Photo by Emra Islek
New York Music Daily - Review of Comfort Girl at Joe’s Pub - 2019
McDonald’s APA Legacy Public Service Campaign - Asian Pacific Islander American Heritage Month - 2019
New York Music Daily - Review of Asymptote - 2019
Comfort Girl Press Release (English) - 2019
New York Music Daily - Review of Lincoln Center performance - 2018
ZealNYC Jazz Notes Intel - Review of Lincoln Center performance - 2018
Lincoln Center "The Score" Interview and Article - 2018
Global Music Awards - Silver Medal - Dec 2017
All About Jazz Download of the Day - 2017
Queens Public TV - Segment from Global Mashups at Flushing Town Hall - 2017 - TV
Columbia College Today article - 2017
American Composers Forum Article - 2017
Sinovision English - TV segment and interview - 2017 - TV
Beyond Chinatown Article - 2017
Spotlight in Taiwanese American Professionals - 2017
Chinamerica Radio Station - interview - 2017 (scroll to 4/9/17 airdate) - AUDIO
Rivertowns Enterprise Article - 2017
Sinovision - feature TV segment and interview on Asymptote (Chinese)- 2017 - TV
World Journal - Asymptote (Chinese) - 2016
Columbia University Music Department - Asymptote - 2016
Asymptote Press Release (English) - 2016 Asymptote Press Release (Chinese) - 2016
Jerome Fund for New Music (JFund) 2016 Awardee - American Composers Forum
China Institute - Asymptote Release Concert at Joe's Pub - 2016
Summer on the Hudson - Make Some Noise Festival - 2016
Premiere of “C for G Ballet” at Goucher College in Maryland - 2012
Sinovision - feature segment from Prime Knot release concert - 2011 (Chinese) - TV
World Journal - Chinese Press Release - 2011 Columbia Spectator Article - 2011
One of New York’s most socially relevant and ambitious jazz talents...””A Mighty, Harrowing New Suite... a phanstasmagorical song cycle...””What was most striking about the show was not only Chou’s ability to shift between musical styles, but her prowess as a lyricist.
What makes Stephanie Chou’s music so much more interesting than most jazz these days? It’s a lot more tuneful, it’s often very playful, draws frequently on Chinese themes from over the centuries, and Chou isn’t afraid to take all this and rock out sometimes.””She’s a double threat, on the horn and the mic: she has a bright, edgy tone on the alto sax and sings in a soulful mezzo-soprano in both English and Chinese...””It’s a shock this album has slipped so far under the radar up to now.
Chou is a strong singer with an unadorned mezzo-soprano, a strong saxophonist and a brilliantly individualistic composer who’s shifting the paradigm, blending Chinese themes from over the centuries with jazz, classical and more than a little rock in places... Her music is relevant, and lyrical, and amazingly eclectic...””...Penelope, a haunting, crescendoing backbeat rock ballad fueled by Lin’s aching viola and a spiraling, smoky sax solo. It would have been a huge radio hit for an artsy band like the Alan Parsons Project thirty years ago.””Making Tofu ... a moody jazz waltz with a gorgeous, sternly crescendoing meteor shower of a piano solo and ominously modal sax work. Who knew so much energy was required to make those innocuous little cubes!
…she [Chou] hit upon a novel expression for her sax—and her vocals—by embracing her Chinese heritage and using its musical folk and pop legacy to create a unique blend of traditional Chinese, classical and jazz. She showcased this superbly at Lincoln Center’s David Rubenstein Atrium on Thursday, March 8 to a full house.” “With her exquisite arrangements, she [Chou] led her quartet, including the standout of the evening string and erhu player Andy Lin…on a rousing and lyrical set focused on her impressive album Asymptote.” “What was so remarkable about Chou’s performance was its tasty diversity of styles....
Stephanie Chou is a genuine triple-threat in the music business. A multi-instrumentalist, she plays alto saxophone and piano at the level of virtuosity, and also sings in an expressive, highly personable manner with a wide range. Chou’s work challenges expectations and defies categorization, but its brilliance in terms of conceptualization and performance makes the music compelling and wholly enjoyable listening. The emotions in her soundscapes are real threads of the human drama.Simply exquisite, the instrumentalists and Chou’s vocals [are] placed perfectly in the arrangements to create an unmistakable mood.
Steph Chou’s Prime Knot is as impressive a musical debut as it is intellectually challenging - a project born from the notion that the pristine beauty of pure mathematics (Chou’s primary area of study at Columbia University) can reflect and inform the immutability of musical inspiration. Using a simple Chinese melody as a recurring theme, Chou constructs an album packed with smart, hip arrangements, played with lively precision and marked confidence. It says a lot that she was to recruit such a talented group of players to help her bring her music to life - pianist Jeremy Siskind, trumpeter Marcus Printup, and drummer Ronen Itzik especially. It says even more that Prime Knot is her first effort - an unlikely treasure from a relative unknown that can stand next to most recent jazz releases.