REVIEW: Samara Joy comes to Ann Arbor

Let me start this off by saying that I don’t have much experience in music. It started with the obligatory piano lessons in first grade from my Korean parents, then a short-lived, shame-riddled violin career in eighth grade that never left the classroom. That’s all to say that I have little to no credentials to be reviewing Samara Joy, two-time Grammy-winning jazz vocalist at only twenty-four. Yet here I am, still listening to her hit album, Linger Awhile, and writing my thoughts on her performance. This “review” will be drawn from the haphazard notes I took from March 27, meant to be more of a poetic retelling of my experience than a critique of the evening.

Joy’s performance began with a phone loudly ringing and a baby’s cry slowly fading off as they were escorted out from their seat. Still, Samara’s lilting voice reverberated as she took the audience across the map of her musical notes. The accompanying band fell into her rhythm, Evan Sherman on the drums shining in particular as his light beats sped through the composition. The crowd stilled as Joy went through her vocal runs, until we broke into cheers of awe. Following family tradition, Samara joy began singing in church and later at a jazz band at Fordham High School for the Arts. She later attended SUNY Purchase’s jazz studies program, meeting the late Barry Harris, to whom Linger Awhile is dedicated to.

Throughout the program, there were moments where each artist could shine; Jason Charos on trumpet took the stage in You Stepped Out of a Dream (Nacio Herb Brown, lyrics by Gus Kahn) as Samara stepped to the side, her vocals accompanying the lead of his trumpet. Trombonist Donovan Austin got the limelight as he performed his original A Fool In Love Is A Clown, a slower rendition from the previous song. Transitions between instrumentation and vocals were incredibly seamless, the synergy pulsating from the stage.

The lighting team were part of this synergy; the slow shift of magenta into blues, rimmed with a golden light at the perimeter. A truly beautiful moment was when the light shifted into a red pink hue as A Kiss From You (Benny Carter) opened up, and later, into a soft purple as Now and Then (Barry Harris), arranged by alto saxophonist David Mason, was performed.

Perhaps one of my favorites was Samara Joy’s take on Sweet Bumpkin, originally written by Ronnell Bright and later covered by Gloria Lynne. The genre blending, the plays with silences, pauses, skips of beat, before sliding back into a playful burst of energy. Kendric McCallister on tenor saxophone particularly shined during this performance. And of course, I have to give a shoutout to the classic bossa nova Chega de Saudade (Antônio Carlos Jobim, lyrics by Vinícius de Moraes), which has been a top track in one of my many playlists, truly highlighting the beautiful duo performance between Charos and Donavan Austin on trombone.

More information of Samara Joy’s tour can be found on her website, and if you can’t make it to one of these venues, I highly recommend you all to listen to her music on any of your streaming platforms. A big thank you to UMS for their amazing programs; more can be found on their site!

Image thanks to the University Musical Society.

REVIEW: The G-Men’s Winter Concert, ‘One G-Rection’

Last Friday, I decided to attend my first acapella concert in two years on a whim. After learning about the G-Men’s winter concert last week, I was intrigued – I had attended several years of G-Fest in the past, an “annual showcase of the best student groups the University of Michigan has to offer,” per the G-Men’s website. I’ve always enjoyed this eclectic collection of performance groups and was curious to see what a different style of showcasing looked like for this all-male acapella ensemble.  

Upon arriving at Rackham Auditorium and picking up my ticket, I was immediately invited to scan a QR code to view the concert’s program. This provided an instant glimpse into the essence of the evening. From the beginning of their concert, the G-Men exuded an energy that was both goofy and charmingly awkward, yet unmistakably self-aware. This tone was established from the moment I opened the virtual program. One of the highlights for me was the group members’ comical bios and photos, which set the stage for the tone of the night’s festivities. Despite the lighthearted approach, the program still provided essential information, such as the set list and social media handles. Throughout the evening, each song was introduced with a cheesy yet endearing preamble, perfectly capturing the group’s spirit of ‘silly men, serious music’. This energy was also evident in the group’s comedic approach to explaining their concert title, ‘One G-Rection’.

If you were wondering, I can confirm: Pitch Perfect really does emulate the accurate energy of college acapella concerts. The G-Men’s performance never disappoints. Senior G-Men member Max Crandell arranged seven songs for the evening, and I remain consistently impressed by his theory skills. The group’s blend was impressive, and each soloist brought their own personality to the song as they stepped forward to lead. I particularly enjoyed the soloist performance by Leo Kupferberg, a junior member who performed “Blow” by Kesha, as he exuded confidence and joy that are no doubt characteristic of his approach to the G-Men as a group. Overall, I was impressed by the musical performances of the G-Men in their winter concert. This came as no surprise to me, as the quality of each song I’ve seen performed by this group is always high.

The only other student performance group listed on the bill was Midnight Book Club, known across campus for their short-form improvisational comedy. I have to admit, I’m not always the biggest fan of college improv, but I thought this group did well in their scene work, especially considering the number of audience members they had to work with.

