Jeong Lim Yang’s latest album, Synchronicity, is a captivating and unpredictable journey. Intricate passages and the dynamic interplay between Yang and her exceptional band (Mat Maneri, Jacob Sacks, and Randy Peterson) create a fluid sonic landscape where precision meets spontaneity. Inspired by psychological concepts and dreams, the music unfolds with moments of wonder in unexpected places, blending free-flowing exploration with deeply felt expression. The result is an immersive jazz experience that is both whimsical and heartfelt.
Additionally, Yang created an excellent mix of music by the inimitable Paul Motian – another inspiration – that is shared in this interview, too. A direct link to it is found HERE.
Synchronicity is out now on Sunnyside Records.
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I always like starting at the very beginning. I’d love to hear about some of your earliest memories of music and sound – are there certain things that stand out to you as memorable or formative from when you were younger? What are some of your first memories related to music?
I grew up in South Korea in a family that wasn’t wealthy, and extra music lessons were quite expensive at the time. My music exposure was limited to what I could find on television, which was very limited compared to today, a lot of pre-K-pop tunes reminiscent of American folk, rock ‘n’ roll, and rhythm and blues. Also through public school music classes— which were very basic and most kids hated. However, I loved these classes where I could explore Korean traditional music and classical music. It wasn’t until high school that I finally had the opportunity to play the bass and take actual jazz lessons. I remember asking my mother to get me traditional Korean singing lessons (Pansori) or violin lessons as a child but they couldn’t do it.
When did you start playing music and creating your own works? And what drew you to the bass? Was your family supportive?
After graduating high school, I enrolled in a Korean music institution, but I quickly found it unimpressive and dropped out. Jazz programs at colleges were just starting to emerge in the early 2000s, very fresh. I began spending time with older Korean jazz musicians and playing gigs in Seoul at a young age, around 18 or 19, before moving to Boston to attend Berklee a few years later. It was a significant experience to be a working musician so early in life. I didn’t begin writing my own music until I was in college. I picked up the bass after a friend told me it was easier than playing the guitar, and I wanted to be part of a band—naively, I believed him… Initially, my family wasn’t supportive, thinking I would give up quickly, but now they have come around.
One thing I always love to hear about is how artists who have different, distinct sides to their practice balance it all, and how it intersects. So beyond jazz, you record singer-songwriter material as Miss Ambivalent (great moniker, by the way!). How does that side of your practice influence your work as a bassist and composer? And vice versa?
I honestly feel there’s not a significant difference in what I write, whether it’s focused on more improvisational, jazz, and instrumental music or singer-songwriter material. To me, they all share a common foundation and are interpreted in a similar way musically. I recall someone once saying that composers write just one song throughout their lives, suggesting that all their work stems from a single, overarching inspiration. That thought struck me, and while it’s difficult to admit, I believe there’s a lot of truth to it. I try to write differently every time but I often feel like I fall short. Forming a singer-songwriter band really solidified my identity as a musician and bassist instead of diminishing it, I think. I just wanted to do something a little less serious, and a lot more fun.
We also have to talk about the great Paul Motian. How did you first learn about him and his work?
I am heavily influenced by Joe Lovano whom I got to study with at Berklee. I think I started to check out modern Paul Motian records (that are not Bill Evans-related) because of Joe. Then there was of course Bill Frisell, then there’s Masabumi Kikuchi… heavens gate wide open. Also, I have a profound love for the Bill Evans trio, which was my very first major influence in jazz.
What is it about his playing and his approach that you so connect with?
He plays unconventionally as a drummer, one might think. And maybe not everyone likes the same way, which I can understand. People have different tastes in music and I respect that. For me, certain music feels more genuine than others; you can almost sense the intention and meaning behind every note and the way the person breathes while playing. I feel the same with Ornette Coleman.
Do you have any particular favorites or hidden gems that others might not know, but should hear?
I love the Tethered Moon records, especially the one that plays Kurt Weill and Edith Piaf’s music. Maybe they are not as well known as other Motian records.
You’ve put together this wonderful playlist, too – what can you tell us about it? Are there any tracks you want to specifically mention?
I focused mostly on his more recent work as a bandleader and a sideman (post-2000). Without this restriction, narrowing down the selection would be impossible… These tracks, in particular, I feel they have illuminated the beauty of ensemble playing, the beautiful use of space and melody, and the importance of breath and rest in music. He plays that way and he influences his bands to follow him so.
I also want to ask about your latest record, Synchronicity. Synchronicity is a fascinating concept, both in music and in life. How did you first become drawn to this idea, and how does it shape the compositions on this album?
I love reading about psychology and, years ago, I got to read several of C.G. Jung’s works. As a child, I dreamed frequently, often left with many unanswered questions. Exploring Jung reconnected my connection to those dreams and psychological concepts.
You’ve described the experience of playing with this band as serendipitous, like an unexpected yet natural connection. What was it about these musicians that made you feel they were the right collaborators for this project?
I booked this gig at Barbés. I vaguely had a game plan but wanted to play with Jacob. I thought of Mat who surprisingly accepted my invitation because he didn’t know me then but also he suggested me to get Randy. I brought a few pieces of music I wrote imagining what would they sound like playing them. Then with the gig, I felt like I was anticipating this… as if this was meant to be happening, due just right then and there. I think I tell this story as if something special, and it was special for me, but also this is how all bands start out. The great connection.
The album features a mix of structured compositions and freer improvisation. How do you navigate that balance as a bandleader, especially in a group with such strong individual voices?
The gig situations I mentioned previously were less composed, more improvised sets. I wanted to have something more concrete and structured outcomes compositionally on the recording, I think because I was anxious and feeling intimidated. I was thinking too much. It was a great challenge to lead these musicians but it works so well in the end because these individuals require the least amount of leadership. Because music is already in the room we are breathing.
And to close, as always, what are some of your favorite sounds in the world?
String instruments. The sound of water instantly evaporating when it contacts the hot surface. Light rain.
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