Review: Rodney Marsalis, Cantus, and Stephanie Chou Played Wonderfully at Jazz at Lincoln Center

January 10 saw a triple-billed concert at Lincoln Center, and all three acts were quite different yet all were delightful. The Appel Room at Jazz at Lincoln Center provided a marvelous backdrop to all three bands, with an all-glass wall behind the stage providing a dramatic view of the city in the evening that only heightened the performances themselves.

The first set of the concert was by singer-saxophonist-composer Stephanie Chou. Her work draws upon jazz, Chinese classical music, Chinese popular music, and a variety of other influences. All these inspirations were brought out during the 30-minute set, as was Chou’s virtuosity that makes her style all her own. One tune, called "Eating Grapes," was quite a memorable moment – the tune is based on Chou’s repetition of a Mandarin tongue twister, with Chou’s performance dialing up and down in speed and intensity wonderfully. Drummer Ronen Itzik provided the main musical accompaniment for the number, and he played some excellent fills. "In The Moon You’ll See My Heart" was another excellent performance, with lyrics translated by Chou herself. She sang beautifully on the number, making it a real highlight of the set.

The second part of the show was a set from Cantus, an eight-member all-male vocal ensemble. The group, who perform without a conductor, exclusively consists of low voices: tenors, baritones, and basses. The result is a very unique sound, one the group took in several directions. For tunes such as "El Manisero (The Peanut Vendor)" and "There’s a Meetin’ Here Tonight," the group struck an upbeat tone. "El Manisero" in particular was a well-arranged number, with catchy harmonies and great energy. By contrast, they slowed things down for "Bésame Mucho," the famous Spanish-language standard. The song is usually sung solo, but Cantus’ ensemble arrangement of the classic number was able to amplify the emotional intensity of the song wonderfully. "Finlandia" was another highlight of the set, with the group’s low vocal ranges lending a real gravitas to the performance, made all the more unique by the acapella adaptation.

The third section of the show was The Rodney Marsalis Philadelphia Big Brass Band. The eight-piece band performed an eclectic set, showcasing their talents throughout. From "Virgen de la Macarena" to Elvis, every member played beautifully. 

As always, Marsalis’ trumpet playing was superb. His solos in particular were a feat to hear – sometimes it felt as though they were songs unto themselves, with defineable movements to them. The group’s charisma on stage was evident as well, from a recurring bit of crowd interaction by french hornist Blair Hamrick that got a big laugh to the band’s banter between songs. Marsalis himself even went through a wardrobe change at one point, disappearing offstage and reappearing in a dazzling gold suit. 

The band chose to end their set on a mashup (of sorts) between "When the Saints Go Marching In" (to honor Marsalis’ hometown of New Orleans) and Handel’s "Messiah." It was an innovative decision on the band’s part, one they pulled off masterfully. The melodies blended together impressively well given how different their emotional centers are, and that is a testament to the band’s skill and arrangement.

Overall, all three bands played lovely sets in their respective styles. It’s not often that such different groups play on the same bill, and it’s to the credit of each that none felt out of place. Each one brought their distinctive stylings, maintaining the energetic atmosphere throughout.

Learn more about the artists on their websites at stephaniechoumusic.com, cantussings.org and www.rmpbb.com