Hyeseon Hong Jazz Orchestra: Things Will Pass

There are a handful of things you should know about Hyeseon Hong (pronounced hay-sun hong), as each of them impacts the scope and purpose of the music on Things Will Pass. First, she is well-versed in the shaping and subtleties of contemporary big-band jazz; second, she was born and raised in Seoul, South Korea; third, she formed her own big band after relocating from Korea to New York City more than a decade ago; fourth, and perhaps most important, she has a singular voice of her own, one that neatly blends harmonies and rhythms from her homeland with American motifs to produce themes that amplify the most personal and charming cornerstones of both cultures.

There are few signs of Korea in the shuffling opener, "Road to Hana," whose luminous ensemble passages and heavy back-beat reinforce sharp solos by trombonist Mike Fahie and trumpeter Mike Smith. The Far Eastern influence is far more visible on "Memoirs of Ladies," a casual charmer that uses flute, guitar and bass to enhance Rich Perry's expressive tenor solo, as it is on the cheerful "Raindrop's Journey," which eases into pianist Broc Hempel's graceful voyage via flutes, muted trumpets, pleasant woodwind phrases, a wordless vocal and John McMahon whistling its seductive theme. The pace quickens on "Run Away," as the ensemble sets a handsome stage for Aubrey Johnson's pleasing vocal and bright solos by alto saxophonist Alejandro Aviles and guitarist Matt Panayides.

Smith's glossy flugelhorn is front and center on the enchanting ballad, "Waltzing with Dad," while Fahie and soprano Ben Kono share honors on the harmonically inventive and rhythmically alluring "Treasure Hunt." Perry returns to enrich the smooth and limber "Night Climbing," which leads to the gently swaying "Dance with Dracula" (tasteful solos by Panayides and baritone Andrew Hadro) and charming finale, "We Will Meet Again," on which tenor Quinsin Nachoff makes the most of his lone appearance in the limelight, while drummer Jeff Davis helps keep the rhythmic flame burning, as he does on every number, regardless of tone or tempo.

Hong says her music is thematic, but that is really beside the point. What is most important is that she is, as stated eloquently in an accompanying press release, "a master musician who weaves dreams into vivid sonic landscapes, and turns sorrow and loss into enduring and endearing art." That those landscapes traverse the musical terrain from the U.S. to Korea is icing on an already appetizing cake.