It’s no wonder Samara Joy is in demand; her journey from her Bronx upbringing to becoming a three-time Grammy-winning sensation is nothing short of awe-inspiring. The accolades are impressive. She first took home the Grammy for Best Jazz Performance with her single ‘Tight’ and later claimed the Best Jazz Vocal Album award for her second album, “Linger Awhile”. Adding to her award tally, she received the prestigious Best New Artist Award in 2023. On top of that, her latest Christmas EP, “A Joyful Holiday”, has continued her momentum, earning her another slew of Grammy nominations.
“It’s been overwhelming and exciting,” she said.
Her latest album “Portrait” captures this evolution—a musical representation of where she stands as an artist, which features a blend of original compositions and reimagined jazz standards, “I feel like I’ve grown a lot more confident in my musical vision. When I first started, I knew I loved to sing, but I didn’t know I’d find this path in jazz. It wasn’t until college that I immersed myself in it, not to become a superstar, but to learn more.”
And that immersion has genuinely paid off. Listening to “Portrait”, one can sense her newfound confidence and ability to push boundaries and articulate her artistic vision.
I told Samara about the goosebumps I felt when I heard her opening a cappella verse of her interpretation of Charles Mingus’s ‘Reincarnation of a Lovebird’ for the first time. She smiled as she recounted how the tune’s complex melody and unconventional structure, originally composed as an instrumental, challenged her. “It’s not easy,” she admitted – before obliging the audience with a seemingly effortless demonstration.
Another hallmark of Portrait is the seamless synergy of Samara’s band. “I wanted to create a sound where everyone’s individuality could shine,” she explained, emphasising the importance of trust and spontaneity among musicians. “It’s about the collaborative approach,” she went on. “I want everyone to feel free to be creative and add spontaneously to the moment. That’s what keeps the music alive.”
“We had been working together for a year before recording.” So, by the time they entered the legendary Van Gelder Studios in February 2024, the band was ready, recording 18 songs in just three days and capturing the chemistry they had honed on stage. The challenges of tackling complex compositions and leading a cohesive band have strengthened her resolve. “I’ve grown into the music I thought I couldn’t sing at first,” she said.
The first music she learnt was Gospel, a musical connection that is deeply personal. Her father toured with Andre Crouch, and her grandfather, now 94, led a family gospel group; music has always been a cornerstone of their gatherings. “Gospel is foundational to my life,” she said. “My dad was 10 years old when he picked up the bass. My uncle played drums in the family band. My aunt played the piano. At every Thanksgiving, every family gathering, we would all sing together,”
It’s true that gospel music shaped her ear and instilled a natural sense of improvisation and storytelling. What’s the first song you remember singing? I asked her. Samara smiled, reminiscing. “It might be ‘Oh Happy Day’ or ‘His Eye Is on the Sparrow,” before she softly started singing, “When Jesus is my portion, a constant friend is he… His eye is on the sparrow, and I know he watches over me.”
The lyrics of ‘His Eye is On the Sparrow filled the room, carrying the rich history of her gospel roots and the improvisational spirit of jazz. It was slightly ironic that we had gathered in the space on a Sunday to discuss jazz, only to find ourselves immersed in a worship-like atmosphere that sent shivers down our spines.
Her first-ever composition, ‘Peace of Mind’, from ‘Portrait’ is a testament to that. The song’s lyrics explore the challenges of staying true to oneself amidst life’s pressures. Samara explained, “The whole song, even the fact that there’s no defined time signature… It’s all framed as a question, a big ‘hanging in the balance question’ in my mind, of like, OK, I’m really overwhelmed by all the stuff that’s happened thus far in my life.” she exclaimed, continuing candidly with her thoughts at the time of writing Peace of Mind… “I was wondering… if I’m strong enough to be confident in who I am as an artist, in the midst of all the decisions I have to make career-wise and also deal with the projection of other people’s ideas of what I should be doing with my career and stuff. Can I really stand firm on what I believe and what I need to do?”
And the pressures are not just artistic. Our conversation turned to the joys and perils of social media. Nowadays, it’s not enough to be a brilliant artist. There are expectations outside of performing, like maintaining a social media following. “I guess I’ve been using social media since I was in fifth grade,” she said. “And so, I have these different platforms to share what I do and what I love. ”
“It’s about sharing who I am and trying to build an audience from that,” She recalled connecting with fans who told her they were introduced to jazz through her posts, and they had even brought their families along to experience their first jazz concert. “It’s really special.” For Samara, it’s been a unique tool to bridge jazz with a broader audience. “I love those vocal challenges,” she shared, referencing the interactive content she creates. “The response has been amazing, hasn’t it?” she asks, clearly delighted.
But there’s a flip side to the joy. “Maybe the pain of it is being too consumed by it,” she admits. She finds herself balancing creative storytelling with follower counts and streaming metrics pressures. “I want to share what I love, not just make content for the sake of it,” she adds, emphasising her goal of staying authentic.
