"Wellspring presents the arrival of a powerful new voice in creative music, unrelenting in passion and invention, while always transmitting a deeply empathic grace. Masterful composer-improviser DoYeon Kim is an unparalleled practitioner of the Korean gayageum (a silk-string zither), and is also in possession of a purposeful vocal intensity. This is her debut album as a bandleader, featuring fellow master musicians Tyshawn Sorey (drums), Mat Maneri (viola), Henry Fraser (bass).

Armed with an unlikely traditional instrument, flanked by three extraordinary improvisers, radiating a brash, acoustic strategy that simultaneously invokes folk universalism and a No Wave battle-stance, the Brooklyn-based virtuoso will drop a volcanic sonic statement with grand humanist goals on May 1. Kim mingles Korean lullabies, fervent interactions between drums and strings, and pure instrumental expressions of musical self. At times, she sounds like she can halt armies. Wellspring is a call for society to come together.

How the Seoul, South Korea-born 34-year-old came to be the centuries-old zither's leading -and perhaps only- practitioner of contemporary improvised music, reflects an expansive embrace of her own culture, her place in modern society, and her ascending recognition of music's liberatory power.

>>> DoYeon Kim will be presenting her work this year at Big Ears in March; Vision Festival & Solar Myth in June; Angel City Jazz Festival, Earshot Jazz Festival, and additional west coast US appearances in October; with more dates in both the US and Europe to follow. >>>

DoYeon Kim's teachers at Seoul National University recognized that her roving musical mind-less interested in ancient repertoire than in speaking to the modern world-needed challenges. America beckoned, with the New England Conservatory offering a non-ethnomusicological pathway via its Contemporary Improvisation department. It set off a process of analyzing, absorbing, digesting, and, most of all, listening. Under the guidance of NEC instructor and legendary guitarist Joe Morris, in came the methodologies of Ornette, Braxton and Derek Bailey, to name a few. The turn initiated a still-evolving relationship to playing: "Music is way bigger than me," Kim says. "After the pandemic, I was no longer interested in talking about me. I wanted to find the reason I was born in this era, and how I can contribute to society."

Mixing her voice with the gayageum's dynamics gave Kim's performances a previously unforeseen power. Kim recognized how such elements echoed the Korean pansori tradition of musical storytelling. The discovery coincided with her increased desire to share narratives, while Kim's delivery created an unforeseen sonic dynamic that suddenly made aspects of her work harken to the post-punk-influenced sound of late-1970s and '80s Downtown NYC.

Kim has released works alongside Joe Morris and Brandon Lopez. Her 2017 duo album GaPi with Chase Morrin garnered a Korean Grammy nomination. And she's shared stages with Kris Davis, Cooper-Moore and John Hébert, among many others. Now, Wellspring, is the recorded culmination of her growth period. It is a rumbling record, with wall-to-wall big sounds, all Kim compositions or group improvisations, built on immediacy and gusto."-TAO Forms

Morris was a key teacher of DoYeon's at NEC (New England Conservatory of Music), where DoYeon was the first student admitted on a non-ethnomusicological program for gayageum. This release was made toward a duo concert in Seoul. It is a very deep work indeed, displaying each of their improvisational & instrumental prowess in full. We reached out to Joe to see if he had any copies left of this ltd beauty; thankfully he did!

Joe Morris also offered these words when he sent them:

"DoYeon and I worked together for 3 years at NEC. As with all of my students she played Ayler, Ornette, Dolphy, Cecil, Sun Ra, Braxton and worked on the methodologies of all of that and also that of Derek Bailey, Evan Parker, and Barry Guy, to name a few.

We did lessons for years. We played using those methodologies and it became a very good collaboration. I was concerned that she was happy going that far with her playing (because when I first met her she had never played free music and was a classical virtuoso trained in Korean Music) and she repeatedly told me that she felt it "opened up the universe."

We made the recording and released it quickly because she had arranged for us to play in Seoul. We also did 2 workshops at universities there. I talked and she translated and we played a duo concert.

In Korea, like at NEC, I could see the way people respected DoYeon. She's brilliant, a true soul and virtuoso who can do anything, and a tremendously focused performer."