Eris 136199 is a trio composed of Han-Earl Park, guitar; Catherine Sikora, saxophone; and Nick Didkovsky, guitar.
Han-Earl Park tends to explore the dry percussive side of the guitar, often functioning as the de facto rhythm section in Eris 136199.
Catherine Sikora is all about finding the timbral possibilities explicit in the unvarnished and unapologetic sound of the saxophone while at the same time maintaining a core of melodicism.
Nick Didkovsky, sometimes known by his alias “Doctor Nerve”, expresses digitally warped washes of static-like sound and angry slashes of melody. A radio listener flicking impatiently between stations.
I don’t really know how to talk about the music, other than to say it is 50-plus minutes of riveting music making from three fantastic and fascinating musicians. I’ve been listening avidly to Eris 136199 all week on my commute and have looked forward to it every day. Wondering what new thing I will discover in Sikora’s technique while at the same time trying to pay attention and tease out which guitarist is playing what.
Obviously, Eris 136199 isn’t Lawrence Welk, however, there is something in the players expressiveness and in their interactions which prevents it from being too harsh or overwhelming.
Rough enough to keep it exciting, yet tender enough to keep you coming back.
I’ll be a bit sad when this week we’ve had together is over.
“Sing As The Crow Flies was created as a site specific sound installation for the 2019 Waveney Valley Sculpture Trail on the Norfolk/Suffolk border, UK. It can be seen and heard between 2nd August and 8th September 2019. The installation sits around the trunk of a 30 year old Walnut Tree in a cherry orchard where five telephone handsets hang from the tree ready to be picked up by passers-by…”
Bandcamp album description
As beautiful as it is haunting, Sing as the Crow Flies takes its inspiration from the natural world and from choral vocal traditions of England and America.
The sound sources are primarily Cannell and Wright’s voices. Only occasional environmental sounds intrude, bird song, branches creaking, footsteps. There are no other instruments.
The two women’s voices entwine and dance through the air, at times echoing in a space echoing like a cathedral, at other times sounding as if they were recorded in a field.
The album cover, evoking a flock of birds spiraling in the sky, is particularly apt for the way their voices twist, double, and interact with each other with a flocking attraction.
I’ve listened to William Hooker before, but never too closely. I do know he is a improvising drummer who often works with musicians outside of the Free Jazz/Improvisation scene.
This is a live recording of a trio, (William Hooker, Drums; Mark Kirschenmann, Trumpet; and Joel Peterson, bass,) recorded in Detroit, Michigan, spring 2018.
Initially, I was listening, and beyond Mr Hooker on drums, I was at a loss for what the other instruments were. My first impression was that it was a group that contained at least synthesizer, drums, and bass.
After listening for a couple days, I was actually pretty surprised to look at the bandcamp page and realize Mr Kirschenmann was playing a heavily effect laden trumpet. (If you’re a gear head, at the very least, he is playing with a flanger, delay, and some sort of multi-pitch shifting choir type effect. Probably some sort of distortion, too, and a volume pedal.)
The album starts very spare, with a lot of time between notes and no real interaction between the players.
It picks up a bit briefly around the 20 minute mark, but then returns languidity for the slow fade out.
While the drums and bass are not far from idiomatic free jazz expression, the trumpet is more in the pop/art/ambient realm. When it is recognizable as a trumpet, not far from Jon Hassell.
The whole thing is more like ambient space jazz, than what normally passes for free or energy jazz/improvisation.
In fact, the album that came most to mind while listening was Tangerine Dream’s first album, “Electronic Meditation,” except maybe played at about half speed.
Is that good or bad?
I just don’t know.
It’s not really my bag, I found myself impatient with its slow pace of development a lot of the time, but it might be yours.
Falling down a bit on concentrated listening and write-ups. Trying to get back on the horse this week by listening to “The People I Love” by Steve Lehman Trio + Craig Taborn.
Mr Lehman is a somewhat nerdy figure. His playing and ambitious compositions are often somewhat abstract. His last album, Sélébéyone, included Raps, Beats, and electronic processing.
The People I Love is not that. While the playing, especially that of Damion Reid, is often influenced by elements of modern music, this album is basically 4 musicians in a studio playing something often close enough to Jazz Music to pass on Jazz Radio, (if there still was such a thing). There’s even a Ballad, “Chance”. If I had to call it anything, I would call it 21st Century Bebop.
Mr Lehman is an impossibly lithe player on alto, sprinting over the changes at breakneck speed, daring his coplayers to keep up. And they are certainly up to the task, especially Mr Reid whose inventiveness shines out among a group of very talented musicians.
For the Sax nerds in the audience, on this album, Mr Lehman is experimenting in particular with what Sam Newsome calls “microtonal sax”. Which is to say, using alternate fingerings to purposely influence the timbre and intonation of notes.
So, if you are interested in the future of music, it behooves you to check out where Mr Lehman and his compatriots are going.