Unfortunately, the concert itself was not highly attended. As I looked around at the audience, I noted the age of my fellow spectators. I saw very few University of Michigan students – it seemed that most of the attendees were parents or family members of the G-Men’s members, and I would estimate that the Rackham Auditorium seats were about 25% full, give or take. While I did love the amusing song introductions and I mostly enjoyed Midnight Book Club’s performance, the minimal audience attendance definitely skewed the comedy of the night to prompt an awkward chuckle, as opposed to raucous laughter. After attending G-Fest for several years, I know this group has the potential to draw a larger crowd. I believe that there is room for growth in the G-Men’s marketing strategy, and the performance itself may have been better attended if more performance groups were listed on the bill, similarly to G-Fest. 

The University of Michigan boasts an established and engaged acapella community, with fourteen groups affiliated with the Michigan Acapella Council, but this minimally attended performance led me to ponder how frequently these groups interact after the ICCAs conclude each year. When each group gets immersed in their own winter programming, does the community momentarily disband?

I look forward to attending more G-Men events in the future, and I sincerely hope that more students get the opportunity to check out their impressive performances. Keep an eye out for the next G-Men album, which was recorded recently and will be released in late 2024.

REVIEW: The Houston Patton Quartet at the Blue Llama

The Blue Llama is one of the most iconic jazz venues in Ann Arbor, bringing in top-tier performers from all around the world. Hosting the Friday late-night performance on March 29th was Detroit saxophonist Houston Patton and his Quartet.

Patton’s quartet features Detroit musicians Liam Charron (piano), Dylan Sherman (bass), and Stephen Oduro (drums), a powerhouse group led with sensitivity, joy and momentum.  This young quartet performs with a level of experience beyond their years, showcasing remarkable agility, technicality, and charisma. Their set featured the quartet members’ original music, with songs written by Patton and Charron.

I appreciate young musicians’ priority for creating and performing new music—especially their own. The jazz canon is filled with great Standards that are well to learn, but to create innovation and excitement lies within what’s new, and currently being created. Patton’s style emulates that of a modern musician with a deep understanding of the canon, and what to do to improve it.

Patton played a variety of his own tunes (as I am writing this the names are escaping me), which ignited an electric energy in the room. I adored each of the different tunes that were picked, each with fleshed-out and thoughtful contemporary musical ideas. The band was locked in and present with one another, playing with sensitivity to Patton’s choices and leadership.

Patton’s playing is close to that of a firecracker—colorful, unexpected, and wildly exciting. Patton’s beaming personality made for a strong bandleader and comfortable host. He has an ease with the audience, allowing joy to effortlessly resonate through the intimate Blue Llama lounge.

The one tune that was not that of Patton’s was the great Detroit saxophonist, Kenny Garrett’s “Wooden Steps”. It’s evident of Patton’s deep appreciation and emulation of Kenny Garrett in his playing. The percussive quality Garrett brings to the saxophone, coupled with his bright tone are traits that Patton has incorporated into many facets of his performance. “Wooden Steps” was performed with incredible spunk and vivacity, making it one of my favorite tunes from the set.

Patton’s Quartet ignites a beacon of inspiration for young players and illuminates limitless possibilities for the next generation of jazz.

 

 

March 30th, 11pm. Photo thanks to The Blue Llama.

REVIEW: Samara Joy at Hill Auditorium

With a nearly sold-out Hill Auditorium last Wednesday, March 27th, it’s needless to say that Samara Joy was long-awaited in the Ann Arbor community.

Samara Joy is a Grammy-Award-winning jazz singer who is touring the US and the EU on a nearly sold-out international tour. At just 24 years old, she is a trailblazing force in jazz for Gen Z. She sheds new light on jazz classics alongside her deep understanding of the canon and the singers before her. Joy has thoroughly charmed her Gen Z equivalents and beyond.

Joy was joined by her 7-piece band: Connor Rohrer (piano), Pail Sikivie (bass), Evan Sherman (drums), David Mason (A. Sax), Kendrick McCallister (T. Sax), Jason Charos (Trumpet), and Donovan Austin (Trombone). Most (if not all) of the arrangements they played came from her band, each one unique with a new character. No two tunes were alike, Joy’s set was diverse and exciting, featuring her vocal virtuosity at all times.

This was undoubtedly one of my favorite jazz performances of all time. Joy has a powerful and genuine presence, along with a naturally stunning voice. She mentioned influence from the great Betty Carter, which is apparent in her vocalism, but she brings a style to jazz vocals that is uniquely hers. She fearlessly floats through her top register, taking many phrases up the octave, yet doesn’t neglect her sultry lower notes and striking belt. She uses her voice as an instrument—just as the others in her band.

Joy’s setlist was nuanced and well-paced—a sensitive collection of jazz standards, instrumental tunes she wrote lyrics for, and original music trombonist Donovan Austin. One of my favorite moments in the show was Joy’s Grammy Winning tune, “Tight” written by the great Betty Carter. She has totally made this song her own—with her vocal playfulness and rich belts amid the crisp arrangement.

