overlay also
makes its appearance on the concluding "Stopcock",
although the tenor saxophonist’s concentrated
upwards snarls and magnetic near-string-tearing pops
from guitar strings make the track so atmospheric as to
become almost frightening.
The wailing vigor of Sinton’s bottom-pitched horns
adds to the reeds’ aleatoric strategies on the other three
tracks. Nearly verbalized reed tones are so euphonious
on "Flying Rods" that the subsequent layered lines
nearly move into songbook territory. But Park’s parallel
flanges and hard thumping keeps the results
electronically plugged in as well as pointedly blended.
Sardonically printing a faux questionnaire about
Metis 9 application in the CD booklet shows that Park
champions music over theory. With associates like
Sikora, Didkovsky and Sinton, it appears he can have it
both ways.  Ken Waxman  file:///C:/Users/me/Downloads/32.pdf

This disc consists of a series of trios recorded at Douglas Street Collective in June of 2013 and at Harvestworks in October of 2013. 
Originally Han-Earl Park was based in the UK and worked with Paul Dunmall, Lol Coxhill and Charles Hayward. Mr. Park moved 
here for a few years not too long ago and worked with a number of Downtown musicians before moving back to the UK. This is 
Mr. Park's first disc with those Downtowners, an interesting cast from different scenes. Nick Didkovsky you no doubt know from 
his long tenure with Dr. Nerve as well as Vomit Fist. Catherine Sikora is a bit more elusive although she played at DMG on several 
occasions and works with Francois Grillot, Ross Hammond and Eric Mingus. Josh Sinton co-leads Ideal Bread (Steve Lacy tribute) 
as well as working with Harris Eisenstadt, Nate Wooley and Ingrid Laubrock. Mr. Park wrote
or provided directions for each piece.
After recently reviewing a Sonny Sharrock tribute CD with Mr. Didkovsky as a guest, it is easier to pick out his guitar sound here. 

The first trio is for two guitars and Ms. Sikora on saxes.
It is very long and both guitars sound well-integrated, Mr. Park played those fractured notes similar to Derek Bailey and Mr. Didkovsky 
using some sustain or other devices to thicken up his tone or provide alien textures. Ms. Sikora, who is not so well recorded, is on all 
five pieces here and works well in the two guitars or two saxes context here. This is a strong, long and spirited disc of challenging 
music where all of the players help determine the
direction and interaction. Another great thing about this disc is getting to hear bari sax great Josh Sinton stretching out at length. 
Now that Han-Earl Park is back in the UK, it is good to hear a documentation of what he did when he lived here. 
Bruce Lee Gallanter, https://mail.aol.com/webmail-std/en-gb/suite

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.

Be teased here ...

Han-earl Park on guitar. Catherine Sikora on tenor and soprano saxophone. Nick Didkovsky on guitar. Josh Sinton on baritone saxophone and bass clarinet. Five pieces totaling 70 minutes. Each piece is a trio. Park and Sikora play on all five pieces. The work is titled "Anomic Aphasia" which is a disorder which cause problems recalling words or names. Okay. So this is actually Park’s project but actually two jazz improvisation projects. The opening and closing tracks are his trio Eris 136199.

It’s all about guitars versus sax. Sax versus guitars. Sax and guitars together. They are challenging and phenomenal works with the musicians playing off of each others ideas. The guitars are each unique in approach and Sakora goes for it with her sax taking them on note for note.

There is pause and space, much needed allowing the listener to appreciate it all. Cacophony to melody.

The middle tracks are from an unnamed project which is the "interactive playbook Metis 9″.

This may be some type of software designed to show improvisational tactics which the performers attempt.

Or maybe not. It is unclear. What is clear is the stunning trio work. Now just one guitar (Park), sax and clarinet, the feeling is different but still crazy, intertwining each others notes, letting them stand,

then facing off, blending, melding, challenging each other. A beautiful noise. Free jazz continuing to experiment.