There is no doubt that Samara is creating her unique musical path despite the comparisons with the jazz greats like Ella Fitzgerald, Sarah Vaughan & others that came before her. And she has really studied what made them great artists. When she reflected on those influences, I wondered what she took from their experiences and musicality. How important is that for you? “Wow, that’s a great question,” she replied. “There are definitely a couple of vocalists that have influenced me and changed my perception of the role of a vocalist, showing me the various possibilities available.
One artist I think of is Betty Carter. Whenever I listen to her interpretations or arrangements, they sound entirely different from the original songs. She incorporates more rhythm, dynamics, and varying tempos. It’s as if she treats her voice as an instrument. I really appreciate her energy and how she commands her band.
The process of performing is about interpreting a story and sharing it in a way that brings out the emotion inherent in the lyrics; it’s about making it our own.” She went on, “For example, there’s a version by Betty of the Fran Landesman tune, “Spring Can Really Hang You Up the Most” from her live performance on “The Audience with Betty Carter”. In that version, there’s a lilting groove beneath her vocals, and she plays with stretched tempos, floating over the music and selecting the perfect moments to enter.
Towards the song’s end, she sings softly, almost quieter, and compels you to lean in and catch what she’s saying. Then, the band strikes a powerful dynamic crash that perfectly complements her part. I admire her individuality in how she interprets and arranges songs while seamlessly involving the entire band.” She continued, “Another vocalist who inspires me is Abby Lincoln, particularly her album ‘Straight Ahead’, which she recorded with remarkable musicians like Max Roach, Coleman Hawkins, Booker Little, Julian Priester, Art Davis, and Eric Dolphy.”
Samara doesn’t shy away from her future ambition to explore her musicality as a vocalist and songwriter, as she explained to us how her journey has evolved throughout her albums. “My first album, “Standards”, reflected what I knew as an undergrad. By my second album, I began exploring lesser-known songs, like Ronnell Bright’s “Sweet Pumpkin” and the Gigi Gryce /Jon Hendricks tune ”Social Call”, alongside more familiar standards that I aimed to reinterpret for new audiences.
With my current album, I featured only two standards: “You Stepped Out of a Dream” and “Day by Day,” while the rest are jazz compositions or works by Antonio Carlos Jobim.” To her, this feels like a natural progression in her musical journey, similar to how many musicians like Benny Golson and Duke Ellington transitioned from standards to original compositions over time. “The more I explore music, the more possibilities I uncover, allowing me to record works by artists like Mingus and Sun Ra alongside my own compositions.”
“It’s sobering to think of all the musicians who did not live long enough to see the impact their music has had on the world,” she reflected when we discussed the legendary music vault that her record label Verve has in New York and her future plans. “It’s like I get to see what’s possible. They recorded so much music and documented so much of their artistic voice in the short time they had. And now it’s like I have my whole life to explore what I want to do and figure out what’s next but not think so far ahead. I don’t know what I will be doing in 10 years, but I hope it’s something productive and musical, whether with an orchestra, maybe writing more or expanding the band. Although I don’t know if I can travel with more than eight people!” She laughed.
Then, much to the audience’s amusement, we delved into her experience attending the Grammys. What was it like? “It’s pretty crazy,” she said ruefully. “I don’t feel like I belong there. We got to walk the red carpet, do various interviews, attend parties, and interact with so many different celebrities. Some things look better on TV than in real life because everyone is focused on the cameras. The cameras are all up on stage and end up blocking people. Being on the red carpet at the Grammys and seeing someone like Beyoncé or Trevor Noah, who hosted the event alongside all these different performers, was crazy!
One night, I even ended up at a table with Chris Tucker, and I thought, ‘What are you doing here? Why are we sitting at the same table? This is wild!’ So, it was pretty fun. It was definitely out of my norm, and I’m glad it’s something I can visit instead of being there all the time. Even thinking about it now, I feel like I was in shock. I don’t think I really had the chance to process it all. Right after that, I just went back on tour, which was good.”
And that’s where I suggested I would be a great plus one for the next time Samara’s at the Grammys; after all, who doesn’t want to walk the red carpet and get Grammy swag? She laughed loudly and was noncommittal in the most polite way possible. So, I didn’t quite get the answer I was after, but as they say, If you don’t ask, you don’t get!
It’s clear from our chat, the numerous awards and her growing cadre of fans that Samara Joy is developing a singular, unique voice—steeped with history, soul, and innovation—She is now not just a part of the jazz tradition; she is reshaping it for the future.
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Jumoké Fashola is a journalist, broadcaster, and vocalist who currently presents a range of Arts and culture programmes on BBC Radio 3, BBC Radio 4, and BBC London.
Header image: Samara Joy. Photo: AB+DM / Courtesy of Verve Records.