Jo-Yu Chen, Rendezvous: Jazz Meets Beethoven, Tchaikovsky & More Review

Reflections in Two Keys: Jo-Yu Chen’s Nocturne Between Worlds

By Ferell Aubre

Jo-Yu Chen’s latest album, Rendezvous: Jazz Meets Beethoven, Tchaikovsky & More, released on May 2, 2025, under Sony Music, presents a compelling fusion of classical masterpieces and jazz improvisation. Collaborating with bassist Chris Tordini and drummer Tommy Crane, Chen reimagines eight classical compositions through a jazz lens, offering a perspective that resonates.

Chen initiates the album with a seamless blend of two iconic Beethoven pieces. She extracts motifs from the “Moonlight Sonata,” using them as a foundation to explore the dramatic themes of “Symphony No. 5.” The trio navigates through varying atmospheres, employing dynamic shifts and interactive dialogues that mirror Beethoven’s compositional contrasts.

“The Nutcracker: Dance of the Reed Flutes” (Tchaikovsky) showcases Tordini’s steady bass lines, providing a rhythmic anchor for Chen’s melodic interpretations. Crane’s brushwork complements the piece’s delicate nature, while Chen’s piano articulates the dance’s whimsical character through inventive phrasing and harmonic exploration.

In this solo piano rendition of “Sonata No. 8, ‘Pathétique’ 2nd Movement” (Beethoven), Chen emphasizes the movement’s lyrical qualities. Her nuanced touch and expressive timing bring out the emotional depth of the piece. Around the two-minute mark, she introduces a ballad-like tempo, incorporating jazz harmonies that enrich the original melody without overshadowing its classical essence.

Opening with a contemplative bass introduction, “Swan Lake” (Tchaikovsky) finds the trio setting an interactive building mood. Chen’s piano gracefully, weaving through the familiar melody. Her subtle improvisations. The ensemble maintains a medium tempo, allowing each instrument to contribute to the developing narrative, culminating in a performance that balances elegance with a creative expression that tells a story.

Chen transforms “Romeo and Juliet: Dance of the Knights” (Prokofiev) into a jazz performance that retains its original intensity. The trio captures the march’s grandeur, with Chen’s piano delivering bold chords and rhythmic variations. Tordini and Crane provide a robust foundation, enabling the piece to oscillate between structured motifs and improvisational passages.

“Pictures at an Exhibition: The Old Castle” (Mussorgsky) serves as a nod to Chen’s earlier work, particularly her Schubert & Mozart: “Round Midnight album. The trio delves into the piece’s melodies, with Chen’s piano evoking the imagery of Mussorgsky’s writing through her jazz perspective of colors. The arrangement emphasizes mood and texture, creating a soundscape that bridges the two genres in an enjoyable way.

In “Piano Concerto No. 2” (Prokofiev), Chen reinterprets this concerto by infusing it with tango rhythms and jazz harmonic structures. The trio performs the piece’s structures, highlighting its dramatic contrasts and rhythmic vitality. Chen’s improvisations pay homage to Prokofiev’s original while introducing jazz-inflected perspectives.

“Pavane Pour Une Infante Défunte” (Ravel) concludes the album. This track exemplifies Chen’s ability to honor classical compositions through jazz reinterpretation. Initially intended as a solo piece, the trio’s spontaneous collaboration brings a new dimension to Ravel’s work. Chen’s lyrical phrasing, combined with Tordini’s supportive bass and Crane’s delicate brushwork, results in a performance that is stimulating and entertaining.

Rendezvous: Jazz Meets Beethoven, Tchaikovsky & More conveys Jo-Yu Chen’s artistry and her trio’s cohesive interplay. The album bridges classical and jazz traditions while offering a genre fusion that will reward multiple listens.