When Samara Joy entered the stage at Maison Symphonique amid theatrical swells from her horn section, there was a degree of pomp and circumstance about the moment. It was the kind of introduction that can easily feel self-indulgent if the one making the entrance doesn’t back it up with their performance. Luckily it was made clear very quickly that this was not the case – Joy’s vocal stylings are instantly captivating and reflect a level of maturity one rarely hears in such a young performer.
The set started with a rendition of Thelonious Monk’s classic ‘Round Midnight with Joy singing the same set of lyrics as the great Ella Fitzgerald, in contrast to those she sang on the same tune on her 2022 album Linger Awhile. The arrangement, by tenor saxophonist Kendric McCallister, took the piece through several different grooves, moving into double, triple, and quadruple time during the solo section. The maximalist style of the arrangement came across as almost tongue in cheek, without ever losing a sense of reverence for the piece or its countless classic versions.
The arrangements continued to suit the ensemble and Joy’s performances throughout the evening, as the band paid homage to other great singers of the past, namely Betty Carter and Billie Holiday. It is worth noting the interesting ways in which Joy’s voice was used within the ensemble – in multiple pieces she joined the horn section during a shout chorus or took a solo without using scat syllables, a refreshing way to bring out the lyrical quality of her melodies.
What is most impressive about Samara Joy’s singing is her versatility; she has a rich alto range, but does not shy away or falter in the higher register of her instrument. Likewise, she moves seamlessly between fast, rhythmic passages and slow, lyrical ones. She can fill a concert hall with a climactic belt or bring her voice down to a near whisper without losing any melodic or rhythmic authority. In fact, her light and airy soft phrasing is reminiscent of her contemporary Cecile McLorin Salvant (a generational talent in her own right). This level of technical proficiency and musicality in someone aged twenty-five is truly special to hear.
Endless praise could be heaped onto Samara Joy and her strikingly mature voice, but what also shone through in this performance was the polished cohesion of her band (composed of trumpeter Jason Charos, trombonist Donavan Austin, also saxophonist David Mason, tenor saxophonist Kendric McCallister, pianist Connor Rohrer, bassist Paul Sikivie, and drummer Evan Sherman). Throughout the set the arrangements exploded with ideas without overwhelming the listener. It is clear that whichever member arranges a particular piece, there is a collective understanding of how the group sounds. There seems to be a desire to see just how far each song will bend, and the joy the band takes in pushing each selection to its limit is palpable. The performance was at once a complete statement and an exciting look at what is to come for jazz’s younger generation.
