My recent interview with jazz conductor Jihye Lee revealed a woman who knows herself well including strengths, and weaknesses. She has much talent, wisdom and seems to have put the pieces of the puzzle together to make an opportunity in the field of music and jazz in particular. This conversation and story hopefully are an inspiration for anyone on approaching work and life (and not in that order). Please check out her music which is original and uplifting.
She just performed with a quintet at Flushing Town Hall which was entitled " Rest in the Arms of Motherlands" as part of Asian American and Pacific Islander Heritage Month. The all-female, Korean jazz quintet performed an elegy for victims of anti-Asian hate crimes, including a special dedication to the women of the recent tragedy in Atlanta, GA. I watched the performance virtually and was moved. The songs were deep, meaningful and original whether a new take on John Lennon's "Imagine", the Korean classic "Arirang", or an original song/composition. 50% of the proceeds will go to support the Korean American Family Service Center (KAFSC) for their Rainbow House Shelter, a culturally competent shelter committed to providing comprehensive support to women and children in immediate crisis.
PERFORMERS Jihye Lee - Composer, Arranger and Voice, Hayoung Lyou - Keys, Haeun Joo - Piano, Jeonglim Yang - Bass, Dayeon Seok - Drums
Interview Synapsis
Jihye did not come from a musical family, but had interest at an early age. She played the recorder to cartoons at the age of 5, took six months of piano lessons at age 9, and then played guitar for a year in high school more as a hobby. "I used my ears, and tried to memorize as much as possible, but there were limits to fulfill my musical curiosity and I lost interest", Lee said. She did not grow up listening to jazz, but was first introduced to Diana Krall in her early 20s out of curiosity.
She graduated from Dongduk Women's University (동덕여자대학교) in Seoul, South Korea with a degree in voice performance and was good at music theory. At Dongduk Women's University, she was encouraged by pianist Kim Kwang-Min after composing and presenting a song for a class project to further study outside of Korea. She took his advice, auditioned at the SJA Music Institute, formerly known as Seoul Jazz Academy, and got a scholarship to the Berklee School of Music in Boston. The SJA has a long history with Berklee. However, Lee had never been to the U.S. and did not speak English, so this was a big transition.
Lee noted "Koreans are very serious about education; I was fortunate to get financial assistance/scholarships from the CJ Cultural Foundation. There are more for classical musicians, but not many for jazz musicians." She touched on the current states of affairs is like the chicken and the egg; maybe the funding is limited because there are no big name Korean jazz musicians abroad.
We talked about what it means to play jazz. Often, musicians in jazz clubs play mostly standards. She likes to write original songs and feels jazz is not in the Korean genes. "We enjoy the music intellectually, including the swing rhythm, but it does not come naturally." I noted that I have seen many talented Korean jazz musicians over the years, but am rarely moved by the performance and asked what she thought about stage presence. Often, Korean jazz clubs are filled with a scant audience of friends or family. Jihye feels the way you present yourself (dress, speech, music), has to match or enhance the experience. Many musicians are focused on how good their solo is, but it is those with that extra something who can bring you somewhere with their music regardless of appearance or some of the other trivial things. She noted Wayne Shorter would ask, "Are you connected to the universe?" It touches on this transcendence where you are bigger than yourself, and the music speaks through you. She has experienced this deep feeling in U.S. jazz clubs and it can happen regardless of how people dress or their stage presence.
Jihye is a conductor of a 17 piece orchestra and rarely sings. "I am a perfectionist and a little self-critical." That attribute makes her more comfortable conducting than performing. She described how you can revisit a piece as a composer and polish as fine as you want, unless there is a strict deadline. On stage, you get one shot and the performance lives forever. "I believe conducting also is a performance, but my back is to the audience which allows me to never be nervous. I feel more vulnerable singing."