KFJC 89.7 FM    http://spidey.kfjc.org/?p=23748

名称が失われる即興音楽の極致を求めたドキュメント

歴史的に国際都市ニューヨークには様々な異文化が流入し、文化の坩堝の中から新しい芸術表現が生まれてきた。現在のNY即興シーンでも、別項でレビューしたミッコ・イナネンのように他国から訪れて、NY在住の音楽家と交歓し、新鮮な音楽表現を産み落とす例は多数ある。

ヨーロッパを拠点に活動するギタリストのパク・ハンアル Han-earl Parkも同様に、2年間NYに滞在し、様々なアーティストと交歓した。その成果としてふたつのユニットの演奏を収録したのが『アノミック・アフェイジア Anomic Aphasia』とタイトルされた本作である。

収録されたユニットは以下の通り： Eris 136199 ：Tracks 1 & 5 ニック・ディドゥコフスキー Nick Didkovsky (g) パク・ハンアル Han-earl Park (g) キャサリン・シコラ Catherine Sikora (ts,ss)

Metis 9 ：Tracks 2-4 パク (g) シコラ (ts, ss) ジョシュ・シントン Josh Sinton (bs, b-cl)

2xギター＋サックスの演奏が、2xサックス＋ギターの演奏をサンドイッチする構成。ジャケット写真に写るのはギターのピックとサックスのリード。アルバム・タイトルは「失名詞症（失語症のひとつ。ものの名称を言ったり認識できない症状のこと）」の意味。便宜的にトラック・タイトルは付されているものの、言葉のない楽器同士の対話である即興演奏に名前をつける事は出来ない訳で、ギターとサックスの音響が重なり合う物音の交歓を総称するのにこれほど適したタイトルはないだろう。

友人たちに「ハン」（ハン・ベニンクと同じ発音）と呼ばれているというパクの在籍するグループには他にも数字絡みの名前が多い（Mathulde 253、io 0.0.1 beta++、Numbersなど）。数学を突き詰めると具体的な数値の存在しない哲学思想に近づくというから、名詞化できない即興の極致を求めるハンたちの活動理念の表出かもしれない。

2013年末にアイルランドに帰国し、現在はヨーロッパ中心に演奏活動を続けるハンだが、このアルバムにスナップされたNYシーンとの恊働が、今後も失われる事なく継続することは間違いない。

Takeshi Goda, JazzTokyo http://www.jazztokyo.com/five/five1217.html

The music on Han-earl Park's third CD for Slam, Anomic

Aphasia, derives from two similar but significantly different Park

projects.

The first is Eris 136199, an improvising trio consisting of

Guitarists Park and Nick Didkovsky (leader of Doctor Nerve) plus

Saxophonist Catherine Sikora. Described by Park as "the noisy, unruly

Complexity of the ensemble Eris 136199" they are responsible for the opening

And closing tracks, "Monopod" (seen, on the actual day of this recording,

In the YouTube clip below) and "StopCock," which have durations of

twenty-seven and eleven minutes, respectively, the lion's share of the

album's seventy minutes. Both were recorded live at Douglass Street

Music Collective in Brooklyn in June 2013.

As the clip shows, Sikora was situated between Park and Didkovsky. The

guitarists' two very different styles could have clashed, but they

find ways of fitting them together that leave space for the saxophone.

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. We get to hear all three of the possible duos

play, as each of the three occasionally takes a back seat, but for the

majority of the time they all play together. 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.

The second of those two projects is the "interactive playbook Metis 9,

a collection of improvisative [sic] tactics, and higher-level

interactive macros for ensemble performance." In other words, it may

be a piece of software designed by Park as a stimulus for improvisers,

recalling the "machine improviser" that he featured on io 0.0.1 beta++

(Slam, 2011). Unlike that automaton, which performed alongside its

human bandmates, Metis 9 does not perform but "provides secondary or

tertiary tactics that create an additional focused complexity. The decision

for each bloop and bleep is still retained by the ensemble."

As may be obvious from the quotes, it is not entirely clear what and

how Metis 9 communicates to the musicians; surely it cannot be

suggesting "bleep now"? Even YouTube clips of Metis 9 test runs are

unenlightening as the players seem to display no behaviour atypical of

improvisers. For now, until more information is forthcoming, The Case

of Metis 9 must remain unsolved...

