23-Year-Old Grammy Winner Samara Joy Is the Future of Jazz

MICHEL MARTIN, CONTRIBUTOR: Thank, Christiane. Samara Joy, thank you so much for joining us

SAMARA JOY, GRAMMY AWARD-WINNING JAZZ SINGER: Thank you so much for having me.

MARTIN: Well, those of us who watch the Grammys saw that magnificent moment when you were named best new artist.

UNIDENTIFIED FEMALE: Samara Joy.

MARTIN: Just can you reminders like of like, do you remember, like, what was going through your mind when you heard your name called?

JOY: Oh, I’m pretty sure I kind of spaced out a little bit, because I couldn’t — I just — I couldn’t believe that it was happening to me, it was already a surreal moment of like seeing Beyonce, and seeing, you know, Adele, and seeing Lizzo, and seeing all — you know, Mary J. Blige and Lizzo in their performances and stuff, that big 50 years of hip-hop tribute. So, me and my little brother were just having a great time. And when the category came up, you know, me and all the nominees were sitting in the same area, and we were having fun, I was like geeking out that I was meeting them in the first place. But when the Grammy goes to a moment came, I close my eyes and I held my little brother’s hand. And then, the camera caught me opening my eyes and my jaw-dropping just as that moment came, and I couldn’t believe it was happening to me. That arena was huge. Like I’m pretty sure that’s the most — like that’s a biggest mount of people I’ve had to talk to at one time. It was surreal. I don’t know what was going through my head. I was like, oh, my gosh, oh, my gosh. What am I going to say? What am I going to say? What am I going to say?

MARTIN: It’s a rare moment, I mean, I can’t imagine. I don’t think most of us can’t imagine having to, you know, address what — you know, see that many people at, you know, once, let alone be so coherent. So, kudos, you know, for that. Is there a before and after? What’s the next day feel like and the day after that?

JOY: I woke up the next day with my family. We stayed in an Airbnb in Bel- Air, which was really, really cool. But I woke up the next day and was just kind of like still thinking about, still in disbelief. Then I got back to New York, and it was just like nothing had changed. I’m still running the subway, although, I probably shouldn’t tell people that I do that. They’ll be looking for me on there. But, yes, I’m definitely — I’m aware of all of the new opportunities and kind of eyes on me now as — after the fact. But I’m also grateful for my slice of normalcy, being home.

MARTIN: So, let’s go back and talk about just how did you realize you could sing to begin with? I understand that your family is musical, like most members of your family, your parents, grandparents, you know, all have some connection to music and musical performance, but how did you realize that you could sing?

JOY: I realized I could sing when I was in middle school. I was in six grade and I was doing a musical called “Once on This Island.” And I had the lead role, you know, and my teacher at the time was like, hmm. It was like, taking like notes and like giving other people notes but kind of like leave me alone. I was like, maybe I got something here, I don’t know. But — and actually, my dad found a cassette tape of me singing Usher when I was like four years old. I guess I always — I guess it was always known but I didn’t realize that until I, you know, started participating more in school.

MARTIN: Really? So, your parents didn’t have you in like vocal training or chorus or choir as a little kid? It wasn’t one of those stories? Wow. That’s amazing.

(MUSIC PLAYING)

MARTIN: And what about jazz? You know, it’s a little bit of a cliche, but we don’t really associate people of your age — I don’t mean to age you, you know, but of sort of being attracted to that particular art form. Obviously, a lot of people are. Like, I’m thinking of Jon Baptiste, I’m thinking about, of course, you know, all the Marcellos (ph) all had been playing it a very young, you know, age to performing. But do you remember like how you were exposed to that particular art form and how you knew it was for you?

JOY: I didn’t start listening to jazz seriously until college. I was exposed to it towards the end of high school. I was participating with the big band at the school, at my high school, and the teacher, at the time, she allowed me to do a couple of songs with the band for shows, you know, in school and cool concerts and things like that. And those were the songs — the songs that I learned with that band is what I used to audition for SUNY Purchase, the Jazz Studies Program, because I just — I wanted to sing but I knew that I couldn’t go to any of the big schools for financial reasons. And so, SUNY Purchase was close by. I had financial aid and, you know, all the instate tuition. So, I was like, I’m going to give it a try. I don’t really know anything about jazz. That was like when I heard Sarah Vaughan for the first time, I was like, I don’t — I’m new to it but I feel like it’s a great place to be in because I can be a sponge. I don’t have any — you know, any background that’s going to like hinder my learning or anything like that, it’s just I’m open. It’s like I’m taking all of the information in. So —

MARTIN: I just want to mention that unlike a number of people who are making a name for themselves in jazz, you didn’t go to one of the, you know, conservatories that you went, as you just said, to state university, you were at Purchase and then, you were in the Jazz Studies Program there. You know, one of your college professors, John Status (ph), spoke in a previous interview, and he talked about an assignment that he gave you where you had to add words to an instrumental solo of a jazz song and you chose a 1957 trumpet solo by Fats Navarro, to add in the song “nostalgia,” which is it is on your album.

(MUSIC PLAYING)

MARTIN: Could you just talk a little bit about just, you know, your process? Like, how you picked that and why it suited your voice? Just tell us a little bit about it.