Steve Lehman, alto sax; Matt Brewer, Bass; Damion Reid, Drums; Craig Taborn, Keyboards.
Another thing you sometimes run into with Pu-er tea is really long names!
“This raw / sheng pu’er tea was picked in Spring 2015 and is a single estate tea from Long Pa 龙怕 Tea Garden in You Le Mountain 攸乐山 (also known as Ji Nuo Mountain 基诺山). The tea trees in this garden are ancient trees at 150 + years old.”
Mud and Leaves
First they give you the the year and season that the tea was harvested. Spring leaves are usually more highly prized, and thus more expensive than tea leaves from the Autumn harvest. They are perceived as being more tender and elegant in the flavor of the tea they produce.
Tianming is the tea company in Menghai that produced the tea.
“Long Pa Tea Garden” is the specific tea tree garden on “You Le” Mountain where the leaves came from. That the tea leaves came from a specific garden and were not blended leaves from the whole mountain or the whole region, makes them more special and seasonal.
“Gushu Ancient Tree” is a bit redundant, as “Gushu” is basically the Chinese word for “Ancient Tree”. This term can be a little squishy, but in this case, we will take Mud and Leaves word for it that the trees these leaves came from were 150+ years old, pretty old for tea trees, though not unusually old, for old Pu’erh tea trees. As the tea trees age, the feeling is that they gain character and the tea they produce has more energy or life force, similar to how doing Tai Chi in an old forest feels different from doing Tai Chi in a parking lot.
Smelling the leaves, you can tell for a pretty young raw Pu’erh this is already starting to shed it’s youthful exuberance and develop some nice dried fruit character!
This follows through in the brewed tea, there is good body to the soup, and a tasty bitterness, which lingers and fades to sweetness. It is all very clean, with no off flavors or smells. The cha qi, or tea energy, is focused and calm.
This is a very nice Pu’erh as it is, but I am super curious how it would develop in a year or five.
*I received this tea as part of a sampler I won from Mud and Leaves after entering an instagram based contest.
“The 2019 Dangerfield was blended with an intention of being a poor man’s Naka.”
Sometimes there is an, ahem, danger with Puerh, in that there is a lot of jargon and knowledge of that jargon is assumed. For example, before receiving this tea and doing a little research, I had no idea what the characteristics of “Naka” Puerh would be and why it would be prized.
Na Ka is a village in the Menghai county of Yunnan China. For a long time tea from this village was highly prized and not allowed to be sold outside of China.
Authentic “Naka” has gotten to be quite expensive, (#white2tea sells a 2005 Naka for around $1 a gram,) and is known among Western Puerh fanciers for its strong body centered cha qi. Young Naka from old trees is also known for a middle bitterness that gives way to a long lasting sweet aftertaste.
This is not Naka, but is a blend of Raw Puerh which is intended to evoke the flavor and physiological effects of an aged Naka Puerh.
The early flavors are clean and on the dry side, a bit earthy. These give way to a medium level middle palate bitterness. The bitterness fades leaving an lingering appetizing sensation of lightness and sweetness on the palate. The cha qi is more of a slow build than a fast head rush, but it is noticeably there and also clean and pleasant. Not a bad trip.
I have not had an actual Naka, but I can tell you this is a good, well priced Puerh that will not disappoint, either if you are looking to expand your tea drinking horizons, or if you are an experienced Puerh drinker trying to shave a little money off your tea cake budget.
At $33 for a 357g cake, this seems almost too good to be true!
But it is a good, solid, clean tasting Pu-Erh that, as they say on the Mud and Leaves site, would make a fine “daily drinker”.
Like the Tianming Bang Dong, the flavors are on the forest floor/umami side of Pu-Erh. There is a small amount of bitterness, but not as strong as the Bang Dong. It has good length of flavor, as well. Cha qi, aka tea energy, is also lighter than the Bang Dong, but decidedly present.
I’m a little sad that I’ve already drunk my way through the sample I’ve enjoyed drinking it, but onwards and upwards!
*I received this tea as part of a sampler I won from Mud and Leaves after entering an instagram based contest.
“This tea has a nice clean aroma, strong cha qi, and a pleasant slight bitterness that combined with its vegetal and mineral flavours is quite refreshing. This is one of our daily-drinkers.”
Mud and Leaves
I do not disagree with this assessment at all.
The flavors are on the leathery-tobacco-sun dried black olive side of the flavor spectrum, with very little fruit or sweetness showing up yet in this tea’s flavor profile. The bitterness is there, but not harsh, though this tea is very young tasting and a bit wild-ish. It will probably settle down in a couple years. Some herbal lightness in the later flavors and a lengthy lasting aftertaste.
I’ve been drinking lightly steeped and lightly dosed green teas for the past few weeks, so the cha qi of a heavy dose of this did snap my head back a bit.
