A Rare City Park Show and a Mighty, Harrowing New Suite From Stephanie Chou
For the last couple of years, Barnard College has staged an amazingly eclectic, entertaining annual concert under the trees in the crabapple grove in Riverside Park just north of 91st Street. This years’s festival is this Satruday night, May 18, starting at 5 PM with one of New York’s most socially relevant and ambitious jazz talents, alto saxophonist/singer Stephanie Chou. This time out she’ll be leading a trio with pianist Jason Yeager and drummer Ronen Itzik Other acts on the bill include the Bacchantae, Barnard College’s all-female a cappella group, ferociously dynamic, tuneful, female-fronted power trio Castle Black, and the Educadorian-flavored Luz Pinos Band
Chou’s latest larger-scale project is titled Comfort Girl. It’s a harrowing, phanstasmagorical song cycle based on the terrors faced by the over two hundred thousand women who were forced into sexual slavery during the Japanese occupation of China during World War II. Some of those women were raped thousands of times. To add insult to injury, when those who survived were able to return home after the Japanese retreat, many of them were shunned. Chou debuted it at Joe’s Pub at the end of March. What was most striking about the show was not only Chou’s ability to shift between musical styles, but her prowess as a lyricist.
A flurry from Kenny Wollesen’s drums signaled the intro to the jaunty march Manchurian Girl, a late 30s Chinese pop hit. The lyrics are innocuous: a young woman waiting for her boo to return home so she can tie the knot. Chou sang it with more than a hint of foreshadowing, the music rising to a shivery tightness, Andy Lin’s vibrato-tinged violin over his sister Kelly Lin’s emphatic piano.
Narrator Peregrine Heard continued the story; girl meets boy and everything seems rosy in the countryside, echoed by a sax-violin duet that began coyly and then took on a swirling, triumphantly pulsing tone which turned wary and enigmatic as the two diverged harmonically.
The violinist switched to the even more shivery, plaintive-toned erhu fiddle for a Chinese parlor-pop ballad of sorts, Forever I Will Sing Your Song, crooner Orville Mendoza’s anticipatory drama contasting with Chou’s more demure delivery. The music grew suddenly chaotic as Japanese soldiers crushed the wedding ceremony, knocking out the groom and tearing his bride away.
Surrealistic piano glimmer over Wollesen’s noir percussion ambience supplied the backdrop for Chou’s wounded vocals in Shattered. Mendoze sang the pretty straight-up, determined piano rock ballad after that, the groom determined to get his beloved back. Meanwhile, she’s being paraded through one of the Japanese rape camps – the euphemistically named “Jade Star Hotel” – along with a group of captives. The piece’s simple military chorus was as chilling as any moment through the show, as was the haunting, phamtasmagorical waltz after that; “No name,, no hope: No life”
The young woman was thrown into a a cell, got a new Japanese name, and with a portentous crescendo and diabolical flickers from the violin, the music became a horror film score, It would have been historically accurate for the music to remain a morass of atonalities and cruel slashes punctuated by brief, mournful stillness, but Chou went deeper, with an aptly aching, Chinese-language ballad, her narravor terrified that her husband-to-be will reject her after all she’s had to suffer.
A coldly circling interlude captured the soldiers in line waiting for their turn with the “military provisions,” as the women were called. “We can do whatever we want to do,” Mendoza’s narrator sniffeed. A haunting, Pink Floyd-tinged interlude depicted her fiance giving up his search, miles away; Chou’s heroine remained defiant through a vindictive, venomous English-language anthem.
A spare, bucolic folk song – the kind the women would sing to remind each other of home – was next on the bil, followed by an anxious but undeterred ballad sung by Mendoza. Kelly Lin’s plaintive Debussy-esque crescendos lit up the number after that.
Flourishes from violin and sax underscored the young woman’s determination to beat the odds and survive, via a variation on the earlier, soul-tnnged revenge anthem. Unlike most of her fellow captives, this woman was able to escape, the piano driving a deliciously redemptive theme. And although her future husband realizes at the end that as she makes is back to her old village, “There’s still someone in there,”most of these women were not so lucky. Good news: Chou plans to release the suite as a studio recording.