HK Magazine: Have you always been good at music? Hanjin : Well, my Year 1 music teacher wrote in my report card, “Hanjin is good at music, but does not have a good voice.” And when I was 15, my piano teacher told me to “forget about piano” because I was so bad at sight-reading. Oh, and did you know, I am clinically confirmed deaf 50 percent in the right ear, 75 percent in the left? HK: How do you deal with that, considering your occupation? Hanjin : During mixing, I have to “confuse” myself and align the music to the right by five to 10 degrees. I think I’m even deafer now... I’m kind of scared to get another checkup. HK: Were you planning a career in music then? Hanjin : Not really. I was an economics major, and I wanted to be a psychiatrist and help children learn faster. HK: How did you get into the industry then? Hanjin : When I was 22, Stephen Fock asked me if I wanted to write for Jacky Cheung. I was like, OK. And then Eason Chan called and said, “Do you want to do an album for me?” I do believe working with those two Cantopop artists has made my breakthrough much easier. HK: Are you one of those jazz cats who’s forced to do pop for a living, and now going back to your one true love, forced by your muse to record a jazz album? Hanjin : No, I was so afraid of jazz. Those jazz monsters are nuts! But after a long day of recording, and my pianist friend Jason Cheng asked if I wanted to go down to Gecko to jam. I was like, OK. And I went down and I loved it so much! It was so organic. So I just proposed to them, “Hey, let’s make a jazz album! " HK: What did you take back from this project? Hanjin : I guess I took home... bravery. HK: Do you like recording or performing more? Hanjin : I love both. Performing is the reactive part of me, but recording is an art form on its own. It’s how I learn about music. I do want to keep on making albums, either for clients or myself. I’m thinking of a bangin’ rock album next.