Concert Review by Andrew Poretz . . . .
The young jazz singer Samara Joy, only a few years out of SUNY Purchase, continued her fast-rising star journey with a sold-out, two-night stand at the famed Town Hall, just east of Times Square in Manhattan. This reviewer attended the first night, in which Samara was dressed in an elegant blue gown. She chose an entirely different style and color for the second night, as seen in the photographs supplied by Samara’s team.
The Town Hall concerts effectively demonstrate Samara’s depth and range, with a diverse set that had jazz standards, instrumentals with lyrics she wrote, and an original composition. She is a dynamic jazz singer with an instrument like a Lamborghini, with tremendous range and power when needed, and astonishing breath control. Now 24, Samara has gained a wealth of experience since college, traveling the globe as a singer and bandleader. This shows in her command of her instrument, her band, and her warm, inviting stage presence. She can excite a large audience.
Samara was greeted by a thunderous, sustained ovation before she sung a word. She immediately launched, a capella, into “Reincarnation Of a Lovebird (Pursuit Of a Dream), a Charles Mingus instrumental (written for Charlie Parker) to which Samara wrote lyrics. She sang the entire song to an electrifying high note before the septet joined in. The musicians traded solos as it built to a cacophony. “Will you ever return to love’s arms,” she sang, with some vocalese. The star pulled out all the stops in this sensational opener, setting a high bar for the rest of the concert.
In “You Stepped Out Of a Dream” (Nacio Herb Brown/Gus Kahn), Samara scatted while trombonist Donavan Austin matched her in a counterpoint. Notably, whenever she turned to scat or vocalese during the concert, it was not improvisational, but carefully orchestrated. (In fact, most scat singing only appears improvised. In the arrangements tonight, the instruments often matched Samara’s scatting note for note or in counterpoint.)
Though already a highly regarded star, touring the world, Samara is humble and grateful for her gifts and her career. “I’m just as shocked as you are that I’m here!” Samara spoke much about her musical training at SUNY Purchase and elsewhere, and gushed about her many mentors, including one of her SUNY professors, pianist Pete Malinverni, who was present, and quite moved by the public acknowledgement.
Sitting on a stool by the piano, the star honored the late, great Barry Harris with her lyrics for his instrumental ballad, “Now and Then (In Remembrance Of)”, with a well-crafted arrangement by tenor saxophonist Kendric McCallister that had an Ellington vibe. Singing rubato with only pianist Connor Rohrer, her resonant lower register is quite reminiscent of Sarah Vaughn in tone. (Her upper register more evokes Ella Fitzgerald.) Samara is a gifted lyricist.
Samara again started a capella on Thelonius Monk’s “San Francisco Holiday (Worry Later)” (lyrics by Margo Guryan), with her left hand seeming to subtly control her voice. The arrangement utilized the drums, piano and bass through various rhythms, taking a musical journey through several styles, and a side road down Ellington Way.
Samara’s strongest emotional connection came through in a medley of “Peace of Mind” (Samara Joy and Kendric McCallister) and “Dreams Came True” (Sun Ra and Jae Mayo). The song’s message, she declared, is to “keep on going.” Her powerful singing turned these lyrics into a series of life lessons or sermons about letting go.
In a spectacular arrangement of “Left Alone,” which Billy Holiday wrote but never recorded, a lone trumpet played as if to signal intense loneliness and pain. The trombone and saxes played a slow, haunting blues, and Samara’s voice was like a cry in the dark. Her lower register here was filled with an emotional resonance that matched its tonic resonance.
For the “final” number, “No More Blues (Chega de Saudade) (Antonio Carlos Jobim; Portuguese lyrics by Vinicius de Moraes and English lyrics by Jon Hendricks), Samara wanted everyone to get up and dance. When the crowd remained seated, she playfully said she’d turn her back so they would not be embarrassed to dance. This ploy worked, and the audience danced for the rest of the song and the well-deserved, very sustained, standing ovation.
Samara returned for a bluesy encore of “Guess Who I Saw Today” (Elisse Boyd and Murray Grand).
Samara’s septet consisted of David Mason (alto sax), Kendric McCallister (tenor sax), Jason Charos (trumpet), Donavan Austin (trombone), Connor Rohrer (piano), Paul Sikivie (bass), and Evan Sherman (drums).
If there was anything to critique, it’s a minor quibble. Samara is capable of vocal gymnastics that are quite impressive and as crowd-thrilling as a Grucci fireworks display. At times she can nearly overwhelm the music with these skills. As she matures, and continues to find a stronger emotional connection to the story she’s singing, this will surely evolve. For now, at the height of her physical powers, why not take that Lamborghini out for a spin or two?
Samara Joy performed on June 20 and 21 at The Town Hall, 123 West 43rd Street (https://thetownhall.org/).
Photos: Sachyn Mital, except blue dress photos by Beth Naji
