Han-earl Park/Bruce Coates/Franziska Schroeder

io 0. 0. 1 beta++
SLAM CD 531

Leave it to Irish musicians to take oddball innovation one step further. With improvisations matching traditional instruments with electronic manipulations now commonplace, Cork-based guitarist Han-earl Park personifying Dr. Frankenstein, has created a non-human artificial musician from ad-hoc components including speakers, kitchenware and missile switches. This CD is a literal record of how the non-human, prosaically named io 0. 0. 1 beta++, sounds in concert with flesh-and-blood counterparts. Worth noting, the resulting nine improvisations are intriguing, but in a 21st century context, no more startling than any electro-acoustic outing featuring musical software and sound design.

For a start, Park, who regularly plays with trumpeter Ian Smith and drummer Charles Hayward; alto and sopranino saxophonist Bruce Coates, co-founder of the Birmingham Improvisers Orchestra; and soprano saxophonist Franziska Schroeder, a lecturer at Belfast`s School of Music and Sonic Arts, all have long histories of working with advanced, experimental musicians. These include live-electronics stylist Richard Barrett and accordionist Pauline Oliveros. Moreover io 0. 0. 1 beta++ is unobtrusive and egoless enough – no surprise – to warble its staccato particle contributions without trying to engulf or show up the humans. Its contributions are unique enough on their own.

For instance on the initial “Pioneer: Variance” and “Pioneer: Dance” contrasting alto and soprano saxophone trills and squeaks are put into bolder relief as the otherworldly flutters, oscillated tones and flanged rotations of the machine are kept in a straight line by Park’s legato picking. The thoughtful pauses audible in the guitar playing confirms Park’s human-ness, especially when compared to the grainy whistles and juddering vibrations that arise from io 0. 0. 1 beta++. Additionally, while the machine’s gradually swelling splutters and harsh quivers demonstrate broken octave counterpoint to the saxophonists’ multiphonic oscillations, its hissing abrasions retreat into the background as Park’s spidery licks become more rhythmic.

Nonetheless the machine further demonstrates its versatility on the 59-second “4G”, with metallic muted trombone-like snores and even raises the question as to whether io 0. 0. 1 beta++ or extended saxophone techniques are creating the air pops and abrasive tongue flutters on subsequent tracks. In the main crackling reductionist resonations are attributed to its properties, while any legato or lyrical intermezzos are, more likely than not, propelled from the instruments and imaginations of full-fledged Homo sapiens.

Succinctly as the three demonstrate on “Return Trajectory”, during which io 0. 0. 1 beta++ appears to have taken five, an additional voice – human or otherwise – is necessary to create a pleasing sound picture. The guitarist’s connective down strokes plus the swelling layers of contrapuntal reed timbres are distinctive and solipsistic enough on their own.

Notable in demonstrating what artificial intelligent can contribute to an improv session, this CD also confirms that the very artificiality of AI confirms that robotic players won’t be taking all the musicians’ jobs any time soon.

—Ken Waxman

Track Listing: 1. Pioneer: Variance 2. Pioneer: Dance 3.Ground-Based Telemetry 4. Discovery: Intermodulation 5. Discovery: Decay 6. 4G 7. Laplace: Perturbation 8. Laplace: Instability 9. Return Trajectory

Personnel: Franziska Schroeder(soprano saxophone); Bruce Coates (alto and sopranino saxophones); Han-earl Park (guitar) and io 0.0.1 beta++ (itself)