"Typically I have a 17 piece orchestra, and can add some percussionists, but cannot omit much. It also depends on how the piece is written. In a big band setting, there is typically 5 saxophones, 4 trumpets, 4 trombones, and 4 rhythm section. We can include a singer too, but the orchestra will not work with say 3 trumpets based on harmony. Each trumpet has its role. It is similar to Jenga; if you take out one piece, the whole thing can collapse." She likes the large ensemble as it gives her more possibilities in terms of dynamics, harmony, color and is just more fun.
"There are lots of knobs to turn. I like to see the big picture and then hone in on details. I want to tell a story with imagery, and emotional narrative. I pick a theme, and ask what can convey this story with and how can I find musical equivalence?". She is the creator and enjoys the development process. "Do I make this section loud, soft, when to see the climax, what kind of color; do I shine drums or trombones?". Once she figures out these kinds of things, then she notates. "I use Sibelius (scorewriter program), but I can't hear drums well." She also uses piano in the composition, but does not solely use the piano for such. Jihye also writes a lot of Korean words when composing (e.g., "put big sound here").
We talked about how things have changed since the pandemic. "Before the pandemic I could go any day and watch a fantastic show in NYC and get inspired." She referred to this as the best school and learned a lot from these experiences including having a better ear and understanding of any music genre. "COVID deleted every concert, clubs like the Jazz Standard closed. Some switched to live streaming, but it was not the same." She wants to feel the music and that energy is why you go see live. It is difficult to deliver the energy of the live music and misses this, but being a conductor/composer and not a gig player, she was less impacted by the pandemic. She was fortunate to have recorded an album in January 2020 and had two gigs in February. After that, everything got shut down. In February 2021, she had live recording with her band, but it was a year since they all saw each other and she has not seen them since.
Jihye is currently looking at the structure of fusing jazz and Korean traditional music. She premiered a few tracks with her orchestra and one additional percussionist. "I am planning to make full album, but still developing ideas. Maybe I will include samulnori, or only have 10 people. I am going to Korea to learn traditional rhythm." She does not feel she has enough knowledge to collaborate these genres yet. "Korean rhythm is very intricate, interesting, developed, but has no harmony; only unison. Jazz orchestra is all about full, rich, lush harmony. Korean music only uses 5 or 6 notes, no black keys and some microtonal music." She does not want to be one that messes up the traditional music style, so she is looking into different perspectives and how to make music appealing to both Western and Korean people. "I am doing lots of thinking, including the message of this project."
I mentioned the beautiful Byungki Hwang two geumungo piece "침향무" and offered it for inspiration. We also discussed pansori. She transcribed Shimchunga and her orchestra played the melody. She said it was wonderful. "The phrasing is so different and unexpected and in the meter."
We talked about religion and spirituality. She practiced at a high level in Korea at church and then distanced naturally. "I do not go to church as much these days, but still am spiritual." I asked this question because I read the song “Struggle Gives You Strength” combines gospel in a big-band context. "That piece was written for Carnegie Hall's NYO Jazz Program which includes the most talented players from all over the world. I wanted to tell these young musicians that the path on this career may be tough with struggles, but you will find strength. Sean Jones was the director of NYO Jazz and he can speak that message out of his horn. I wrote the piece featuring him." She tried to create a piece that was powerful, almost testimonial preaching to the young people.
We had a brief discussion on favorite Korean foods and restaurants. I also asked for her favorite pizza. She told me that she is not a big pizza fan, but does like Don Antonio (olive oil with spicy chili or prosciutto, mushrooms, truffle oil). We joked how many Koreans (Asians in general) are all about the toppings.
The conversation ended on whether Seoul or NYC is faster paced. We both agreed Seoul without a doubt and laughed at the Korean expression 빨리 빨리 "quick quick, hurry" which I said is heard at birth.
For a well written article focused on her music and career, check this out. https://jazztimes.com/features/profiles/jihye-lee-daring-to-lead/
Track "Relentless Mind" off latest album Daring Mind here. https://www.youtube.com/watch?v=R0RHk_vPSNA
Written by: Vincent L. Apa III
May 22, 2021