Korean pianist-composer Eunhye Jeong bridges cultures through music
Pianist Eunhye Jeong visits Naksan Park in Seoul, May 14. Courtesy of Bereket Alemayehu
By Bereket Alemayehu
Eunhye Jeong is a Korean pianist, composer, improviser and writer based in Seoul. Her artistry thrives on exploration, cultural reflection and fearless improvisation in jazz music. She is also a published writer known for her critical mind and diligent research. She continues to expand her musical world through collaborations with legendary artists and her own experimental projects.
She has performed with Wadada Leo Smith, the multiple award-winning and Pulitzer Prize-nominated composer and trumpeter, as part of the N’da Kulture ensemble, which revisited one of Smith’s most celebrated albums, “Divine Love,” at the third CREATE Festival in 2019.
Jeong’s versatility is also evident in duo performances with acclaimed cellist and improviser Okkyung Lee and recordings with pansori master Bae Il-dong. As a composer, she co-wrote the score for the short film “Ancestry” alongside Munyungo Jackson, Stevie Wonder’s percussionist. Her performances have taken her to distinguished venues such as the Museum of Fine Arts in Boston, the U.N. headquarters in New York and institutions including Harvard University, Berklee College of Music and Boston College.
How did Jeong’s musical journey begin?
“When I was 8 or 9 years old, I won a piano competition, first place in my age group or something,” she said. “That competition committee took me and some other winners to a music school in Taipei, Taiwan, to perform. I’d never been to such a huge music school that housed students all the way from elementary to high school, if I remember correctly. It was an epic experience. It was also the first time I traveled outside of my country.”
Since 2011, Jeong’s work has revolved around reviving historical and cultural connections in modern Korea, connections often severed by time, conflict or cultural shifts. This mission remains at the core of her artistic identity.
Jeong lived in Boston for 12 years and traveled frequently to New York. She recently returned to the United States to celebrate the release of her latest album, “Morning Bells Whistle Bright,” recorded with bassist Michael Bisio. The album also features collaborations with saxophonist Joe McPhee and drummer Jay Rosen, with the cover art created by Dawn Bisio, a visual artist adopted from Korea.
For Jeong, travel is more than a change of scenery; it is an undercurrent that shapes her creative process and emotional connection to the piano. “Traveling influences me in many different ways,” she said. “It’s difficult to pinpoint exactly what influence I get, but it definitely shapes my life, my creativity and my music.”
The album art of "Morning Bells Whistle Bright" by Eunhye Jeong / Courtesy of Eunhye Jeong
She described her return to the U.S. as unexpectedly liberating, and her reconnection with old friends and veteran musicians reinforced this feeling of being embraced and heard, both onstage and at social occasions.
Jeong notes a striking cultural difference in how music is received and appreciated by Korean and American audiences.
“When you live in South Korea, you carry this sense of needing to be proper, how to move your body, how to behave. But in the U.S., that mask lifted right away. I felt freer, much freer,” she said.
“In the U.S., people come up after performances. They always talk to the artist; they share their reactions. That’s the norm. In Korea, audiences are often shy and reserved. It’s not coldness; it’s just cultural. People tend not to approach performers, even when they’re deeply moved.”
This openness in the U.S. gave her a renewed sense of connection with listeners, encouraging her to explore new sides of her music.
Her passion for modern jazz runs deep. She resists the idea of jazz as a static form confined to classrooms. “When it’s taught in schools, it can become too mathematical, a repetition of the past. But jazz is not about repeating; it’s about truthfulness and integrity in life,” she said.
For her, the significance of artists like Miles Davis lies not in innovation for its own sake but in their musical authenticity. “It was that time, it was himself, doing his thing,” she says.
She also emphasizes jazz’s social dimension. “Jazz has always been about more than music — it’s partly activism. Joe McPhee, for instance, his first album was really all about that.”
When asked about the role of Korean contemporary music on international stages, she places her work within the fields of jazz, free jazz and avant garde improvisation, a space she sees as most vibrantly connected with the U.S., particularly the East Coast.
She observes a growing trend among Korean traditional musicians who are venturing beyond the boundaries of their inherited practices.
“Many are blending their traditional instruments with free improvisation,” she said. “They don’t want to feel limited by tradition. They’re finding different ways to explore their music, and some are now appearing in the real jazz scene internationally — not just returning to Korea with a degree, but truly carving out their place. For Western-instrument players like pianists or bassists, the challenge of entering this space remains significant, but the number of Korean musicians engaging authentically with jazz is steadily increasing.”
Pianist Eunhye Jeong performs at JCC Arts Center Concert Hall in Seoul. Courtesy of Eunhye Jeong
She also reflected on the cultural expectations audiences bring to performances. In Korea, listeners often expect a clear program, a setlist and a presentation, approaching music almost like a product to be consumed.
“Of course, I understand the production side of things,” she said. “I studied film scoring, which requires planning and logistics. But art is different. It’s about freedom, about offering something in the moment — not just fulfilling an expectation.”
By contrast, she finds that U.S. audiences are more open to the unpredictable aesthetics of improvisation, welcoming music as an experience rather than a fixed product.
For her, travel is not just about performance opportunities but about deepening her relationship with music and new cultures. Each place brings a new opportunity for understanding — emotional, cultural and personal.
Although she has no fixed international projects lined up, she remains open to possibilities. “There are some talks about future collaborations, perhaps in Australia or on the West Coast of the U.S., but nothing is confirmed yet,” she said. “Still, I’m always looking out for opportunities.”
One of her hopes is to bring the quartet she recently collaborated with to Korean audiences, suggesting that embassies and cultural institutions could play a role in arranging such music performances and cultural exchanges.
Visit eunhyejeong.com for more information.
Bereket Alemayehu is an Ethiopian photo artist, social activist and writer based in Seoul. He’s also the co-founder of Hanokers, a refugee-led social initiative, and freelance contributor for Pressenza Press Agency.