#Jihee Heo

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 30]

premierowa emisja 21 sierpnia 2024 – 18:00 Graliśmy: Sam Braysher feat. Sara Dowling “That’s Him” z albumu  “That’s Him: The Music of Kurt Weil” Andromeda Turre “Geosphere” z albumu “From Earth”     Individuation “Multiple Worlds” z albumu “The  Phenomenal” – Mother Brain Records Kronthaler “Night” z albumu  “Some call him Johnny Grey” –  BMC Records Erik Friedlander “D’Arce (Mod 2)” z…

[linajinnnn]

Divorced Beheaded Died

Divorced Beheaded Survived

We're SIX 👑

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우린 SIX 👑

Close-up shot of final part of Korean MegaSIX!

Aragon : Sonnet Son / Boleyn : Su-jeong Pae / Seymour : Garam Park / Cleves : Hyunsun Choi / Howard : Solji / Parr : Jihee Hong

[theloniousbach]

LIVESTREAM (almost): ALAN BROADBENT with Harvie S and Billy Mintz, SMALL’S JAZZ CLUB, 25 DECEMBER 2023, 7:30 pm set

I approached this set by old dear favorites with a moment’s hesitation, only because of the day. Bruce Barth/Vicente Archer had closed their 12/22 set with Santa Claus is Coming to Town which is what Jihee Heo had opened her 12/20 set which I started on Sunday night. I aborted the set when she followed with a carol. Even Jazz Spectrum was totally devoted to such music.

ALAN BROADBENT and his estimable trio just did a set of proper jazz—Charlie Parker to open, Lil Armstrong’s Struttin’ With Some Barbecue from the Hot Fives session, Full Moon and Empty Arms which was introduced from its Rachmaninoff Piano Concerto #2 source, Someday My Prince Will Come, and a nicely abstracted What Is This Thing Called Love to close. The Parker, Armstrong, and the closer were familiar from previous sets, but the Rachmaninoff, Prince, and Vernon Duke’s deeper cut What Is There To Say were rarer if not new.

Perhaps they are shuffling the book adding to a familiar repertoire of three or four sets. I make a point of catching them, so, while I’ve not grown tired, I guess I can predict their sets. But what I count on primarily is how their disparate gifts mesh so well. Harvie S and Billy Mintz are rather opposite in approach with Mintz so spare and Harvie S just a bigger player. Mintz and Broadbent erudite conversations benefit from Harvie S’s swagger. All that was on display—and on Smoke’s bigger stage—even with the new toys.

Perhaps they unwrapped them earlier in the day making them a different, better kind of Christmas music.

[jefferyryanlong]

FEEL with DJ Jeff Long - December 30, 2020

Beam/Spiral - The Nels Cline Singers Sympathy for Malachi Constant - Charlie Ballantine Down By the Riverside - New Orleans High Society Forest of Stone - Willie May Living in the Past - Jorge Garcia Forgiveness - Eric Bikales Cost of Living - Ghost Funk Orchestra Maiden Voyage - Mr. Jukes Fantasma - John Finbury Search for Peace - Ishmael Ensemble Prints Tie - Shabaka Hutchings Go, My Heart, to Heaven - Shabaka and the Ancestors Un A La Vez - Doxas Brothers Goddess of the Hunt - Artemis Pace - Nubya Garcia Oh, New York - Jihee Heo Mr. Biko - Wolfgang Lackerschmid and Chet Baker Spiral - Benjamin Boone / Marisol Baca Isithunywa - Nduduzo Makhathini The Seventies - The Joe Bowden Project Princess Phone - The Nels Cline Singers Going Forth - David Friesen Into Starlight - Todd Mosby Ruby, My Dear (live) - Thelonious Monk You Got to Learn to Let It Go - Sam Waymon

KTUH  - 90.1 FM Honolulu, 91.1 FM North Shore, ktuh.org

[lgcrp]

↬ RESERVED UNTIL 20201026 ( expires in 24 hours ! )

[ 2187 ] kang seulgi ( red velvet )

