Jazz Icons Gregory Porter and Samara Joy Transform Christmas Music Forever!
Characterizing Christmas music as a Gregory Porter double-edged sword may seem unconventional, but the reality is intricate. December uniquely brings forth the timeless voices of music legends—Ella Fitzgerald, Frank Sinatra, Nat King Cole, Bing Crosby, Tony Bennett—gracing the airwaves of local stores like Walgreens and Target. The beauty of their renditions and classic tunes is enduring. However, the downside emerges from the overwhelming commercial drive to produce Christmas albums, resulting in an abundance of subpar offerings.
READ: Beloved Tony-Winning Star, Frances Sternhagen, Takes Her Final Bow at 93
This year, I’m delighted to share my discovery of two new releases that promise to enrich holiday seasons for years to come. Gregory Porter and Samara Joy, both prominent figures in the “jazz” realm, infuse soulful elements into their singing, transcending traditional jazz boundaries. Their holiday albums not only draw from soul but also integrate influences from traditional pop, rhythm & blues, and gospel music.
Gregory Porter
In an intriguing coincidence, both albums feature offbeat holiday songs from Stevie Wonder’s “Someday at Christmas,” penned by Ron Miller, renowned for the hit “For Once in My Life.” Samara Joy’s rendition of “Twinkle Twinkle Little Me” exudes intimacy, accompanied solely by the sensitive pianist Sullivan Fortner. Gregory Porter’s rendition of the title track from the 1967 album is a standout, marked by soulful crooning and skillful modulation.
Porter’s “Christmas Wish” is a richly orchestrated album, featuring a full string orchestra on most tracks and guest instrumentalists like harmonica virtuoso Gregoire Maret. Both Porter and Joy effortlessly navigate across genres, seamlessly transitioning from traditional hymns like “Silent Night” to more modern secular prayers like “Someday at Christmas.”
Porter’s album includes three noteworthy original songs, with the title track “Christmas Wish” standing out for its blend of reverence and personal emotion. Another highlight is “Cradle in Bethlehem,” a piece he learned from Nat King Cole, showcasing humanitarian sentiments akin to “Nature Boy” transformed into a yuletide message.
The album also introduces a refreshing take on the holiday duet with “What Are You Doing New Year’s Eve,” replacing the overdone “Baby It’s Cold Outside.” Porter and Joy’s duet on this track is splendid, leaving a desire for a reciprocal collaboration on Joy’s album.
Samara Joy’s EP, “A Joyful Holiday,” is a more intimate affair, showcasing her skills as both a singer and a tune detective. The collection, including renditions of classics like “The Christmas Song” and “Have Yourself A Merry Little Christmas,” solidifies her standing in the holiday music landscape.
In conclusion, both “Christmas Wish” and “Joyful Holiday” swiftly earn a spot on my shortlist of commendable new holiday albums. They not only rekindle my appreciation for Christmas as a musical genre but also restore my faith in the holiday season as a whole.
