Henry: Whoa!
Umu: So now you're reacting to the K-indie jazz soloist
Lee Jin Ah. First you'll react to her b-side track called 'Everyday', that was released on her 'Random' EP.
'Everyday' is a love song that expresses a desire to see someone every day. Stephen: Aww! Umu: In the beginning,
Lee Jin Ah felt she didn't deserve her a significant other, but he didn't give up on her, Stephen: Ooh!
and by fate, they are together. Steophen: That's so cute! Seiji: That's sweet.
She wants to see him every day,
even when he's old, overweight, or poor, she will stay with him every day.
In fact, she recently got married. Henry: What? Umu: She recently got married, in March.
Henry: Ahh, there goes my chances. Emiel: Congrats!
Henry: We are different people. Umu: Seiji's in love with her.
Emiel: Yeah, she's cool. I'm definitely down with her music, for sure.
Kevin: All right. I understand that sentiment Isaac: Didn't she get married?
Umu: Yeah!
Isaac: Congrats, Lee Jin Ah.
Stephen: Oh, gosh.
That's good. All right, if I cry, I apologize. Do it, Seiji.
Emiel: Sick.
Yeah, this is tight!!!
Kevin: Nice little tritone. Calm before the storm.
Stephen: Ooohh!
Did that have a blue note in it? Seiji: I forgot. Stephen: Okay .
Stephen: That was really sick.
Henry: This label puts out fire sh*t. You showed us something else the other day that was the same label, and I was like,
oooohhh!
Isaac: (singing) Kevin: Oh, that was an octave gap between those two.
Isaac: It is Random! Kevin: A jam.
Isaac: (singing) Kevin: It does remind me a little bit of 'a little Random'~
Kevin: (singing) Random, just a little random, just a little...
Stephen: One thing that I do like about her is whenever she starts a song she always just
stays, like...
with whatever the composition is, creates a vibe and then sticks with that vibe, you know?
It's really nice.
Isaac: Aaaahhh!
Kevin: I like those sudden low notes on the piano, when they're tastefully used.
Isaac: Every day.
Kevin: Does the brass swell gets a little bigger this chorus, I think.
Henry: Yeah!
Emiel: Wow, layin' back.
Henry: This always just grooves so much harder.
This is just dripping in sauce. Yeah.
Emiel: Yeah, this is sick. She needs to be shredding right now! Henry: Yes!
Seiji: And having the bass line doubled in the piano Stehen: Dude! That is...yes! Seiji: Yeah.
Stephen: Nobody does that, but orchestrationally, that's just like, so dope. Seiji: Well, it just brings it out. It's like a different color. It's good. Stephen: Oh, yeah!
Isaac: Throwin' some licks!
Isaac: Oh, my goodness! Kevin: Oh!
Isaac: It's been licks, the whole time! Kevin: There's been licks the entire time.
Henry: She's really liberal with her left hand.
Whoa!
That is how you do a direct modulation. Right there. Emiel: Also, this trumpet's pretty good.
Henry: Yeah?
Aaron: I like how the bass line kind of starts and then it increases its like...
like that. Fiona: Oh, it... Aaron: Like it does that bum, bum, bum, and I'm like, yeah!
Oh!
It was all just a daydream.
Dramatic piano.
Both: Aaaahhhhh!
Emiel: No, but that was cool.
James: Ohhh. That's very...yeah.
Melissa: Jazzy. James: That's very...I don't even know what that's called. Melissa: It's called jazzy. James: I know that, I know that
technique. It's like you end on this really like...I'm sure Henry would be able to be like, oh, it's a
flat major nine with a...but
it's like, you always end on that specific off-color chord in the key, and then you just do like...
And then people it's just floats off and nothing and-
That's like, there's definitely, there has to be a name for that. But I thought it was really nice.
Melissa: Yeah, I was like...Her voice was really interesting.
At first I was like, it's weird, but then I got used to it, and I was just like, oh, yeah.
It's just very,
it's calming, kind of. James: Yeah. Melissa: It's very in-tune, very wispy.
James: I can appreciate the fact that even though she might have had some condition in the past,
she's using it to influence her sound and the art she puts out. So I think that's really cool.
Melissa: Yeah, it's cool that she's not trying to hide her sound, she's just embracing her natural sound.
