Jihye Lee Orchestra: Infinite Connections

One of the most ambitious composers working exclusively in the large-ensemble format, Jihye Lee is now offering her third release, coming on the heels of the well-received April (Self-released, 2017) and Daring Mind (Motéma Music, 2021). Lee is a fearless artist with a seemingly limitless imagination, with a multiplicity of themes and rhythms swirling through her complex, densely-layered compositions. And as always, she once again has a terrific group of colleagues to help bring her rich, multi-hued vision to life.

There is an endearing earnestness to Lee's approach, as she finds inspiration in huge questions surrounding grief, community, belief, and the will to fight through life's challenges. Pieces like "Born in 1935" and "Eight Letters" were colored by the passing of Lee's grandmother and the devastating impact it had on her mother, and they possess the range of emotional crests and troughs one would expect—although perhaps somewhat surprisingly, on these tracks it is the heft and power of Lee's music that tend to stand out much more than the moments of pensive reflection. Even the relatively subdued pieces on Infinite Connections usually have a smoldering intensity waiting for the sudden spark needed to burst into full flame.

Lee's compositions are rhythmically potent, fueled sometimes by vigorous ensemble counterpoint, as on the fervent opening cuts, "Surrender" and "We Are All from the Same Stream," or via the thunderous drumming of Jared Schonig, who always seems ready to kick each piece into a higher gear. The first several tracks on the album regularly reach forceful peaks, relaxed only occasionally to give the band (and the listener, perhaps) a moment to breathe, and for Lee's soloists to have a chance to make their individual statements. The gorgeous one from guest trumpeter Ambrose Akinmusire on "Surrender" is a fine example, as is alto saxophonist David Pietro 's patient reverie on "Born in 1935."

Ironically, when all is said and done it may be Lee's simpler pieces that are her most successful. The slow tempo "You Are My Universe" relies much more on atmosphere than pyrotechnics, allowing Lee's lavish harmonic palette to serve as the ideal support for Akinmusire's soaring second solo on the record. The wistful "In the Darkest Night" highlights Lee's instincts for finding melodically resonant themes, with an air of mystery that manages to win over, rather than overwhelm, the listener. It also serves as the ideal vehicle for pianist Adam Birnbaum, whose effervescent solo is one of the disc's highlights. And the enticing closer, "Crossing the River of Grace," has a determined spirit that builds its quiet energy skillfully and with just the right degree of restraint, leading to a resilient trumpet solo from David Smith.

There is a lot to admire about Lee's dedication to her craft and her fecund creativity. In a world in which noteworthy big band releases remain desperately needed, Infinite Connections helps Lee continue to make her case as a fierce composer to be reckoned with.

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