JOY: It was really special for me hearing that song because I think for most instrumental — or just most jazz albums that you here, they are like multiple soloists and, you know, the songs tend to be a bit longer, which – – you know, which is amazing. But with that song, it’s like a melody. One trumpet solo, that was like the definitive — you know, the definite voice — improvisational voice on the song and then, you know, the ending. So, it was a really — it was a real highlight of, you know, Fats Navarro’s mastery on the trumpet. And so, I wanted to use lyrics, you know, to highlight it even more and bring out, I guess, the story that was already being told. And as far as the process, you know, at first, I was like, I don’t know if I can do this. You know, maybe it’s going to be corny. But it is an assignment. And so, that’s all the motivation that I need. So, Monday, it’s assigned. Thursday, it’s due. So, I want to — you know, that pushed me to like, you know, try to think about — think a little bit more intently about the background behind the lyrics that I would like, you know, talking about maybe what would he have said if he had experienced life beyond 26 years old, because that’s unfortunately. So —

MARTIN: The thing that people have noted about you, though you’re only 23, is that you sound as if you’ve been singing for decades. I mean, do you know what I mean? I know this isn’t the first time you’ve heard this, I mean, the texture of your voice, the interpretation, your delivery, it just brings up images of the jazz greats. I mean, you know Regina King. You know Regina King, the queen, she said, it seems like Sarah Vaughan and Ella Fitzgerald were both living in your body. Where do you think that comes from?

JOY: Well, I think part of it definitely comes from my background in music to begin with, as far as like listening to whatever my parents, you know, were listening to or would put on. They were both born in the ’60s. And so, they got — they gave me definitely a rich musical education of all of the famous (INAUDIBLE) growing up as far as groups like The Chi-Lites or, you know, Heatwave and Isley Brothers and Motown, and the banjos (ph), that kind of thing. But I think it was a combination of immersing myself in that music and in gospel, as well as immersing myself in jazz. I want to know what it sounded like and really have it in my head so that whatever came out whenever I sang was real.

(MUSIC PLAYING)

MARTIN: You know, it’s funny, people forget that jazz — you know, this is even before my time — that jazz was pop music, you know, back in the day. Jazz was dance music. People did go to like, you know, The Speakeasies’ and dance halls and listen to jazz. It wasn’t just something you sit, you know, quietly and, you know, it was the pop music of the time, at least for the people that, you know, have listened to it. And I just wonder as, you know, being so young, do you ever worry that the art form itself has not — it does not hold the place in the culture that it used to?

JOY: I’m not worried because I think that the nature of it — the nature of the music, I mean, is to progress through the artist who contribute their musicality. And so, I think that it stood the test of time so far and there are many artists kind of behind the scenes, although, I — you know, I know them, you know, because the jazz community is very — even though it’s widespread, you know, around the world, it’s very small and everybody knows everybody. So, yes, I think it’s bound to continue. I think, you know, being on platforms like Instagram and TikTok will definitely help to share and connect my peer with it hopefully. But it’s like, I’m not feeling any sort of pressure to like make sure it doesn’t die. It’s like, it was here long before I was, and it’s going to continue, hopefully, long after I’m gone.

MARTIN: Samara, you said that you don’t feel pressure to save jazz, but even if you don’t feel it, do you think it’s still there?

JOY: Yes, I think it’s there. It’s there in the funding of, you know, jazz programs and state schools, you know, who don’t get enough money for, you know, instruments and, you know, scholarships to give musicians to go to school in the first place and opportunities as far as jazz clubs and places to play. But I’m feeling — and this is not just because of me — but a bit of a resurgence and more attention paid to jazz and to like live music in general, you know? And I think that as long as there continues to be efforts to — whether it’s like host, you know, festivals or fundraising opportunities, or things like that, where we can provide music and provide musicians with opportunities, and the love of music is still — you know, is there, you know, amongst musicians, then I think — I mean, all of this is going to be fine. I don’t know. It’s like — not cautiously optimistic, but I’m optimistic regardless of the circumstances.

MARTIN: So, what’s next for you? Is there some hill left to climb for you?

JOY: Always. I think that as long as my focus is not only on, you know, being on tour and sharing music and all of that good stuff but like overcoming, you know, things that I want to get better at and continuing to grow as an artist and be inspired by the musicians and singers who, you know, broke barriers and who, you know, realized the fullness of their potential and of their voices and their purposes through their gifts, then, yes, there’s always — it’s always like, OK, maybe doing a family album, you know, a family album or family tour or going into the studio and arranging or writing my own songs or collaborating with my peers and, you know, bringing that project to the schools that went to in the Bronx and like, you know, exposing — because like — I don’t know. I want to make sure that it’s accessible to everybody. It’s not just like people who can afford jazz and then, everybody else. I want to make sure that everybody gets to enjoy this music that I love so much. So, there’s always something next, there’s always some hill to climb.

MARTIN: Samara, I can’t — I’m try to work up to how I can ask you, would you just give us a couple of bars of something? Please. Just a little bit, please, please.

JOY: They say into your early life romance came. And in this heart of yours burned a flame, a flame that flickered one day and died away.

MARTIN: I’m done. I’m done now. I’m just — I’m done. Samara McLendon, known as Samara Joy professionally, thank you so much for talking with us today. And congratulations and we’re wishing you every good thing and a successful and safe and meaningful tour.

JONES: Thank you so much for this time. It was a pleasure