The Granada Theatre Santa Barbara, CA
Contact: tperry@shorefire.com
Web: samarajoy.com
Players: Samara Joy, vocals; Connor Rohrer, piano; David Mason, alto saxophone, flute; Kendric McCallister, tenor saxophone, bass clarinet; Alexandra Ridout, trumpet; Donavan Austin, trombone; Conway Campbell, bass; Evan Sherman, drums
Celebrating the release of her third full-length album, Portrait (which she co-produced with GRAMMY-winning trumpeter-bandleader Brian Lynch), Samara Joy performed to an adoring crowd at Santa Brabara’s Granada Theatre. 2021’s self-titled debut received critical acclaim and 2022’s Linger Awhile received a GRAMMY Award for Best Jazz Vocal Album. 2023’s EP, A Joyful Holiday took home two 2025 GRAMMY Awards for Best Jazz Vocal Album and Best Jazz Performance, and the new album has already received an NAACP Image Award for Outstanding Jazz Album. Joy’s extraordinary live show leaves no question as to reason for the accolades. At just 25 years old, Joy’s breath control, vocal decoration and subtle command of the stage are incredible.
Kicking things off with bandmember/tenor saxophonist Kendric McCallister’s arrangement of Thelonius Monk’s “Round Midnight,” Joy shared an impressive combination of contrasting dynamics and rhythmic timing before Connor Rohrer launched into a beautiful piano solo. With a seven-piece backing band that followed her every move, the show felt more like the live orchestration in an old movie theatre than an intimate presentation. A glorious painting of sound.
Launching into a Latin rendition of Betty Carter’s “Beware My Heart,” Joy’s trademark melismatic sprinklings were on full display (accompanied by David Mason on the flute), seamlessly running through her full vocal range. Alexandra Ridout and David Mason added exceptional decorative solos on the trumpet and alto saxophone. Original “Three Little Words” was recorded alongside their latest album (although not included on the project), showcasing the group’s tight cutoffs, offbeat accents, contagious energy, and featuring Donavan Austin on the trombone. Thick, molasses-sounding “A Fool In Love Is Called a Clown” (composed by Austin) followed with more of a traditional big band backing sound, with the gentle comforting sway of “You Stepped Out of a Dream” (Nacio Herb Brown/Gus Kahn) as the follow up.
An upbeat version of Carmen McRae’s “The Little Things That Mean So Much” (Theodore Wilson/Harold Adamson) appeared before Joy took the room to church on syrupy “Come Sunday” (Duke Ellington). Sharing fabulous, little-known (and never-recorded) Billie Holiday song “Left Alone” (Billie Holiday/Mel Waldron) came next, showcasing Joy’s phenomenal octave leaps and vibrato control, and reminding all in attendance of what makes Joy’s voice so indelible (also featuring Kendric McCallister on bass clarinet). The group closed the night with delicious muted horns and offbeat rhythms on Antônio Carlos Jobim’s bossa nova “No More Blues,” before returning for an encore rendition of Count Basie/Joe Williams’ blues number “Five O’Clock In The Morning” (George M. Cohan) that left the audience happy and satiated.
With fantastic solos dotted throughout the evening, powerful band cutoffs, and unexpected vocal lines, Joy and her band delivered a phenomenal showcase of original sound, while bowing deeply to the traditional jazz influences that brought them together.
