Living Tones Compositions
(Living Tones) is new music/world music at its finest, beyond
political correctness, into the realm of the sublime, where words
and cultural postures fall away."
Josef Woodard, The Los Angeles Times
"In Tilings, Jin Hi Kim, an eloquent, eclectic advocate for the komungo, vividly translated her instrument's characteristic slurs and wobbles for a Western ensemble of woodwinds, strings, percussion and chimbalom." Steve Smith, The New York Times
Rock) moved through the orchestra like a curious outsider, wondering
at the range of sounds it can make and using it as an extension
of twangy vocabulary of solo komungo."
Anne Midgette, The New York Times
Rock II) Some of the orchestral writing sounds like movie music,
but the way that Kim extends the effect of the drums by additional
percussionists ringed around the stage is striking." Richard Dyer, The Boston Globe
of Sigimse) A gorgeously tactile piece that moved easily between
an earthy folksiness and meditative refinement.".Allan Kozinn, The New York Times
An essay in integration which suggested a Takemitsu-like ability
to hover between eastern and western traditions." Paul Griffiths, The Times (London)
The delicacy of her effects (and of the Kronos Quartet's playing)
were constantly riveting." John Rockwell, The New York Times
She applied the concept of “living tones” from traditional
Korean music to the Western string quartet. The effect is a vivid
one, especially in the high registers, where pitches slide in
and out of consonances seductively. Kim is a composer to be watched."
Mark Sweed, Los Angeles Herald Examiner
"Linking is an elegant, spare work involving a most interesting juxtaposition
of “soft” tones- in which a note begins atone pitch
and slides higher or lower to another-and firm attacks and releases.
The whole is beautifully organized." Roy M. Close, Pioneer Press, MN
Her music is inspired by the directly textured instrumental sounds
of her own country. It could never have been written by a native
Californian or New Yorker. It's exotic. It's different. It reflects
its culture in the same essential way that Beethoven's quartets
reflected his time." David Harrigton, the Kronos Quartet
Rock) Kim juxtaposes and synthesizes the timbres, techniques and
even styles of East and West in a way that is at once jarring
and inevitable." Dean Suzuki, Option Magazine
Quartet) likewise explore the likenesses and differences of performing
on instruments of the same family but radically different cultures." Dean Suzuki, Option Magazine
Maek) An otherworldly violin and cello duet in which sliding tones
gave the impression of brush strokes on a canvas.".
Allan Kozinn, The New York Times
"The most exciting of the instrumental
imports was the set of barrel drums used by Korean percussionist
Jin Hi Kim in her own vibrant composition, "Monk Dance."
Kim's close, high-pitched harmonies spoke with an original voice,
but her propulsive solos on drums and wooden blocks gradually took
over, leaving the audience breathless."
David J. Baker, New Haven Register
"the colorful, engrossing, "Nori III" for Percussion Quartet and Electric Komungo... the infectious rhythms of the piece were playful all right, while suggesting the hypnotic, repetitive style of American minimalists like Steve Reich. Thanks to the exotic tones of the komungo and Asian percussion instruments, the insistent pace never grew monotonous."
David J. Baker, New Haven Register
"Virtuoso, Jin Hi Kim promises thoughtful, shimmering East-West amalgams in combinations that are both new and unlikely to be repeated." Peter Watrous, The New York Times
"Kim performs brilliantly and evocatively on an amplified komungo." Joseph McLellan, The Washington Post
"The solo demonstrations (Jin Hi Kim, Wu Man, Mayumi Miyata) and performances were brilliant and fascinating." James R. Oestreich, The New York Times
"True world music being made here, both ancient and modern and without borders. Outstanding." Dennis Yudt, Pulse Magazine
"(Touching The Moons) With her electric komungo, she floated sustained tones and rudimentary melodies or plucked twangs suggesting a jaw-harp or hinted at the bent notes of the blues." Jon Pareles, The New York Times
"a lush solo improvisation stays true to the nature of the komungo while showing real imagination about how its sound can be processed and coloured." Clive Bell, Wire Magazine
"Using sticks and fingers, she sculpted myriad bouncing, glissing, galloping attacks to produce small waves of melody that were cumulative in their power."
Kyle Gann, The Village Voice
"Her right hand a flurry of strikes, the left a spider running up and down the fretboard, intuitively scattering harmonics and microtones and revealing a deep connection to her instrument that hasn't been seen since Hendrix." Andrew Jones, Option Magazine
"Auch in den rätselhaften Ritualen Jin Hi Kims auf der Komungo entfaltete sich der meditative Sog einer Musik, die aus spirituellen Quellen gespeist wird, die dem Western noch immer unzugänglich sind." Bernd Feuchtner, Süddeutsche Zeitung
"Kim is a forcefully percussive player and she’ll frequently concentrate on single reiterated tones, blurring the line between string instrument and percussion on pieces."
Stuart Broomer, Moment’s Notice
"(Digital Buddha) Cosmic Music Meditation, as if their (audience) consciousness was carried into outer space." Tempo (Jakarta)
Dong Touching The Moons) Her unique vision blends science
fiction images, state-of-the-art technology, ancient mythology
and timeless music and dance traditions. No other artist is doing
work quite like this, and she does it with superb style."
Joseph McLellan, The Washington Post
Dong Touching The Moons) Kim's austere music centered the
work.... (she) applied the techniques of “living tones”
to sustained notes: filling them with vibrato, tightening them
until they broke, using glottal stops to make them ripple like
waves around a rock....She turned Korean court-orchestra music
into a haze of distant fanfares and remembered rites, from a time
when the moon was a divine power."
Jon Pareles, The New York Times
Bond Rite) cut across barriers of language, culture and tradition,
touch us at deep, irrational levels result in a work that speaks
to our common humanity."
Joseph McLellan, The Washington Post
Bond Rite) It's wonderful to see these diverse Asian styles converse.
All the movements are grounded, yet how differently shaped and
accented, how diverse the way feet strike the floor. In Kim's
score, the styles of the master musicians actually merge."
Deborah Jowitt, The Village Voice
production's (Dragon Bond Rite) drummers were percussion virtuosos,
and its singers displayed a remarkable range of vocal techniques,
from high-pitched chanting to deep, awesome rumblings." Jack Anderson, The New York Times
Bond Rite) ...a ground breaking collaboration, one which illuminates
the artistic soul of Asia." Thomas Morley, Asian American press
(Pulses) Good music really knows no boundaries, neither of style or tradition or geographically. ... it emphasises and shifts and brings back and diverges and returns in a great mystical wheel of sound, whirring around a pole that is rooted in the ground yet facing upward." Stef, Free Jazz
"(Pulses) perhaps most important, is the remarkable morphing of the different instrumental personalities into a single entity comprising two souls. Kim’s komungo – both in the acoustic and electric version – is a tool which, mainly designed for melody, nevertheless owns unmistakable percussive qualities, pretty evident in the way in which the strings must be energetically plucked during certain animated transactions. On the other hand, Hemingway’s drumming receptiveness lets us envision a whole world of lyrical intuitions, which he adapts to the Korean partner’s enchanting patterns and swirls by fusing his improvising self with her unique blend of Eastern tints and concentrated transmissions of energy. This amalgamation of inventive currents, instantaneous acceptance and clever elaboration of the result, appearing as natural as dribbling water on a spring’s rock, leaves any academic issue out of the equation. Every minute of this CD is at one and the same time perfectly graspable yet rich in meaningfulness and non-conformism.”
Massimo Ricci, Touchingextremes