Imani Winds Quintet and Jonathan Batiste again gave listeners a unique and memorable musical experience Thursday evening, May 7th, at the Merkin Concert Hall. A performance that in both instances brought a delicate fold of classic standards with traditional and ragtime sprinklings that left the audience thoroughly delighted, applauding for more.

A New Orleans native, now age 19, Jonathan Batiste has cultivated a following since relocating to New York City that obviously appreciates the charm, tact and youthful insight he expertly infuses into interpretations of standards in virtually all musical genres. The works of Scott Joplin, Jelly Roll Morton and Cab Calloway are inspirationally delivered, as is Jack Norworth’s Take Me Out To The Ball Game which, at the hands of Mr. Batiste and friends (surprise visits from two members of his band), scored a refreshing upgrade, undoubtedly recruiting new fans to the sport given their collectively physical, lyrically enthusiastic presentation.

The Imani Winds Quintet never ceases to please in their ability to transform the act of listening to chamber music into a hip, inter-generational pastime. Celebrating their tenth anniversary, this concert introduced work from their Legacy Commissioning Project (LCP) which strives to acquire within 5 years, contributions from 10 diverse composers.

Audience response balanced anticipation with attention as the Quintet opened with an all familiar ethnic Afro Blue by Mongo Santamaria and their own Jeff Scott’s (on French Hall) rhythmic Homage to Duke. A four-part moving, often melancholy, biographic piece, Cane by Jason Moran and Wayne Shorter’s lilting dialog Terra Incognita represented this evenings commissioned samplings, closed with jazzy, earthy energy from Lalo Schifrin’s La Nouvelle Orleans in that effortless, unassuming signature Imani woodwind style.

Imani means “faith” in the African dialect Swahili. It appears that faith is the vessel thats brought Imani Winds this far and will surely continue to carry them further, accompanied by a flurry of positive, cultural appreciation from a diverse, ever-expanding body of loyal fans.

The eye contact and body movement among these accomplished musicians brought a personal quality to their performances that suggests not so much ease in the compositions being performed but, how easily they interact and are able to make it appear so. Merkin Concert Hall is a surprisingly intimate setting for performances of this variety.