As a torrential downpour cleans this dirty city once again, the sound of the rain pummeling the streets below hums along to the sweet jazz compositions of Key J (Ki Joon Sung) and listening to “Out of My Mind” my thoughts drift to the black-&-white 20s, imagining a sultry detective’s office and the next big case. The music playing is the new album Transition and it is the epitome of cool. A throw-back sensibility and respect for jazz when the genre was being formed keeping the style classic with a dash of postmodern groove, keeping things new and exciting, the music is soothing -relief for a troubled mind- yet energetic enough that it definitely is not elevator music or that sort of contemporary jazz that puts one to sleep. This is adventurous jazz with hints of bop that span the range from that seedy imagined sleuth’s office to a glamorous gala ball, making it appropriate for any occasion.
Off the top of the album things get swinging, exploding with big band energy. The ensemble of instrumentalists is always on top of these new compositions, playing them as if they were jazz standards. Because of that confidence, most of the songs fool one into thinking they actually are classical jazz tunes. In “Talking About Me” the scope of quick musical references to the past are neatly arranged in ecstatic reverence. Almost as though it were a montage of what to expect on the album, the first song really gets things moving and is what’s so exciting about Key’s creative gifts. The instrumental chorus gives it all a full warm sound that is undeniably mesmerizing, advancing the jazz form, and a vacation for the ears.
Composer and Pianist Key J has surrounded himself with, give or take a couple instruments, an octet of brilliant musicians on the same vibe. Their style is difficult to pinpoint within the cornucopia of jazz taste. It is perhaps easiest to classify then as a sort of Post-bop Jazz found in the likes of John Coltraine, Thelonious Monk or Miles Davis, and has the ability to sample from harp bop, modal jazz or free jazz without breaking the core swinging rag-time soul of the music. However, this is just a style choice, as the hard dissonance and chromaticism are tastefully done as accents, rather then the crux of the entire song, such as be-bop. In this way, Key J’s compositions sample from all classical forms of the art and still manage to have its own voice and style notably different from any of the labels.
Perhaps most remarkable is Key J’s sense of timing. Syncopation and tempo are always impeccably done. Delicate attention to detail is most notably obvious in the soft and patient retardo captured in Duke Ellington’s classic “Prelude to a Kiss.” It is nice to see all original work alongside one fantastic cover song, as it gives us a wonderful contrast to the new songs. Perhaps some of Key J’s most delicate work can be found here, and it speaks volumes to his future potential as a composer. This instrumental version is on par with the more popular lyrical versions done by Ella Fitzgerald or Billy Eckstine because of the vulnerability found in the piano. Each note is played with the same attention and care as a vocalist, showing everything from ferocity to frailty. Similarly, tension of the piano in “Resemblance” plays alongside a desperate sax echoes the same eccentric taste with darker emotion. Highly refined but still empathic so that a high level and intelligence and feeling are being poured into this album from daftly trained skill and a passionate love of music.
Key J and his ensemble may have what it takes to make jazz hip again. Much of what is missing from contemporary music is the gritty reality of the music being paired with the refined taste of the old styles; like aged cheese and fine wine, they go much better together then separate. Transition beautifully balances the old and new to make a high class jazz masterpiece. Key J could easily compose music for vocals, but the instrumental artistry makes it unnecessary, letting the drums horns and strings speak for themselves. This is a wonderful album for anything from just hanging out with friends to throwing a classy party. It is difficult to imagine Key J excelling in technical music ability much beyond this, meaning all there is left to do is play his music around the world and spread the sound. It is rare for such intellect and feeling to be exhibited by the same composer, making Transition a gem of an album. With this sort of jazz combo consistency, this writer is really looking forward to the new future of jazz. Now, can someone get this man a full orchestra, too? Key J can only get better from here on out.
Review by Julian Gorman
