By Seo Dong-shin
Staff Reporter
Jang Sa-ik is certainly no Rain or BOA. Both musically and in his personal background, Jang stakes out a position at the opposite end of the spectrum from these idols. But the three, from their respective positions, add their particular dynamic to hallyu or the Korean wave.
The 58-year-old, who blends traditional Korean music with jazz, is regarded as the quintessential Korean popular singer. Jang started his music career in 1993 after series of unrewarding jobs. He began by playing the taepyeongso, a traditional Korean double reed wind instrument.
But his musical breakthrough came with singing. He has five albums to his credit and his devoted fans quickly snap up tickets for the biannual concert that he holds at the Sejong Center for the Performing Arts.
Jin Ok-seop, a stage director and an author specializing in traditional Korean arts scene, observes: ``In Korea until 1970s, music was for adult listeners. Since the late 1980s, however, adults had to step aside for the young. Music and television programs were all targeting the young. It was when Jang came out, boldly bringing back music to adults.''
Jang is now set to embark on his first U.S. tour, which includes stops in the major cities of New York, Chicago, Washington and Los Angeles, throughout June.
His voice and singing style are characterized by their ``doenjang-ness,'' as Jang jokingly calls it. Doenjang, or soybean paste, is an essential ingredient in Korean cuisine, but is often shunned by foreigners for its strong smell.
Jang is confident about his music, which he describes as being ``accentuated by the flavor of chili paste and garlic.''
``You know, there are no Sumi Jo tapes at highway rest stops,'' Jang said in an interview with The Korea Times, referring to the South Korean soprano diva of the classical music scene. ``There are a whole variety of styles in the contemporary music scene. It's good to show people how diverse contemporary pop music is. They label my music `world music', like the music of gypsies or from South America.''
There is also another reason why he wanted to go to America at this particular time, Jang said.
``Eighty percent of the audiences will be Korean-Americans. I know they are feeling low and upset about the recent Virginia Tech tragedy. They are very distressed and uneasy, reflecting a moral and human viewpoint typical to people from the East.
``I think Cho Seung-hui, too, had that communication problem because of that cultural barrier preventing close relationships between people of different backgrounds.''
Jang believes he can provide a sort of rite of clarity through his music, which ``weeps together with those who want to weep.''
Titled ``Longing … '' his tour will stop at New York City Center on June 2, the Auditorium Theatre in Chicago on June 9, the Strathmore Music Center in Washington on June 17, and the Dorothy Chandler Pavilion in Los Angeles on June 24. The repertoire includes reworked popular Korean tunes such as ``Dongbaek Maiden'' and ``Leaving the Spring Behind,'' as well as Jang's own numbers, ``A Bundle of Hope'' and ``At Rice Soup House,'' which took lyrics from Korean poems.
He will also hold free music workshops and performances in other small U.S. cities. Accompanying him on his tour are the Chung Jae-yeol Jazz Quintet and The Solists, an acappella group. This should help second- and third-generation Korean-Americans restore a sense of affinity to their homeland, the musician hopes.