[ 1888 ] park chanyeol ( exo )

↬ RESERVED UNTIL 20201027

[ 1996 ] hirai momo ( twice )

↬ RESERVED UNTIL 20201028

[ 9988 ] kim jongin ( exo )

[ 1996 ] kim seokwoo ( sf9 )

[ 1234 ] kim sohee ( elris )

↬ APPLICATIONS RECEIVED

choi soobin ( txt ) as kang minho ( waiting for debut ! )

choi yerim ( loona ) as son hyeri ( waiting for debut ! )

choi yewon ( oh my girl ) as shin nara ( waiting for debut ! )

im nayeon ( twice ) as hyun haseul ( waiting for debut ! )

kim jennie ( blackpink ) as pak jihee ( waiting for debut ! )

kim jiyeon ( wjsn ) as moon ahra ( waiting for debut ! )

kim jungeun ( loona ) as han jisoo ( waiting for debut ! )

kwak youngmin ( nu’est ) as moon joshua ( waiting for debut ! )

lee jaehyun ( the boyz ) as heo daehwan ( waiting for debut ! )

park chanyeol ( exo ) as lee junseo ( waiting for debut ! )

seo kangjoon ( actor ) as baek inho ( waiting for debut ! )

song yuqi ( g-idle ) as liu genji ( waiting for debut ! )

[theloniousbach]

ALMOST COUCH TOUR: MIKI YAMANAKA with Harish Raghavan and Jimmy McBride, SMALL’S, 11 SEPTEMBER 2023, 10:30 set

I am quite glad to have watched this show as MIKI YAMANAKA with husband Jimmy McBride and a rotating bass player are a habit I am developing. She is a smart, versatile player with a modern sense of the repertoire. She’s not yet quite in the can’t miss regular slot of, say, Alan Broadbent or Ari Hoenig, but she’s closer than anyone else. But the plan going in was to see Jihee Heo whom I only saw once. She probably would have played more standards a bit more conventionally, but her set with Alex Claffy and Joe Farnsworth lacked video.

Yamanaka it was, then. And a good thing it was.

The opener was McBride’s Charleston which was not old fashioned, but a bright swinger that did culminate in a showcase for the composer. It did establish Harish Raghavan’s big indefatigible playing and Yamanaka’s mix of fluidity and power. This is a trio as theirs usually is that fills Small’s. They closed with the bassist’s 2019 and then an in the moment blues that had some intricacy. Raghavan gave himself a slinky line that Yamanaka mirrored. They pushed one another and then he and McBride did. The blues jelled late and kept a modern spikiness until the end.

The middle of the set was venerable jazz compositions. Given the date, McCoy Tyner’s For Tomorrow was distinctively, predictably his, but the sentiment and power served Yamanaka’s aims. Benny Golson’s Stablemates, like the blues later in the set, was thoroughly explored before the theme came together. But Billy Strayhorn’s magnificent Ishfahan was the irrepressible highlight of the set with Yamanaka reveling in it.

I am on the look out for more Raghavan. He has a big tone and is always playing quarter notes at least. I need to see if he wears thin, but he certainly grabbed my attention.

[theloniousbach]

ALMOST COUCH TOUR: JIHEE HEO with Alex Claffy and Joe Farnsworth, MEZZROW’S, 17 AUGUST 2023, 10:30 pm set

I recall seeing JIHEE HEO before under similar circumstances, a strong rhythm section recommending a new pianist at a point where I wanted to widen my horizons. I also recall that she played a solid swinging set. She did it again and I was up for precisely that kind of set.

It was mostly quietly insistent in its drive as one might expect from a Joe Farnsworth set. Indeed he was tasteful and swinging but, jacketed but without a tie, he was more restrained than he can be. The rhythmic harmonic imp was Alex Claffy on bass whose robust lines and melodic soloes moved things around for Heo.

Her playing is straight ahead and driving, but she develops things patiently at moderate tempos. I wondered how much Wynton Kelly or even Ahmad Jamal she listens to.

