EJ Park (full name EunJung Park; no Hangul spelling has turned up in any source) is a jazz singer and pianist who was born in Gwangju, South Korea, trained there and in the Korean jazz scene, and has lived and worked in Philadelphia since 2011. Her Korean basis is real but short and early: it covers her schooling and her first years as a jazz singer, up to the move abroad. Everything since then, including her only known album, All Because of You (2019), belongs to Philadelphia. She is a Korea-born, Korea-trained artist whose career is abroad, and this profile says plainly how little of that career is documented.

The sources are thin: an All About Jazz musician biography that reads as artist-supplied, a 2014 All About Jazz profile by Victor L. Schermer, and a 2019 Broad Street Review column. Streaming catalogues add the album's track list and composer credits. There is no Wikipedia, Wikidata, MusicBrainz or Discogs entry for her, and no Korean press coverage turned up. No birth date is published. Schermer wrote that she was born three years after the 1980 uprising in her home city, which would make the year about 1983, but that is his phrasing, not a stated date.

According to the All About Jazz biography, her parents loved music and kept the house full of it, and she began piano lessons at five after a preschool teacher noticed her picking out melodies. She studied classical repertoire, played in church and followed her parents' wish that she become a classical pianist. When she began to want to study voice, the arrangement was that serious vocal training would wait until after university. She went to Chonnam National University as a piano major (the biography spells it Cheonnam, and Schermer writes Jeonnam), and found there that she did not want to play composed music perfectly so much as express herself freely. Schermer adds that she saw a Black American jazz singer on Korean television and knew from then that she wanted to sing, and he names that singer as Cassandra Wilson. He says she finished her piano degree at her mother's urging and then sought advice from the Korean jazz singer Malo, who suggested the Dong-Ah Institute of Media and Arts (DIMA). The singer he means is presumably Malo, the Seoul vocalist profiled on JazzProfiles.com, but the article does not give her full name, so that identification is an inference.

At DIMA she met jazz and, in 2008, began to study jazz singing in earnest. The biography says she performed at well-known Korean jazz venues and in concerts of both jazz and gospel music, became the leader and arranger of Da Capo, a jazz vocal a cappella group, and taught voice at the Entertainment Management Academy. Schermer says her teacher at that stage was the avant-garde vocalist Sunny Kim, who had sung with Roswell Rudd, and that Kim encouraged her to study in the United States and helped her through the assessment for it. That teaching link comes from Schermer's article alone. Sunny Kim's profile lists adjunct teaching at Dong-Ah from 2008 to 2012, which fits, but no other source confirms the connection.

In 2011 she moved to The University of the Arts in Philadelphia and received a Master of Music in Jazz Studies in 2013. Her listed teachers there were John Swana, Justin Binek, Michael Dawson, J. Michael Harrison and Don Glanden, in voice, piano, arranging, composition, improvisation, pedagogy and music journalism. Schermer, writing in April 2014, said she had been hired as adjunct vocal faculty straight after the degree, had played more than eighty club dates, had toured with leading Korean gospel ensembles and sang with Glanden's trio at venues in Delaware, Atlantic City and Philadelphia. By March 2019 the Broad Street Review described her as performing frequently in clubs and concerts, including one at the Democratic National Convention, and as a member of the voice and piano faculty. The University of the Arts closed in June 2024, so that post no longer exists, and no source found says where she teaches now.

Her debut recording, All Because of You, came out on February 14, 2019, with the copyright line "2019 EJ Park" and no label named. Apple Music lists eleven tracks running about 52 minutes. Its composer credits give seven pieces to Glanden, credited under his full name William Donald Glanden, and four to EunJung Park herself. The Broad Street Review says the originals were written by Park, by Suzanne Cloud of the Philadelphia organization Jazz Bridge, and by Glanden, and that Glanden co-produced the record, which it describes as the combination of her singing and his playing. No personnel list, label, recording date or studio has been found beyond that, and nothing on the album is credited to Cloud on the streaming listing.

Her current status is not documented. The latest source found is dated 2019, and none gives a date of death, so she is presumed to be living and active in Philadelphia, but that rests on silence. Citizenship is not stated anywhere; the Nationality field reflects her Korean birth and upbringing.

Schermer describes a minimalist approach: she stays close to the written tune and lets the lyric and the nuance carry it, as he hears Billie Holiday and Shirley Horn doing, instead of building a performance out of scat and variation. He praises her slow, extended ballad phrasing in "Good Morning Heartache" and "My Funny Valentine", where she accompanies herself on piano, and says her comping on that song recalls Bill Evans, one of her favorite pianists. He also names Paul Desmond among her favorite instrumentalists, and says her swing and bossa nova work on "Bye Bye Blackbird" and "You Don't Know What Love Is" shows control of the idiom.

Her teachers' comments on the All About Jazz page point the same way and range wider: Justin Binek says she moves between bluesy ballads, bebop, bossa novas and wordless instrumental jazz and is an unusually good scat singer; Don Glanden calls her a ballad singer in the tradition of Horn and Holiday who also improvises like a horn player and writes inventive tunes. These are the words of her teachers and collaborators, printed on her own artist page, so they are context and not independent criticism. The one independent review, in the Broad Street Review, calls her tone clear and free of cliche and says her inventions are her own.