Irrespective of Metis 9, 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 and gives it the edge over Eris 136199. The

interweaving of the trio's three strands works effectively, with credit

going equally to each member. It would be good to hear a full album from this

trio. Without wishing to discourage Park's innovation and experimentation,

taken as a whole, the key message of Anomic Aphasia seems to be that it is

difficult to beat good old-fashioned improv.

John Eyles, All About Jazz

http://www.allaboutjazz.com/anomic-aphasia-by-john-eyles.php

最も興味深い最近のリリース作品のひとつは、ギタリストのパク・ハンアルHan-earl Parkをリーダーとする二つの異なるトリオ演奏を収録した『アノミック・アフェイジア（Anomic

Aphasia）』(SLAM

Productions)である。ひとつはギタリストのニック・ディドゥコフスキー Nick

Didkovskyとサックス奏者キャサリン・シコラ

Catherine Sikoraとの＜エリス136199 / Eris

136199＞、もう一つはシコラとリード奏者ジョン・シントン

Josh Sintonとの＜メティス9 /

Metis

9＞。2月19日にリリースされたこのレコードには、パクのトレードマークの打楽器的アプローチによるギター・プレイが5曲の即興トラックに収めされている。アルバムは、エリスのギザギザで角のある楽曲が、メティスのより健全で流動的なナンバーに挟まれた構成になっている。本作はパクの2年間のニューヨーク滞在の成果である。その期間に、パクは上記二つのグループの他にもサックス奏者イングリッド・ラウブロック

Ingrid

Laubrock、ヴォーカリストのヴィヴ・コリンハム Viv Corringham、電子音楽の達人アンドレア・パーキンス

Andrea

Parkinsとも共同作業した。このレコードで、パクは白いキャンバスにサウンドで色を塗り、鼓舞されたバンドメイトたちも同様に絵筆を走らせた。彼らは一緒になって、描き上げたばかりの集合肖像画に点を穿ち、所々に飛沫を散らし、時には引き裂く。そして切り取り、並べ替え、分割する。2013年末にパクがアイルランドのコークへ帰国してしまって以来、ニューヨークでは彼の不在を嘆く声が絶えない。

Cisco  Bradley,

JazzTokyo

http://www.jazztokyo.com/column/jazzrightnow/002.html

English:

One of the most interesting recent releases is Anomic Aphasia (SLAM

Productions), led by guitarist Han-earl Park, including music from two

different trios. The first is Eris 136199 with guitarist Nick

Didkovsky and saxophonist Catherine Sikora and the latter is Metis 9

with Sikora and reeds-player Josh Sinton. Released on February 19,

this record features Park with his signature percussive approach to

guitar in five improvisations. The album is bookended by jagged,

angular pieces by Eris surrounding the more wholesome, fluid

numbers by Metis. The record is a product of Park’s two-year stint in New

York during which time he built working relationships with the above groups

As well as figures such as saxophonist Ingrid Laubrock, vocal artist Viv

Corringham, and electronics master Andrea Parkins. On this record,

Park paints a sparse canvas with his sound and inspires his bandmates

to do likewise.

Together, they dot, occasionally splash, and, at times, tear their collective

portrait as they momentarily build, then cut, rearrange, dismember. After his

return to Cork, Ireland in late 2013, Park has been sorely missed here in New

York.

This CD is from two sessions: tracks 1 and 5 and then tracks 2,3,4. Tracks 1 1nd 5 are just a trio with the two guitars and Catherine Sikora on sax, and the other tracks feature the full quartet.

This group plays on the borders of free jazz and noise music. I say this as I play in both contexts, and, at times, the border is hard to define, as free jazz can approach noise, especially when the instruments in question lend themselves to noise, as do the electric guitars.

The two guitarists have different styles and complement each other, and the horns sometimes contrast ad sometimes blend in with the guitars.

Having said that I must admit to not being a fan of the electric guitar. Indeed, I am not much of a fan of the guitar, period, though I do not mind an amplified acoustic guitar as much as an electric guitar. This is from a listening standpoint. Playing with them is another story, as I love working with Murray Favro of the Nihilist Spasm Band. So this record did not do much for me. But to be fair, people who do like the guitar will find much to like here.

As mentioned, Park and Didkovsky work well together with their contrasting styles, and both horn players listen carefully and fit in well. I especially liked Sikora’s soprano as it worked with the guitars, and Sinton’s bass clarinet provides some nice contrast.