The opener might have been Nostalgia in Time Square but that Mingus tune, if that’s what it was, wasn’t rushed and wasn’t perhaps sufficiently adventurous to be Mingus. It worked well though as did the hard bop tune that followed. Her original Opening a New Door was brooding and pretty but more austere than the openers. She brought out a singer (Kasi Vissalay) whose tenor was thin up high but fuller at the back end of phrases on I Thought About You. He lacked some of the vocal tics that more sympathetic aficionados of vocal jazz might call technique. It was fine and it showed that side of Heo. It was I Should Care that I thought most about her pianistic heritage.

And then they closed out the set in a more modern way while maintaining the virtues of the first 45 minutes. I Didn’t Know What Time It Was was nicely off kilter, not quite Latin, but more tangential from her and especially Farnsworth. Don’t worry, it still swung and Claffy’s solo brought together both sides of the performance. Then Softly, As a Morning Sunrise was brisk, not rushed, but at a quicker tempo. I heard new things in that chestnut.

And that’s what one wants. Heo is on a more lengthy cycle than some Mezzrow’s pianists, but I will keep an eye out for her.

[theloniousbach]

A BASSIST PLAYS MEZZROW’S

PAUL GILL with

JIHEE HEO and Joe Farnsworth, 18 MAY 2023

PETER ZAK and Billy Drummond, 3 JUNE 2023

RAY GALLON and Hank Allen-Barfield, 25 MAY 2023

ALAN BROADBENT and Billy Mintz, 29 MAY 2023, 9 pm set

PAUL GILL is just (!?!) a NYC jazz bassist. I’m sure I’ve caught him on Small’s Live gigs and appreciated his technique and talent. He is by definition an elite player, but he’s not famous. But his utter reliability stands out as ALAN BROADBENT called on him with short notice to fill in for an injured Harvie S in his working band with Billy Mintz. I’ve written about their first set in my most recent post where it was interesting to see what he added to and how he fit in to such a well-established ensemble. Quite well because, as Broadbent observed, that’s the wonder of this music—and their collective craft.

When I noticed Gill on all these gigs—and with top drawer drummers Joe Farnsworth and Billy Drummond (Hank Allen-Barfield was new to me), it seemed like a perfectly fine listening exercise/writing prompt. I heard the new to me JIHEE HEO, the only once or twice PETER ZAK, and the occasional RAY GALLON before heading back to ALAN BROADBENT. I got four nice sets of appealing swinging straight ahead piano jazz with interesting overlaps—HEO, whom I want to get to know much better, evoked Bill Evans, Cedar Walton, and Ahmad Jamal while starting with Nardis which GALLON also did while BROADBENT closed with Solar. ZAK opened with Ornette Coleman’s The Blessing and also tipped his hat to McCoy Tyner and Billy Strayhorn (Something to Live For!!). GALLON, it came back to me, opened with a run of Ellington’s Drop Me Off in Harlem, Nardis, and his own lockdown blues Two Track Mind.

But what about Paul Gill? Solid and sympathetic with such tasty pianists. He filled in harmonic gaps and/or found interesting comments to make. But his bowing is a trademark—sonorous, cello-like, adding an almost horn voice—and quite beautiful. Thanks to this exercise, his presence on a gig will prompt a second look, just as Dezron Douglas does or, in these cases, Joe Farnsworth and Billy Drummond do.

So more kudos to Gill for fitting in with those worthies. This time, it was Farnsworth who seemed a bit more in sync with things than Drummond. That is often reversed. Both were wonderful and were assets not just to the billing but the gigs. This time though, Drummond’s cymbal work was a little less delicate than it usually is and Farnsworth didn’t get too complicatedly wrapped up in technique. It could just be the room or the pianist/leader or the night. I wouldn’t say Heo was a bigger player than Zak but somehow she was more balanced in the gig.

Billy Mintz was even more Zen like and Broadbent too was more mannered, so I suppose Gill didn’t quite capture the earthiness that Harvie S brings to that band. But his work with them started this whole adventure and therefore it was more than striking enough.

Just a pro doing his job.