When Katherine Kyu Hyeon Lim and Joey Chang joined forces to create the Muzosyth Orchestra (TMO) in 2019, it was a natural progression of the friendships and creative collaborations they had cultivated with other artists. TMO began by creating performances centered around improvisation, and the group has since grown from just six musicians to an eclectic mix of Black, Brown, and Asian musicians, dancers, actors, and visual artists based in New York City. Their debut album, Muzosynth Orchestra: Vol. 1 (Feb. 21, self release) is a testament to serendipity; all ten tracks were recorded extemporaneously with no prior discussion on the direction of the performance, yet there is always a sense of cohesion in the music.
For the Muzosynth Orchestra, improvisation is more than a performance medium. With this project, they aim to position improvisation as a tool for artists of color to express themselves freely and push boundaries both musically, and in the social and political causes that they stand for.
In addition to founders Lim (violin/fx) and Chang (piano), the album features a cast of accomplished musicians: Adrienne Baker (flute/fx), Jared Beckstead-Craan (double bassist), Joy Guidry (bassoon/voice/electronics), Kengchakaj Kengkarnka (electronics), Scott Li (violin/electronics), Cleo Reed (voice/electronics), Kobi Trenchfoot (drums), and Brad Walrond (voice). While the ensemble did not discuss musical themes before recording, their shared values of liberation for all Black, Brown, Indigenous, queer, and trans communities is the unifying vision here.
Throughout the album, the ensemble evokes vivid imagery and themes, and the influence of jazz is prominent on a few tracks. “At First When I Appeared,” a laid back tune with romantic flourishes, could very well be a mainstay in any jazz lounge that doesn’t mind a bit of an edge. The instrumentation is more varied than what you’d traditionally see in this setting (two violins, flute, piano, drums, and double bass), which allows the track to peel away from predictability.
The subtle, wobbly electronics that close out the piece give it a sci-fi-esque undertone. Another jazzy work, “Crackling Rice,” features the standard piano, double bass, and drumset instrumentation and is much more overtly spontaneous. Chang rips through the piano keyboard indiscriminately while Trenchfoot offers cymbal-forward accompaniment and Beckstead-Craan alternates between buzzy pizzicato and an understated bassline.
Katherine Kyu Hyeon Lim and Joey Chang — Photo by Jesse L. Kearse IV
“Clockwork MGT” is a bit of a curveball, imbuing the middle of the album with a cryptic spookiness that isn’t present on the other tracks. This is the most prominent use of vocals on the record, with maniacal laughter, deadpan calls, and a humming crowd of voices all intermingling with the repeated refrains “see how easy” and “find yourself some trouble.” But the darkness of a looping violin motif in the lower register is something that carries over to other tracks like “Framedoodle.” Here, a frantic, noodling piano accompanies Lim’s harsh and biting violin that ascends to a soaring, heroic melody before settling into a tranquil ending.
There’s a side of the album that feels rooted in peace and clarity, as well. “Serenity Hour” is expectedly meditative and tender, and “Whale Dreams” precisely captures the glint of the sun hitting the ocean waves. Baker’s flute is airy and free, sweeping over twinkling violin and double bass harmonics. The breathiness of the melody dwindles until all that’s left is the sound of a breeze.
The album’s closer, “In the End,” also evokes vivid imagery, this time of a rainforest bustling with life. The instrumentation — flute, double bass, piano, two violins, and drumset — allows for a rich tapestry of sound; the brushes on the snare drum rustle like plants in the wind, while the constant flutter of the flute and chirping of the violins mimic wildlife skittering by.
At the core of the ensemble, the Muzosynth Orchestra is a place where relationships between like-minded people are cultivated and allowed to thrive. What began as a small jam session is now a collective of artists aligned in their practice, creating fresh and innovative work. The benefit of connecting as artists and people is apparent throughout this improvisatory project, with cohesive individual tracks and a strong overall arc.
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