Not for everyone, but guitar lovers take notice.

Bernie Koenig

CD review from Volume 41, No. 3, 2015 www.cadencemagazine.com

This recording involves a variable supergroup of sorts.  Guitarist Han-Earl Park has been improvising throughout the U.S. and Europe, working with awho’s who of creative music. Reedist Catherine Sikora recently relocated from Ireland to New York, and is playing in various free improv ensembles.  Guitarist Nick Didkovsky, appearing on two tracks, is best known as the mastermind behind Doctor Nerve, and more recently has been playing extreme metal.  Josh Sinton, appearing on the three tracks not featuring Didkovsky, specializes in playing the baritone saxophone and bass clarinet, and has teamed up with notable figures of the Chicago and New York creative music scenes.

A pair of trios rather than a true quartet, putting this unlikely lineup together was almost as brilliant as the recording they have produced. The Didkovsky-Park-Sikora tracks were recorded in June of 2013 at Brooklyn’s Douglass Street Music Collective, while the Park-Sikora-Sinton tracks came from an October 2013 date at New York’s Harvestworks.

As a two-guitar, one-reed or a one-guitar, two-reed attack, it is often impossible to determine who is responsible for the sounds found herein. Park and Didkovsky lay down high-speed harmonics, loose chording, and rattle their fretwork, while Sikora and Sinton provide both background drones and foreground voices. "Free" is a barely sufficient to describe this approach, as the trios explore various angular constructs and effects. The vocabulary of sounds here is as broad as it is unconventional. Park and/or Didkovsky might strum or pick a string or two, then spend time rubbing it with their fingertips. Sikora and/or Sinton might blast percussively between more discernable notes.  While an occasional interlocking harmony might emerge from all of this innovation, it is quickly shattered by unexpected Möbius twists.

Anomic aphasia is a disorder in which a patient exhibits difficulty recalling words, names, and numbers. It is accordingly ironic that it is difficult finding the expressive language to describe this recording.  An exercise in texture as much as it is in melody, Park, Sikora, Didkovsky, and Sinton don’t just break moulds here – they disintegrate anything that resembles the ordinary with authority and prejudice.

Mike Borella  http://avantmusicnews.com/2015/02/22/amn-reviews-park-sikora-didkovsky-sinton-anomic-aphasia-2015-slam-productions/

Seltene Post von der grünen Insel, gesandt vom Gitarristen Han-earl Park aus Cork, und auch die Saxophonistin Catherine Sikora ist irisch. Publiziert auf George Haslams Label in Oxfordshire, mache ich allerdings Bekanntschaft mit zwei New Yorker Trios, ja, vier Leute, zwei Trios, und das ist noch das Einfache dabei. Park, bekannt mit Mathilde 253, einem Trio mit Charles Hayward und dem Trompeter Ian Smith, und Sikora, die mit Eric Mingus als Clockwork Mercury tickt und mit Ziv Ravitz als Beasts at Play die Zähne zeigt, bilden zusammen mit Doctor Nerves Nick Didkovsky Eris 136199 und spielen hier die beiden Ecktracks. Dazwischen gesandwicht sind drei Stücke, die Park und Sikora improvisierten als Metis 9 mit Josh Sinton an Baritonsaxophon oder Bassklarinette, den ich mit dem Nate Woole Quintet vom W 71 her kenne und der mit Ideal Bread auf Cuneiform zu hören ist. Letztlich ganz einfach: 2 Gitarren + 1 Saxophon, 1 Gitarre + 2 Saxophone. Einmal Musik als discordia concors, Kollisionen in zwieträchtiger Eintracht. Oder als Grenzverletzungen mit merkurialem Scharfsinn. So oder so, man muss sich einhören auf einen Gitarristen, der Schlagzeuger und die Bläser Wadada Leo Smith und Paul Dunmall als maßgebend für sein Spiel nennt, ein Spiel, das er mit 'weirderation' charakterisiert als etwas, das bei jeder Wiederholung nur sonderbarer und eigenartiger wird. Simpler gesagt: Statt Plinkplonking gibt es pleomorphe Cockophonien mit krätzigem Gepixel und schartigem Gebröckel und Geprickel der Gitarristen im Kontrast mit immer wieder sonorem Sinnieren seitens Sikoras. Aber dann lässt Didkovsky auch die Finger fliegen und die Töne Dudelsack trillern oder entgleisen wie bei seinen heißen Doctor Nerve-Solos. Wobei er freilich seine Partner einlädt, ihm den Buckel rauf zu rutschen oder sich wimmernd in seine Arme zu kuscheln. Sikora spinnt Sopranolyrismen, die Didkovsky fuzzy überrauscht. Und so ad infinitum, ein glorioser Bastard aus Noise und süßer Träumerei. Metis 9 klingt daneben ploppiger (Sinton) und knurpsiger, pluckriger (Park), Sikora züngelt und spotzt tenoristisch angeraut. Die impulsive Logogrammatik wird ab und an flüssiger, sprudelnder, aber nicht glatter. Schon gar nicht wenn die Bassklarinette knarrt, schnarrt oder schrillt. Flinkes Wechselspiel wechselt mit Sikoraschem Musing von Hochzeitsglocken oder von Einsamkeit, an dem sie auch festhält, wenn sie in die Zange genommen wird. Auch bei Metis 9 geht es ganz schön diskordianisch zu. Didkovsky kehrt wieder mit plinkendem Strumming, das sich schnell in Fuzzing verwandelt, zu dem Sikora hymnisch ins Horn stößt, während Park anomisch die Saiten traktiert. Egal ob er oder Didkovsky krasser oder lakonischer zugreifen, Sikora bleibt unbeeindruckt das Zünglein an der Waage.

