Jazz in South Korea is a growing niche, constantly seeking space and recognition alongside giants such as K-pop and hip-hop. Behind this apparent minority, however, there is a surprising creative ferment: musicians who blend traditional and contemporary sounds, keeping the spirit of improvisation alive.
We talked about this and much more with Standard1 (stage name of Jake Woo), a Korean jazz musician who guided us through an in-depth reflection on the state of the genre in the country, its boundaries, and the need for cross-pollination in order to evolve. The conversation also touched on his admiration for Italy, his advice to young musicians, and previews of his new album.
1. How would you describe the jazz scene in South Korea today, in terms of community, venues, audience and creative energy? What are its unique traits or challenges?
The Korean jazz scene is growing rapidly. However, it’s still small in popularity compared to K-pop. As the number of jazz enthusiasts grows, the number of concert halls, jazz bars, and clubs is increasing, and audiences are steadily expanding.
Because jazz is characterized by live performances, the energy of live jazz is incredibly appealing. However, due to its genre nature, it can be difficult to easily reach. Therefore, I believe it’s crucial to effectively mix and integrate genres to promote and reach a wider audience. Whether we pursue traditional jazz, fusion jazz, or incorporate pop music, each artist will need to decide based on their own unique style.
While Standard One’s live music is based on jazz and soul music, our overall direction, including albums and recordings, is not limited to any one genre. We plan to present new music by harmoniously blending jazz and K-pop.
2. With genres like K-pop, hip-hop and indie dominating the Korean music industry, what are the specific challenges a jazz musician faces in gaining recognition and space in Korea?
People often talk about market or genre limitations, but I think a little differently. I believe that if a musician possesses a unique spectrum, charm, attitude, and open mind and they can thrive regardless of genre.
Of course, because public preferences vary, musicians face challenges that need to be addressed. Furthermore, it would be even better if the music market as a whole expanded through diverse genres.
3. We’ve seen companies like SM Entertainment experiment with jazz through projects like the SM Jazz Trio. Do you think there’s real potential for original jazz to grow within the Korean entertainment system, beyond seasonal or rearrangement formats?
There are many excellent jazz musicians who continue to pursue and grow in authentic jazz. They are skilled and talented. And even the major labels you mentioned are making small attempts.
However, the era of strictly categorizing music as original or non-original, or defining what is jazz or not, is over.
While we should stick to authentic jazz, we should also embrace a wider range of genres with the advent of crossover and a new hybrid era, where genres are fused together. I believe it’s wise for musicians to pursue their music with this mindset, and I believe it will lead to greater opportunities.
4. Looking ahead, how do you see jazz evolving in Korean culture? Could it thrive through collaborations, film scores or other creative formats outside the mainstream?
Music is a huge part of culture. As culture grows, so does music.. Collaboration, growing alongside film, drama, and the mainstream industry, is crucial. Diversity will be recognized even within indie and non-mainstream cultures, and a dedicated fan base will emerge.
No music has been mainstream from the start. And because jazz music relies heavily on live performance and improvisation, it is likely to become an influential force for music fans who crave live performances and performances.
5. Some of your music has been featured in dramas, even if not as part of the official OST. What was it like to hear your work in a narrative context like that? Do you ever imagine cinematic or visual scenes while composing? And does the possibility of your music being used in film or television influence the way you write or produce your pieces?
Unless it’s a commissioned song, I don’t necessarily create it with a specific scene or broadcast in mind. However, I always find inspiration in movies, dramas, travel, and my own personal experiences when creating songs. This time, for “Bunny and her boys,” it was a song I’d previously composed that was used as background music for two scenes. It felt even better when it was used alongside scenes featuring great actors.
6. Do you draw inspiration from outside jazz — such as literature, visual arts or film?
Yes, of course. Rather than simply listening to a single genre of jazz, I listen, see, and feel a variety of music. Being confined to a single genre can lead to narrow-minded music. That’s why I draw inspiration from diverse experiences.
7. Which jazz musicians, whether classic or contemporary, have influenced you the most?
Musicians that have inspired me are Sammy Davis Jr., Dean Martin, Frank Sinatra, Harry Connick Jr., Al Jarreau, Bing Crosby, and many others.
Producers include Quincy Jones, David Foster, Babyface, D’Angelo, and Sergio Mendes. I am particularly influenced by jazz, soul, and R&B music.
8. During your travels in Italy, you’ve drawn inspiration from the local atmosphere, as we hear in pieces like Valenza and Venice Calle. Along the way, did you notice any differences in how jazz is received or experienced by Korean audiences compared to European or Italian ones?
Yes, while traveling and experiencing Italy, I wrote songs that were as real as they were, without embellishment. I believe that if you express your sincerity through music, listeners will find the same connection, regardless of nationality. Whether in Korea or Italy.
And I think Korean listeners also found interest in songs about Italian regions. I feel rewarded and happy that I’ve connected my two favorite countries, Korea and Italy, through music.
9. What are you working on right now? Any new albums, collaborations or performances on the horizon?
We’re currently working on a new album. If you wait a little longer, you’ll probably listen to some new songs. We’re also planning a performance in a new venue. We plan to meet you in more diverse ways this year.
10. What advice would you give to a young artist who wants to dive into jazz today?
We welcome your participation in the jazz music industry and your continued growth. However, don’t expect too much from the start, put in too much effort, and then give up. I believe that if you have fun and try many different things, you’ll achieve great results.
11. Lastly, are there any Korean jazz musicians — from the past or present — you’d recommend our readers check out?
If I recommend a good Korean jazz album to my readers, I would recommend Na Yoon-sun’s first album, Reflet.
Jazz in South Korea is not just a musical genre, but a cultural conversation that combines global influences and local identity. Artists such as Standard1 demonstrate that the encounter between jazz and genres such as K-pop does not represent a loss of authenticity, but a real opportunity to evolve the scene, expand its boundaries, and win over new listeners.
Moksori Magazine 
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