She played tunes I have seldom heard vocalists sing, such as Sun Ra’s “Dreams Come True”, Rob Obrite’s “Sweet Pumpkin” and Barry Harris’ “Now and Then”. I loved her arrangments of these—I can’t think of them without her voice now!

She often ends with the Grand/Boyd tune from her album Linger Awhile entitled “Guess Who I Saw Today”, and it was expectedly, the encore of the evening. A standing ovation sent the great Samara Joy off, leaving the room buzzing with our own Joy.

 

 

 

March 27th, 7:30pm. Photo thanks to Downbeat.

REVIEW: Mendelssohn’s Elijah

The Chamber Choir is the most distinguished choir at the University of Michigan, led by the incomparable Dr. Eugene Rogers from SMTD. They consist of mainly vocal performance majors but admit select students from other schools in the University. This concert is leading up to the Chamber Choir’s international tour to La Plata and Buenos Aires, Argentina.

The choir began the concert with two pieces including Thomas Tallis’s motet, O Nata Lux (1575), and a unique reprise entitled O Nata Lux (after Tallis) from 2020 by composer Daniel Knaggs. This was an interesting representation of music from the past and present, reminding me of how we respect and modify tradition through art. Knaggs stated (in the program notes) that he wrote the reprised work as a response to the original motet. He used the 3-note motive from the original work, adding free and sporadic hums to reflect the text’s closing prayer. Both works were brilliantly conducted by Katherine Rohwer, a freshly named Doctorate of Musical Arts in Choral Conducting.

For the following hour and a half of the concert, the chorus performed Felix Mendelssohn’s epic oratorio, Elijah. (An oratorio is a composition with a dramatic narrative or text usually constructed for orchestra, choir, and soloists.)

The lengthy Elijah follows the Prophet Elijah from 1 Kings and 2 Kings of the Old Testament in the Bible, with all the text coming from the book itself. There were six soloists from the choir including Andrew Smith (Elijah), Juliet Schlefer (Widow/soprano), Tyrese Byrd (Obadiah/tenor), Amber Rogers (soprano), Katherine Rohwer (Queen Jezebel), and Ella Peters (Angel). The soloists were outstanding, performing with equally cultivated drama and vocal integrity. Smith performed the bulk of the piece (singing the titular role of Elijah), overpowering Hill Auditorium with his wonderfully silky baritone voice.

I am always extremely impressed with the versatility of the Chamber Choir singers. Dr. Rogers brings in a selection of styles to his choirs and has a clear vision for each new piece the chorus confronts. Last spring, the combined choirs at U-M performed a concert of spiritual-inspired compositions by the acclaimed composer Stacy V. Gibbs, and in the fall prior performed Wynton Marsalis’ All Rise with the Jazz at Lincoln Center Orchestra. The choirs take on many styles in a range of periods with cohesion and care along with high-level instruction and outreach of the events from Dr. Rogers.

 

Image thanks to the SMTD website.

REVIEW: Elizabeth Cree

Some criticize opera for its long-winded and shallow storytelling—but Mark Campbell and Kevin Puts are determined to obliterate those expectations with their thrilling adaptation of Elizabeth Cree, a new opera based on Peter Ackroyd’s 1994 novel The Trial of Elizabeth Cree. At just 90 minutes, Campbell and Puts craft a vigilant and intriguing operatic narrative about female angst, murder, and socioeconomic expectations.

The scene is set in 1880s London, in a grimy Victorian town reminiscent of a Sweeney Todd-like “Fleet Street”. The story follows the titular character Ms. Elizabeth Cree (formerly known as Lambeth Marsh Lizzie), in her younger years and after meeting her husband, John Cree. It begins with Elizabeth standing trial for the murder of John, and then traces her cautious trail backward from daughter to performer to wife, culminating in the climax of the opera where she is discovered as a mass murderer.

The Department of Voice and Opera double-casts leading roles in their performances, so this review is regarding the Thursday/Saturday performance of Elizabeth Cree. This performance featured Aria Minasian (Elizabeth Cree), Robert Wesley Mason (John Cree), and Katelyn Brown (Aveline Mortimer, Elizabeth’s ex-colleague at the troupe).

Minasian’s portrayal was truly spectacular—her Elizabeth was deep and seductive, precociously balancing beauty and terror. Her luxurious contralto voice pulled the audience into Elizabeth’s madness and gripped until we were left begging for more. Mason’s complement to her was grounding, with a voice effortlessly demanding attention.

Campbell and Puts are true trailblazers for the next generation of American Opera with their work on The Manchurian CandidateSilent Night, and Puts & Greg Pierce’s wildly new successful opera The Hours. Puts created a whimsical score for chamber orchestra in Elizabeth Cree, bringing a hauntingly dark narrative into a world different from our own yet totally understood. Campbell’s libretto brings ultimate life to the characters with mystery, wonder, and grit. Elizabeth’s libretti was specifically complex and refreshing, with many female opera roles lacking depth in older works.

The Department of Voice will return in November with Humperdinck’s Hansel und Gretel — a story making up for its lack of murder with candy and witches.

 

 

Read more about Elizabeth Cree in the Dramaturgy Packet here.

Photos thanks to @umichvoice on Instagram.