Rigobert Dittmann, Bad Alchemy [BA 84, rbd]

Translation: Rare mail from the emerald Isle, sent by the guitarist Han-earl Park from Cork, and also the saxophonist Catherine Sikora is Irish.  Promoted on George Haslam's label in Oxfordshire, I, however, make the acquaintance of two New York trios.  Yes, four people, two trios and that is the simple part. Park, known from Mathilde 253, a trio with Charles Hayward and the trumpeter Ian Smith, and Sikora, who with Eric Mingus ticks as Clockwork Mercury and with Ziv Ravitz bears her teeth as Beasts at Play, together with Doctor Nerve's Nick Didkovsky form Eris 136199, and here play the book-end tracks. Sandwiched in between are three tracks improvised by Parks and Sikora as Metis 9 with Josh Sinton on baritone saxophone or bass clarinet, whom I know from W71 with the Nate Woole quintet and who can be heard with Ideal Bread on Cuneiform. In the end it is very simple: 2 guitars + 1 saxophone, 1 guitar + 2 saxophones. Either music as discordia concors, collisions in dual unity or as border infringements with mercurial acuity.  Either way one has to get ones ear in with the guitarist who calls drummers and the brass players Wadada Leo Smith and Paul Dunmall as defining for his playing.  Playing that he characterises as weirderation, that becomes evermore strange and singular with every repetition. More simply: instead of plinkplonking there are pleomorphic 'cocophonies' with scabious pixelations and notched crumblings and tingling of the guitarists contrasted with the sonorous musings on the part of Sikora.  But then Didkovsky also lets his fingers fly and the notes bag-pipe trill or derail like in his Doctor Nerve solos.  Of course he invites his partners to get lost or cuddle whimpering in his arms.  Sikora weaves soprano-lyrisisms, that Didovsky washes over fuzzily.  And so on ad infinitum, a glorious bastard of noise and sweet reveries. Metis 9, in comparison, sounds more ploppy (Sinton) and 'dwarfish', more plucking (Park), Sikora tongues and stutters tenorously roughened.  The impulsive logogramatics occasionally become more fluid, effervescent but no smoother. Especially not when the bass clarinet creaks, buzzes or shrills.  Quick interchanges swap with Sikorian musing of wedding bells or lonliness that she still clings to when she is taken into a scissor grip. Metis 9 is also pretty discordant. Didkovsky returns with plinking strumming that quickly turns to fuzzing, to which Sikora blows hymnaly into her horn, whilst Park anomically lashes the strings.  No matter whether he or Didkovsky play more crassly or laconically, Sikora stays unimpressed, the finger on the balance.