Strong immediate light head buzz and later a little creeping crunchiness in the muscles of the extremities. I have a feeling I won’t be sleeping for a while tonight.
If you’re looking for a strong, solid, buzzy, reasonably priced, daily drinker Pu-Erh, this could be a good choice.
*I received this tea as part of a sampler I won after entering an instagram based contest.
The first two most likely Chinese teas you will find in America are probably jasmine or the sort of indeterminate Chinese black tea usually served in Chinese restaurants. The next most likely is probably Dragon Well or Gunpowder Greens. After that, you might find the smoked version of Lapsang Souchong. A certain amount of Scotch drinking and/or cigar smoking tea drinkers are quite fond of the in-your-face, drinking a campfire, flavor of Smoked Lapsang. While I used to be among the Scotch fancying Lapsang drinkers, cigars have never appealed. And, I haven’t drunk a Lapsang Souchong tea for a few years.
A smattering of single dose 8g samples of Lapsang from Fujian province teas arrived via the July @white2tea club and presented me with the option to revisit my opinions and prejudices regarding this opinion provoking tea.
As I discussed in a previous post, “Traditional” Lapsang Black teas from the Wuyi region of Fujian province are NOT smoked.
This tea is very similar to the “Lapsang Wild Tea” from Yin Xiang Hua Xia Tea. There are notes of sweet potato and dried fruit with a dry menthol/camphor finish. This is a very well balanced black tea and I could see making it a daily drinker (if I didn’t have so much other tea to drink).
I don’t know if this feels Herb-ey to me. I feel like there is a bitter-sweet orange character along with a bit of sweet potato and a very long finish/aftertaste. More elegant than the “Traditional Lapsang”, this is one of the better black teas I can remember having recently.
Of the Lapsangs, this is my favorite. It has great length of flavor, nice character, and a very clean feel. I would definitely make this a special occasion black tea, if it were available.
Fruit Bomb Lapsang
The last of the “traditional” lapsang is the Fruit Bomb. This one didn’t really grab me. It didn’t have the elegance of the Herby Lapsang or the slightly rustic character of the “Traditional”. Just not a very complex tea. I’d drink it again, but I wouldn’t search it out. (Of course the problem with single dose samples, is you never know if it is your mood, a fluke in preparation that day, or some oddness.)
After the fruit bomb, we switch over to the smoked versions of the tea.
Pine Sap Lapsang
Pine Sap Lapsang, on the other hand, is a smoked Lapsang Tea.
For a Smoked Lapsang, it is fairly balanced, you can tease out the tea elements underlying the campfire scents and flavors. It shows a bit of affinity for Oolong teas with a strong menthol element in the finish. However, it is a tea you will be tasting ALL day. You might brush your teeth once, you might brush your teeth twice, but you are still going to be tasting campfire and pine sap when you go to bed at night. So, if you don’t enjoy smoky flavors, this probably is not a tea for you. A good tea for cold winter nights (and it might make a nice addition to a hot toddy).
It’s funny, this lapsang is actually smokier tasting up front than the Pine Sap Lapsang, but somehow I enjoy it more. Weird.
Anyway, this is pretty much exactly like drinking a campfire. Super-smoky, but with a decent, somewhat sweet, black tea backbone. Interestingly, while it is smokier up front, the smoke flavor recedes more in the aftertaste, isn’t as cling-ey, and it is the core of the sweet tea flavor the sticks in your mind. If I were drinking smoked Lapsang, this is the one I would drink.
While I enjoyed trying all these Lapsangs, the ones that really stuck with me were the “Traditional” and the “Herby” Lapsangs. I am definitely now more curious about black teas from Fujian!
Unaccustomed Soil by Sol Sol; Label Link: Unaccustomed Soil (Not on bancamp, but on most streaming services.)
The first couple times I listened to Unaccustomed Soil I was a little disappointed it was so, uh, Jazz-ey. As in Chord changes, solos, etc.
Among the group, I was only familiar with Swedish Saxophonist Elin Forkelid, (aka @elinforkelid on instagram, check out her Semla reviews,) mostly from her work on the Anna Högberg Attack album Attack, which as it sounds, is kind of an aggressive work, (and has one of the best album covers of all time).
Once I consoled myself that this wasn’t to be another “Attack”, I started to appreciate Unaccustomed Soil on its own terms, which are for the most part fairly quiet and relaxed.
In general, the rhythm section locks into a groove, while the horn and guitar run melodies over the changes. The only real exception, where some skronk and scrape enter the picture, is the tune Gotta Get Out.
My initial response was to compare it to some of the music along the Jim Black/Chris Speed axis, music which hides its power in pleasant melody and rhythmic repetition.
And I still think that comparison holds, but I also wonder if they might be wrestling a bit with the post “Kind of Blue” stylings of some of their Nordic kin on the ECM label.
In any case, it is hard to dislike an album that is as nice, yet at the same time interesting, as Unaccustomed Soil.