James: Um-hmm. And I think whoever was playing with her was fantastic. The musicians were great.
Umu: Summarize your thoughts on that?
Emiel: It was good. That's how you do it. It's just like how you make a good,
good. K-pop tune. Henry: Yeah, dude. Emiel: It's like, that's right.
That is how you fulfill jazz majors watching jazz--I mean, watching K-pop.
Henry: Yeah. Emiel: So, if you guys are like, oh, I don't understand how Henry and Emiel don't like this. Well, it's like,
I'd rather listen to this, so. Henry: Dig this, yeah. Emiel: Yeah, dig this.
Henry: Like, it grooves way harder. It's mixed evenly.
There's live horns. Plus, there's sort of like this improvisatory nature to it. Emiel: sssiiiick Henry: Those are things that make music really good.
Especially modern pop music. All my favorite modern pop music has those elements in it. At least two out of the three,
you know? So. Right, cool.
Kevin: Man, I think this is the first time I've ever heard soft brass being used for a more artistic
purpose rather than the fact that oh, the brass is too loud
and we're gonna just tone it down a lot. Cuz that's been a big problem with me with quiet brass.
But here, clearly, they keep most of their timbre--
there's that really brassy timbre, especially the higher and brass instruments. But at the same time, it's mixed
quiet enough that it doesn't ruin the mood of the song. It doesn't become overbearing. So that's definitely one thing the song
really impressed me with.
Isaac: I like her voice.
It goes for a very cute and
childlike
rhythm.
The way she emphasizes like (singing),
it's very short, very much in the background,
so you have to really peer in, but then
later, it's like after the first section and the second one, it's like okay, it's more in the forefront,
so it's more apparent and you can hear everything. And it's just so funny, just putting licks throughout the whole thing.
Kevin: The Lick. Look up look up a video called The Lick. Isaac: The Lick.
Kevin: It should be a bunch of jazz musicians playing a certain... Isaac: The same thing.
Kevin: Yes. And it became a meme in both the classical music and the jazzical music worlds. Isaac: Yeah.
Kevin: Yeah. Isaac: It's so funny once you figure that out, because once you listen to it with that in mind, it's very dominant. Kevin: Mm-hmm.
Isaac: It's just hilarious. Kevin: Did she know the lick? Who knows? Isaac: Did she know?
Or maybe she or maybe it's like, you know, that's the thing: When they did The Lick, they
subconsciously did it. Kevin: Mm-hmm. Isaac: (singing) Kevin: Um-hmm. Isaac: And then it's just like, okay,
whatever.
Kevin: Yeah. Isaac: But then someone labeled it, so like um...
Kevin: Yeah, exactly. Isaac: Maybe she she subconsciously did it. Maybe she was consciously doing it, but... Kevin: Yeah.
Umu: All right, so you'll be comparing 'Everyday' to her song 'Bye Bye Bye', also released on her 'Random' EP. Henry: Bye Bye Bye
Umu: The Latin-inspired 'Bye Bye Bye' or literally translated to "night sea travel" is about a romance that takes place during a trip, and having to say goodbye
when the vacation ends. Fiona: Aww!
Kevin: So long, farewell (singing) Isaac: (singing) Kevin: 5, 4, 3, 2, 1.
Seiji: Again, very Esperanza.
Emiel: Put in seven!
Henry: Oh, my God, that'd be so sick! Emiel: It's just so close.
Both: (singing)
Emiel: Yeah.
Aaron: I love the way that she
emphasizes her lyrics. It's so...
It's so satisfying.
Stephen: I like how the bass...I mean like the melody that they play in the beginning obviously becomes the bass line for the next
section or just like inspires it in some way.
Kevin: Yeah, I do like this song. Isaac: Nice groovin'.
Kevin: Nice. It just raises to a new plane.
Kevin: I really like when music evokes landscapes and stuff. Isaac: Wow.
James: I love her background vocals--the way they slide down.
Henry: It's like it wants to be in seven. Emiel: Like, four plus three, not one bar of seven,
but like every two bars of the four right now, just do four plus three.
Kevin: Oh, the bass continues the riff. Isaac: (singing)
Kevin: Did that happen the first time? I don't even remember.
You can tell where she uses pedal. Very economic.
Aaron: There's also kind of thick piano texture, so.... Fiona; Um-hmm.
Fiona: But her voice is so much higher that it floats above the top.
