Su “Trigger” Shaonan, a 25-year-old jazz pianist from Beijing, has released his debut album, Automatism, a project deeply influenced by his experiences in New York City. The album, which reflects the vibrant yet solitary atmosphere of Times Square at night, was recorded at Bunker Studio with prominent New York jazz musicians, including guitarist Max Light, bassist Colson Jimenez, and drummer Gary Jones III. Su supported the release with tours in Beijing and Shanghai alongside these collaborators.

Automatism’s title, derived from one of Su’s original compositions, suggests themes of automation and routine. However, Su clarifies that the work is a commentary on contemporary life’s impersonal pace, where individuals often move through daily experiences without full awareness. The music defies mechanical association, combining classical influences with jazz improvisation to create pieces that feel spontaneous and human, marked by imperfection and unpredictability.

Su’s journey into jazz was unconventional. Though he began classical piano lessons at seven, he felt constrained by traditional classical music. His early interests were more aligned with modern genres such as game soundtracks, anime music, funk, and jazz. At 17, Su enrolled at the JZ School in Shanghai, a leading institution connected to the JZ Club, a foundational venue in China’s jazz scene. Initially skeptical of jazz’s complexity, he dismissed it as mere background music. However, exposure to live performances during a break from formal study in Beijing transformed his perspective, revealing jazz as a serious art form with rich traditions and creative potential.

Furthering his studies abroad, Su attended the Conservatorium van Amsterdam and later the New School in New York. Each location influenced his development differently: Shanghai provided foundational structure, Amsterdam offered technical refinement though with rigid norms, and New York fostered creative freedom and acceptance of diverse musical expressions. Su describes his New York experience as liberating, allowing intuition to guide his music-making.

Automatism features 12 tracks recorded in six hours, with Su embracing imperfections as part of the album’s honest expression. The pieces draw from a variety of inspirations, including the sensory overload of Times Square in “Neon Phase” and characters from popular culture such as Beth from the TV series The Walking Dead. Other compositions explore themes of longing, transitory encounters, and memories from his time in New York.

While Su remains committed to jazz, his current listening habits extend beyond the genre, incorporating sounds from traditional Chinese instruments like the guqin, as well as unconventional audio sources. He emphasizes the importance of continually discovering new auditory experiences.

Su notes the evolving jazz audience in China, particularly among younger generations who possess broader musical sensibilities. He views Automatism as a contribution to the ongoing development of jazz in China, representing a personal moment in his artistic growth. He rejects rigid definitions of how jazz should be performed, instead advocating for the genre as a dynamic and evolving conversation shaped by individual players and contexts.

American jazz pianist Aaron Parks praised Su’s work, stating that it brings vitality to China’s jazz scene. For Su, Automatism stands as a milestone, a testament to jazz’s essence not as perfection but as engaged presence.