“Jennifer Choi did soulful, compelling work on a dissonance-haunted violin concerto, “Africana 2.” -The New York Times (read complete review here)
“Mr. Lachenmann gives the violin an attractive, amusing line, with short, alluring melodies, and Ms. Choi proved exceptionally nimble.” – The New York Times (read complete review here)
“Other standouts were Choi’s crisp, unmannered passagework in Piazzola’s Fuga y Misterio..“– The STRAD Magazine
“two crack soloists who in any case tended to dominate. The real tone was set when Choi opened the first piece, Aleksandra Vrebalov’s “ . . . hold me, neighbor, in this storm . . . ” with the querulous tones of a gusle, a long-necked stringed instrument that’s a staple folk instrument of the Balkans…” –The Washington Post (read complete review here)
“a leading New York new-music violinist, Jennifer Choi…[and Steven Drury] have recorded [“Le Momo”] and play it with fiery authority. -The Boston Globe
Violinist Highlights Philharmonic
“…Jennifer Choi.. provided one of the highlights. Henryk Wienawski’s Violin Concerto No. 2 in D minor was the vehicle. Choi handled the virtuoso passages with asssurance and the melodic interludes with a glowing tone, notably rich in the lower register.” – The Oregonian
“Ibarra originally wrote ‘Songbird Suite’ as a violin solo. Choi’s rich, bronze string sound-she is a classical musician- is a highlight of the album.” – The Seattle Times on The Susie Ibarra Trio
Violinist Jennifer Choi…is finding an ever-deeper accord between ambling improvisation and structural solidity, as she showed in her potent musical hookup with the fascinating trios led by drummer Susie Ibarra.
The most revealing moment in percussionist Susie Ibarra’s new release, Songbird Suite, comes in the first track, “Azul”: Ibarra and pianist Craig Taborn lock into a bouncy 4/4 groove, over which violinist Jennifer Choi plays a chirpy, sing-song refrain. Taborn takes an exhilarating, polyrhythmic solo, then Choi takes over with a string of caffeinated flailings that jump wildly between the high and low ranges of her instrument.
Violinist Jennifer Choi engaged in an intense dialogue with these otherworldly sounds, echoing them with sweet trills, shredded tones and glassy whispers in her instrument’s highest register. When the satellite whistles and gurgles suddenly cut out, Choi’s violin continued, forlorn, seeming to reach out toward its faraway companion.