When listening to and watching John Lee perform, there are qualities that you consistently hear and see. Lee exudes an unerring sense for swing, shows an instinct for knowing when to play intricate lines or an economy of notes, and above all, radiates deep joy. All of these things, and more, have been ever-present as he’s become a go-to player in Vancouver’s jazz scene. They’re also front and center on Lee’s exceptional debut recording as a leader, The Artist.

One of the thoughts that comes immediately to mind when hearing Lee live and on his first album is that he has prodigious talent. While that’s abundantly clear, Lee has had a passion for jazz – and work ethic for learning its intricacies – from a young age. From studying at the Berklee College of Music in Boston (and graduating in 2016), to establishing himself as a prominent jazz musician first in Victoria on Vancouver Island and then in Vancouver, he’s put in the heavy lifting and self-reflection to prepare for making The Artist.

Then there’s his uncanny ability as a multi-instrumentalist. Lee performs at a high level on double bass, drums, piano and organ, and guitar. What’s important to acknowledge: when playing any of his instruments, Lee laser focuses on the specific task at hand with a fully engaged presence that empathically supports the other players and enables him to shine. That’s exactly what he does on his debut.

When the moment arrived to envisage The Artist, Lee knew he wanted to play just one instrument. The hard part was figuring out which one. “I’ve never considered any instrument to be my main instrument, so it was very difficult to choose what I would play on my first record,” says Lee. He turned to saxophonist Cory Weeds, one of his primary mentors, for advice. “I just thought it was a bold move to have your first record as a leader be a bass record,” says Weeds. Lee liked the idea, and embraced big thinking: having outstanding musicians – pianist Eric Reed, drummer Carl Allen, and Weeds – on the album.

The recording was delayed more than a year because of the COVID-19 pandemic. After it was rescheduled for October 2021, at the eleventh hour, a flight cancellation and COVID restrictions prevented Knoxville-based Reed from travelling to Vancouver for two performances, a clinic, and the recording session with Lee and the band. After getting over the disappointment of suddenly not being able to play with Reed, Lee moved forward and welcomed the sublime Miles Black as a much more than able sub.

Right from the first piece, “Soul Leo”, the affinity between Lee and Allen is evident. They lay down a soulful groove on Mulgrew Miller’s tune. “The bass-drums hookup is a very special and unique thing,” says Weeds. “As soon as John and Carl started playing you could just tell instantly, ‘This is going to work.’” Playing with Allen “was a dream come true for me,” says Lee. “I’ve known his work for a long time, and to hear it and feel it right in front of me was a real moment for me.”

Allen played “Carl’s Blues” with the song’s composer, Benny Green, and it’s the kind of hard-swinging tune that Lee relishes. So it was a natural choice to include it on The Artist. Black improvises with an Oscar Peterson-like dexterity and intensity. “You know when you have Miles on a project, your music will be uplifted,” says Lee. “His playing that day in the studio was moving. He played with grace and dignity.” Allen also delivers a robust solo.

Lee and the band interpret “Softly As In A Morning Sunrise” with a strikingly distinctive approach. They start the standard slowly and quietly, segue into invigorating swing, then return to affecting tranquility at the end. The cohesion throughout the unique arrangement exemplifies how Lee and the band quickly developed a rapport despite challenging circumstances. “The musicians I chose to play with me all understand where I am coming from musically, and not much had to be worked out in the studio. We just went in and swung our asses off!”

On one of two originals by Lee on the album, “Life is a Beautiful Thing”, the bassist plays the ballad’s exquisite melody with a light touch that evokes meaning. The song represents his “gratitude towards life over the last 10 years of my adulthood. Although there has been many hardships, I learn so much about who I am every day trying to look at life from a positive angle. I tried to put all of that into a melody.”

The other song Lee composed – the title track “The Artist” – is a medium tempo gem. It’s an ideal canvas for Black, Lee, and Allen to deliver satiating solos. The bassist’s agile improv resonates especially sweetly. Lee, who was born in Seoul, South Korea, dedicated the tune to his father Jae – “the best artist I’ve ever had the pleasure to know.” Jae passed away from pancreatic cancer in 2014. “He was such an important figure in my life and I miss him dearly every day.”

The gorgeous “Fabienne” by the great Swiss alto saxophonist George Robert, who passed away (also from cancer) in 2016, was a composition Weeds and Lee did when they first started playing together. Weeds, who had a close friendship with Robert, affirms his gift for emotively playing ballads with a stirring tenor sax performance. “Cory’s playing for me is home,” says Lee. “It’s so familiar and I know it well. As usual, his performance in the studio that day [on three of the album’s eight songs] was inspiring.”

As for Lee’s bass playing, throughout The Artist the 28-year-old conveys a wisdom and musicality that’s far beyond his years. He’s absorbed primary influences like Christian McBride and Ray Brown and is already delineating his personal voice on the instrument. It’s a beautiful beginning for Lee’s career as an instrumentally versatile recording artist, setting the tone for further profound expression to come.

- Chris Wong