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The inspirations behind composer and bandleader Jihye Lee’s blend of contemporary big-band sounds and Korean tradition range from philosophy to grief. The opening track on Infinite Connections, “Surrender”, reflects on trust in a world largely beyond our control, while others reference Korean astrology and the cycles of nature. The result is a series of vibrant narratives in which orchestral jazz gets an idiosyncratic twist.
Lee’s first professional musical steps were as an indie-pop singer in her native Korea. Her passion for jazz began in 2011 while studying vocals and composition at Berklee School of Music in Boston: “I saw a bunch of people just blowing their horns,” she once recalled. “It was just so energetic and so enthusiastic and so lush.” Six years later, now based in Brooklyn, she distilled that energy and enthusiasm into the arrangements of her first album, April.
Unusual among jazz musicians, Lee’s approach to composition is not rooted in instrumental skill. Rather, she focuses on impressionist orchestration, often featuring sensual and subtle writing for brass. That first album wore its influences on its sleeve, but in Infinite Connections, her third, her writing for this 18-piece ensemble projects a strong personal voice, dominated by angular shapes.
That opening track begins with rhythmic motifs on a quietly tapped snare that gather in intensity; a shimmer of brass and a moment’s pause cue a thrilling solo from guest trumpeter Ambrose Akinmusire, who is equally effective at capturing the slinky rhythms and warmth of “You Are My Universe”. Alto saxophonist Dave Pietro thrillingly negotiates the twists and turns of “Born in 1935” — Lee’s homage to her late grandmother, who witnessed everything from Japanese occupation and the country’s industrial resurgence to the emergence of K-pop as a global force. Guitarist Alex Goodman helps make “Eight Letters” stand out. But the strength of the album lies in its inner drive and the subtleties of Lee’s score.
★★★★☆
‘Infinite Connections’ is out now from Motéma