Review by Troy Dostert
Alllaboutjazz.com, 06/02/2020
A debut recording which belies the youth of its leader, Sound of Bronze is the handiwork of Jeong Hwan Park, a bassist on the rise who has assembled some fine talent and terrific compositions on this promising quartet album. Bouyed by the presence of veteran tenor saxophonist Rich Perry, Park and his colleagues specialize in music which possesses a quiet sophistication and considerable emotional depth.
Park penned all eight of the album's cuts, and they are remarkably well-conceived, with an unhurried development which allows their winsome appeal to emerge naturally. Nothing is forced here. Pianist Nitzan Gavrieli's gently ringing chords announce the opening title track, and Perry's patient unfurling of the tune creates an alluring warmth which is further enhanced by robust solos from Park and Gavrieli, all the while supported by the unfailingly graceful touch of drummer Takehiro Shimizu. Perry's own solo statement is a marvel of restraint, with impeccable delivery and subtle logic. Most of the album moves in a similar vein, with slow to mid-tempo pieces which allow plenty of room for nuanced expression and an expansive feel. Perry is the ideal saxophonist for this music, with an ability to reach to the core of Park's strong melodies without excessive ornamentation and with an uncanny instinct for giving each note its due, even sometimes lagging just a mite behind the beat, so as not to rush the proceedings.
Tracks with a bit more punch, such as the steady-swinging "Blues for GD" or the straight-ahead up-tempo burner "Cringe Moments," have their own potency, and Perry is certainly able to unload with both barrels when needed. But these pieces don't quite do justice to Park's compositional acumen, which is best revealed on the quieter, more melancholy tracks. Take the lovely ballad "Ultimo Fine de Semana," for instance, in which Perry's dusky tenor carves out a reflective space for poignant longing. Or the lilting waltz "Maldivia," with a simple yet affecting theme which becomes more captivating each time one hears it. On these pieces Park demonstrates the instincts of a natural composer, and they give the album its distinctive appeal.
The album concludes with another striking ballad, "Oracion," and once again one is impressed by the refined beauty of Park's music. Played rubato, with even more room for expressive freedom, Perry's haunting tenor winds delicately in interaction with the other three players, each luxuriating in the piece's inviting charms, almost reluctant to stop, lest the music's spell fade away completely.
Review by Scott Yanow, - jazz journalist/historian/author-
Los Angeles Jazz Scene, 05/02/2020
Jeong Hwan Park Quartet
Sound Of Bronze
Jeong Hwan Park, a talented modern jazz bassist and composer, was born in Seoul, South Korea. He moved to New York in 2011, attended the New School, and earned a Master’s degree in Jazz Performance from NYU in 2016. He has worked and recorded with Kenny Werner, Alan Broadbent, Rich Perry and Billy Drummond, and played regularly in New York clubs with many young talented musicians. In addition, the bassist has appeared at quite a few international jazz festivals and performed in South America including in Ecuador and Chile. Sound Of Bronze is his debut CD as a leader.
Park contributed all eight compositions for a quartet that also includes tenor saxophonist Rich Perry, pianist Nitzan Gavrieli, and drummer Takehiro Shimizu. The program begins with “Sound Of Bronze” which, after the pianist emulates what sounds like the tick-tock of a clock, leads into a quietly emotional jazz waltz. Park, Gavrieli and Perry all take fine solos. “A Letter From The North” is a brooding ballad that showcases a strong and a lyrical tenor improvisation. “Blues For GD” is a modernized blues that has a theme that sometimes recalls Thelonious Monk although the structure and solos are more modern.
“Cringe Moments” may have a humorous title but there is nothing cringe-worthy about the hard-driving music. The uptempo swinger inspires some heated statements by Perry, Gavrieli and Shimizu. A contrast is provided on “Ultimo Fin de Semana,” a warm and modern ballad with fine statements from Perry and the leader of bass. “Maldivia” is a thoughtful medium-tempo piece that one could imagine John Coltrane enjoying exploring. The set concludes with the introspective “Entreat” and the passionate and spiritual piece “Oracion.”
Throughout Sound Of Bronze, Jeong Hwan Park provides concise solos, subtle but creative accompaniment of the other players, and eight thought-provoking compositions that are quite original. He has great potential and his debut recording has its share of memorable moments.
.........Park's nimble basswork is especially worthy of mention, as he generates a good deal of the momentum on "Little B's Poem," where his adroit lines are the perfect complement.
- Francis Hon's Debut Album "Before Dawn" / Troy Dostert, All About Jazz.
07/18/2018
.........Tilapornputt's pleasing chordal pulse and voicings, with a lovely chord progression emphasized by a gorgeous melody. Park's bass solo is uplifting and the sound achieved between his upper register playing and Tilapornputt's chords are decidedly enjoyable.
- Julphan Tilapornputt's second album "Regards to You II" / Geannine Reid, All About Jazz, 12/06/2016
