Dwain

• Samara Joy’s debut Verve recording is one that comes with much acclaim and now a Grammy to its name; and for very good reason. Her winning Best New Artist may come as a surprise (Pop artists have been much more favored in this category by the academy) but it's not by mistake. She is here and here to stay and this album is a statement of just that. Her vocals are so dynamic, versatile, agile and over all; they are timeless. Her reverence for the tradition and the greats of the past is ever present in this recording. She has a stark resemblance to Sara Vaughn in her tone and vibrato but has obviously been influenced by many others (not just singers) and this is evident in her performance here.

• The selection of standards, both well-known and some from a little more from deep in the stack, is such a great journey through the songbook and shows how well-versed Samara is and her reverence for so many different composers and musicians throughout the music. Her rendition of “Guess Who I Saw Today” is so emotionally connected and she is able to deliver that song in a way that means so much more than words and notes on a sheet of paper. The vocalized transcriptions of the solos on “Nostalgia” and “I’m Confessin’” are absolutely brilliant and shows us how deep Samara’s musical understanding and ability is. The wherewithal to do this in such a musical and unique fashion is unbelievable from an artist that is still so young.

• The band deserves an immense amount of praise on this album. They do such a fantastic job of providing the canvas for Samara to shine her light upon. They’re so musical and musically sensitive to all of the intricacies of playing with a vocalist. Pasquale Grasso is such a nice addition to certain tracks as well and really shines on the guitar and vocal duo closer “Someone To Watch Over Me”.

• This album is an instant classic and deserves all of the recognition it has received as does Samara Joy for her emergence as an artist in not only the jazz scene but breaking into the mainstream as well. She is a fantastic representative of the music both as a person and as a musician and I am very much looking forward to watching her career blossom. This album is an absolute must listen and not just once; on repeat over and over again.

Overall score: 9.1/10

Max

• Samara Joy has hit the national stage, having won the 2023 Grammy for Best Jazz Vocal Album (for this record) and Best New Artist. At just 23 years old, she is the new vocal sensation that demands our attention. I am ecstatic over what she delivers on Linger Awhile; heavy-hitting swing with a big nod to the fundamental elements that make up jazz. Her vocal style, flexibility, control, tone, and inflection is unapologetically illustrated here. I am enamored with everything she’s doing on this album.

• Not only does Samara deliver great treatment of melody, as witnessed on “Social Call” and “Sweet Pumpkin,” but she also displays an array of jazz vocal practices, including vocalese (a jazz style of singing where words are added to an improvisational solo). This happens on “I’m Confessin,” where she added lyrics to a Lester Young solo over that tune. She sings excellently, imitating Lester’s dynamics and sound in addition to getting the notes right. Samara does this again on “Nostalgia,” quoting Fats Navarro’s solo while also adding lyrics to the main melody. Samara blows me away on her version of “Guess Who I Saw Today.” Her tempo, feel, and inflections are stellar. Everything she sings is meaningful. The inclusion of “Linger Awhile” and “Can’t Get Out Of This Mood,” as well as “Misty,” showcase an apparent influence of Sarah Vaughan. I think there’s a bit of Betty Carter in the mix too. Her emphasis on emotional inflection, at times, reminds me of Billie Holiday. Albeit to say that Samara has done her homework. She is well-studied and delivers a powerful performance, undoubtedly.

• The other great aspect of this recording is the presence of a killer accompaniment. Passquale Grasso on guitar is a treat to experience. His fills, groove, sound, and solos are absolutely on point. I respect his bop-heavy ideas, in addition to his swing-heavy rhythmic hits often used here too. Grasso’s musicianship is undeniable on “Nostalgia” and “Someone to Watch Over Me.” Bassist David Wong and drum legend Kenny Washington do not disappoint, laying a solid foundation and a nice energy to the music. It’s nice to hear Kenny open the tune “Linger Awhile,” and he delivers a strong swing throughout the record. Steinway artist and pianist Ben Paterson’s feel and soloistic prowess is featured nicely on “Misty” and “Social Call.” The inclusion of a horn section on “Round Midnight” is a nice touch too.

• Samara Joy is beyond a joy to listen to. She is steeped in study of the jazz vocal tradition while having a strong background as a gospel singer. Samara has shaken up the game. I think this record is refreshing. In a modern age where we’re constantly bombarded with constantly ‘new’ attempts to reinterpret jazz music, we get this record that ultimately solidifies the very essence of historical jazz practice. This proves you can still play or sing from the Great American Songbook and receive immense acclaim. You can emulate greats like Fats Navarro and Lester Young and still be exciting and interesting. The influences of greats like Sarah Vaughan are still necessarily present and revealed to be timeless in our modern era. Linger Awhile illustrates that classic jazz is still hip. Samara Joy’s Verve debut deserved the grammy award and her sensational presence on the world stage is beyond refreshing. My faith in the future of this music we call jazz has been restored.

Overall score: 9.2/10