Yejung Kim is a trumpeter who is credited on one recording: Tschüss Jazz Era, the 2018 album by the Korean large jazz ensemble Jungsu Choi Tiny Orkester, released by the Dutch label Challenge Records. Very little else about the musician is published. This profile says only what the credits and the press support, and it states plainly what is missing.

The name appears in three spellings. The album's credits as printed by Challenge Records, the band's own website, the Bimhuis concert listing in Amsterdam and the album reviews on Nextbop and All About Jazz all give Yejung Kim. Discogs files the credit as Ye Jung Kim, and the member list on English Wikipedia writes Yeajung Kim. This profile uses the form on the release credits. No Hangul spelling of the name has turned up in any source, so none is given here, and the romanization could stand for more than one Korean name.

The band is led by the composer and arranger Jungsu Choi, who writes and arranges its music. It is described on its website as an experimental large jazz ensemble of Korean musicians: five horns, a cello, a male voice and a four-piece rhythm section. On Tschüss Jazz Era Yejung Kim is the only trumpet player named. The album was recorded at Lead Sound in Seoul on May 10, 2017, and released on January 12, 2018, as Challenge Records CR 73451. It runs about 44 minutes over five tracks: "Stolen Yellow", "Anthropology", "Nach Wien 224", "What If Ellington Didn't Take The 'A' Train?" and "Spain". Discogs lists the same trumpet credit, under the spelling Ye Jung Kim.

Printed lineups for the album do not agree everywhere. Challenge Records' personnel list and Discogs name Minkyu Cha on alto saxophone and Sungil Bae on tenor saxophone, while the liner text on the Challenge page and the Bimhuis listing name Yusun Nam on alto and Hachul Song on tenor. The trumpet credit is the same in every source found.

Before the album came out, the band played in the Netherlands. The Bimhuis, Amsterdam's jazz hall, listed Jungsu Choi Tiny Orkester on Friday, December 29, 2017, in a double bill with the Elliot Galvin Trio as part of the Stranger Than Paranoia festival, and its lineup names Yejung Kim on trumpet.

In Korea the album drew a nomination at the 16th Korean Music Awards in 2019, in the Best Jazz and Crossover Performance category. The nominees were announced on January 29, 2019, and the ceremony took place on February 26, 2019, at the Guro Arts Valley Theater in Seoul. The nomination is the band's, not an individual one. The other nominees in the category were Near East Quartet, the Ko Heean Trio, Soojin Suh and Youngjoo Song. Reviews of the album, on Nextbop and in a March 2018 notice by Randall Radic, praise the arrangements and the energy of the ensemble, but none singles out the trumpet part, so nothing can be said here about Yejung Kim's own playing.

A Seoul Shinmun report of December 2025 on a Jungsu Choi Tiny Orkester concert at Seongsu Art Hall on December 31, 2025, lists 박종상 as the trumpet player, so that report gives no sign of a continuing role.

What is not known is most of a biography. No source gives a birth date, a birthplace, training, a teacher or a current status. Discogs holds this one credit and nothing else under the name; no recording led by Yejung Kim has been found, and there is no Wikipedia, Wikidata or MusicBrainz entry for the person. Nationality is listed as South Korean because a Korean ensemble made the album in Seoul in 2017 and the band was nominated in a Korean award in 2019; no source states birthplace or citizenship. A 2023 Korean press item names a trumpeter 김예중 who led a band at a concert in Yanggu, but nothing connects that person to this credit, so nothing from it is used here.

The only music that can be tied to Yejung Kim is the ensemble's. Tschüss Jazz Era reworks jazz repertoire in Jungsu Choi's arrangements: Charlie Parker's "Anthropology", Chick Corea's "Spain" and a version of Duke Ellington's "Take the 'A' Train" under a new title, alongside two originals, "Stolen Yellow" and "Nach Wien 224". The liner notes, summarized by the label, say Choi wanted to free jazz from labels and that he wrote the five pieces over about three years before the musicians recorded them. Michael Gibbs is quoted there in praise of the arrangements. Dutch broadcaster NPO, as quoted on the band's site, calls it super-structured orchestral jazz.

Nothing found describes the trumpeter's sound, influences or solos, and this section stops there.