Aaron: And that's how I think that works for her. Fiona: Um-hmm. Aaron: That were voice is this light, ethereal...
Fiona:Um-hmm.
That's kind of how horn one and two work in music. It's like horn one, it's like,
no matter what, it'll be heard because it's higher, so that's what she's doing.
Stephen: Definitely Brazilian influence though, when you hear the feel.
(singng)
Versus American, like Western pop music, where you accent one and three and then you have the backbeat on two and four.
Like right here in this situation. This is where you hear the low sound. For Brazilian music and Central American music,
it's like, or some of it, it's flipped, so.
Kevin: Harp.
Oh, my God.
Yeah. Isaac: What is a synth? Kevin: Yeah, it's such a good scale.
Isaac: (singing)
Kevin: Let's outline the weirdest notes.
Emiel: Oh, like right here. We're here, we're at like, 305, with just no shred. Henry: I think it's good.
I think it's good. Emiel: Do something! Henry: I would, yeah, it could use an instrumental solo, like...
Emiel: She can't.. I know she can shred.. Henry: We've heard her shred! Emiel: So where is it? This is where you need it.
Emiel: Right here, you got the left hand.
That's dope. Henry: That's cool. Emiel: Yeah.
Fiona: Whoa. There are so many of her voices stacked on top of each other.
Like how...
The guitar is in unison with her, like an octave below. Aaron: Yeah, she's imitating. Fiona; And it sounded like two of her voices.
Stephen: Ohh. Dude, that song leaves me wanting more. Especially that ending. That was...
Seiji: That was really freakin' good. Stephen: Yeah. Dude, oh, when they went to the chorus! Like (singing) Seiji: Yeah. Yeah, yeah, yeah.
And really good effects going on. There were some parts where the choir was going, and they had the uh.. Stephen: Yeah. Seiji: glockenspiel.
Stephen: Yeah. So that was really cool.. I like how it abruptly ended. That made me
surprised, but in a way where I wanted to listen to the song again. So that was cool. Loved the feel.
Seiji: Um-hmm. Stephen: Feel was really good. Like very much a danceable vibe. Seiji: Awesome keyboard stuff going on.
Stephen: Yeah! Seiji: Great piano solo. Stephen: Also really interesting bass line, you know, that she starts off with at the beginning. Seiji: Yeah. Yeah.
Umu: Now, if you had to choose 'Everyday' or 'Bye Bye Bye'?
Stephen: Ohhhh!
Seiji: 'Bye Bye Bye'.
Easy.
'Bye Bye Bye'. I could drive to 'Bye Bye Bye'. Stpehen: Probably, yeah. 'Bye Bye Bye'.
Kevin: All right. A a bit more of a kind of, it's a very pleasant
listen. This is one of those songs where you listen to it
and just kinda, while you're cooking, and just have a great time, you know?
Isaac: Cooking! (singing) Kevin: Yeah, like four minutes, you know, you can argue
It's a little long for this song, but it's so enjoyable.
Some of the songs in this album are a bit more active and other ones are a bit more
relaxed, and I think jazz does have the benefit of being able to
be suitable for both moods, so,
Isaac: Um-hmm. Kevin: I like it. Isaac: There's that reactionary,
almost like an audience crowd. It's like,
you have your call and response, and then
instead of responding the same thing - in most songs, and also classical rap,
It's like you repeat, you repeat, you repeat, the motif - but this is like random sighs, like "aaahhh!", "aaaaaahhh!",
and I think this is such a funny, relaxed feeling,
and it puts your mind at a really peaceful setting.
Emiel: Okay, yeah. This whole song is like a seven clave.
Like, it was...It's like the most clearly defined
sounding seven clave until you literally get to the last beat, and it just gets truncated... Henry: It was a seven four cock tease, that's what we're sayin'!
Emiel: Yeah, it was seriously that close though, like (singing)
Henry: It would have been so cool if, even if just in the intro, it was (singing)
Emiel: It's like an extra beat. Henry: Yeah. (singing)
Both: (singing)
Umu: Well, she does have a song in seven, which you will react to next year.
Emiel: Ahhhh! Henry: Cool. Okay. I have to go and make mac and cheese now. Bye!
Hello eveyone, I'm Umu, React to the K channel creator, and I'd like to thank you for watching this video.
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