Jihye Lee Orchestra: Infinite Connections

Some eighty-odd years ago a handful of trailblazers led by saxophonist Charlie Parker and trumpeter Dizzy Gillespie changed the vocabulary of jazz, introducing bebop as a successor to trad jazz and swing and radically transforming the music's landscape and perspective. Their terminology remained pretty much intact for a number of years, with partisans choosing a path between the diverse genres, until at last the very definition of jazz began to move in new directions with newcomers such as cool jazz, third stream, avant-garde (or free), fusion, acid jazz, rock and funk elbowing their way onto the field of play. Today, the language of jazz is broader than ever, not only accommodating the varieties already named but adding to them music native to various countries or areas wherein the idea and blueprint of jazz has been introduced and implemented. In other words, jazz with an international accent.

Which is a roundabout way of introducing listeners to South Korea-born, New York-based composer Jihye Lee and her orchestra, whose third album, Infinite Connections, neatly blends elements of American jazz with traditional music from her homeland. The contrast is conspicuous from the outset, as Lee and the orchestra explore the first of her nine thematic works, "Surrender," which, she writes, is "an active determination to trust, trusting the goodness of the whole." In practice, this is a rhythmically strong pastiche showcasing the ensemble's proficiency and the impressive chops of guest trumpeter Ambrose Akinmusire who reappears later on the tender and tranquil "You Are My Universe."

Drummer Jared Schonig takes the lead on the robust "We Are All from the Same Stream," bolstering admirable solos by trombonist Alan Ferber and tenor saxophonist Jason Rigby and setting the stage for Lee's loving tribute to her grandmother, "Born in 1935." Again, the Korean influence is there but does not intrude on or override the essential jazz viewpoint. The able soloist on alto is Dave Pietro. The candid "Eight Letters," which follows, is rooted in Korean astrology, which says we are born with eight letters that determine our path in life, while "Karma" expresses in musical terms the transformation of women from chattel to shining lights in Korean society. The vibe is hopeful, the thud-heavy landscape generally pleasing, the apt alto solo courtesy of Ben Kono, before which Rigby and guitarist Alex Goodman share blowing space on "Karma."

The engrossing "Nowhere Home" follows "You Are My Universe." Its ethereal perspective makes good use of rhythmic and percussive components, an integral feature of almost every number on the album. This is especially true of the muscular finale, "Crossing the River of Grace," which follows the handsome ballad, "In the Darkest Night." (Pianist Adam Birnbaum takes the solo on "Darkest Night"; on "River of Grace" it is trumpeter David Smith.) In sum, Infinite Connections is remarkable contemporary jazz with a slight yet definitive Korean accent, marvelously written by Lee and impeccably performed by the orchestra with a special shout-out to the able-bodied rhythm section (Schonig, bassist Matt McCloskey and percussionist Keita Ogawa), who never falter even when carrying a heavy load on every number. For Lee and her splendid ensemble, the third time is a charmer.

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