Jazz may not be “cool” to teenagers anymore, and being a trumpet-obsessed high school student in the 21st century may evoke the phrase “band geek” rather than seeming like a path to the hippest parties in New York City. But don’t tell that to Summer Camargo, who currently holds the trumpet chair in the Saturday Night Live band and is the youngest person ever to join that most sought-after gig.
Last month, her debut recording, To Whom I Love, came out on Blue Engine Records, the imprint of Jazz at Lincoln Center and by association, Wynton Marsalis. Summer is still 23 years old and has earned her position in the scene the old-fashioned way: with hard work, talent, learning from elders, and plenty of pluck.
I interviewed Camargo in early 2018 when she was completing 11th grade. She was making noise at the Jazz at Lincoln Center “Essentially Ellington” festival for high school bands — where she was not only playing with crackle and maturity but also writing wonderful music. She told me then, “I want to inspire women going into jazz. I hope maybe I can play a role in that. I think it’s cool that I won these competitions. You do what you do. Don’t care what other people think. Just keep pushing and trying to make it.”
Now, with a crisp and accomplished record — mainly featuring other young musicians she met while rising on the scene — I wanted to chat with her again about her education and taking her music into maturity.
To Whom I Love features a few standards, and Summer Camargo’s originals are primarily dedicated to people in her family. The music is solid “mainstream” jazz that tips its hat to styles and ancestors — for example, Camargo whips up a delicious version of “Splanky”, the tune written by Neal Hefti and originally recorded by Count Basie that has undoubtedly been a favorite of high school bands students for a few generations. The original “Tenderness Within”, by contrast, is a mature waltz with lots of modern-jazz counterpoint that is not “retro.” Camargo is not a talented amateur but a serious talent. Her solo on that track is mellow and wise, filled with space and a beautiful tone, which then makes room for work by her bandmates. Pianist Estaban Castro shines on this track, and saxophonist Veronica Leahy accounts for highly original improvising throughout.
This album is also distinguished by being the final recording session for Hammond B3 organ master Joel DeFrancesco, who plays with drive and colorful support on two tracks. On “80 Tears of Joy”, the veteran provides ideal accompaniment as Camargo plays her most vocal and emotional solo of the session, digging deep into blues and gospel vocabulary.
I am also a fan of “Exploring the City”, a Latin number that blends Leahy’s rich flute and Summer Camargo’s creamy flugelhorn on the head and then asks them to trade phrases. When Castro improvises, he turns the heat up with a right/left-hand conversation that invites the young drummer, Varon Das, to get into the action. There isn’t a moment on this track when you would think this wasn’t a top-call New York jazz group.
Here is an edited account of my conversation with Summer Camargo.
It was apparent when I interviewed you at 17 that you would pursue music as a profession, but making that decision may or may not have been easy. Talk about that and your path.
The Essentially Ellington competition during my junior year was the starting point of my career. I got to talk to Wynton Marsalis and make connections at Jazz at Lincoln Center (“JALC”) — the first organization that provided me a home in New York City. During my senior year, I was called to be a guest artist at their gala, my first gig in New York, in front of the JALC orchestra. During my 12th grade year — one of the toughest years of my life — I was playing in honor bands and working on auditions and applications. It was crazy. But I made it to Julliard in New York.
The pandemic hit at the end of my first year, but I’m thankful I experienced the city before that. Most of my time at Julliard was spent online. That first year, I was already getting calls to do gigs outside of school. I was on spring break when it hit. Our very first big band rehearsal was the last week of school! Then, we were fully online for the first half of the fall semester during my second year.
When gigs started again at the start of 2022, people started to know who I was from the music I was posting online. I traveled out of town to play almost every weekend while still in school.
I graduated with an accelerated master’s degree (doing both in five years). I got the call from Saturday Night Live in the summer before my fourth year at Julliard.
How did you get that call? I understand it’s one of the most sought-after gigs for instrumental players in New York City.
It was July fifth. I had been enjoying the holiday with a close friend and trumpet player. On July Fourth we were watching celebrations on television I said, “Wow wouldn’t it be cool to play on national television? My friend said, “That will never happen.”
The next day, I was working out in my apartment and got a call on my cellphone coming from New York. As a musician, you usually pick up even when you don’t know the number, as it could be a gig! I answered and heard, “This is Lenny Pickett.” I had never watched SNL before I got called.
I asked Lenny, “How did you hear about me?” I knew that Ron Blake, who teaches at Julliard, was in the SNL band. But Lenny said he saw a YouTube of me, a small one with the New Jersey Jazz Society, a virtual show.
Just recently I was talking to [SNL band bassist] James Genus after the show, and he said, “Yeah, there is no other gig like this.”
It cannot be easy being a young woman in a couple of the most competitive musical environments in the city that is the center of jazz in the world. How has it been navigating the waters?
The musician in the SNL band welcomed me with open arms. Every week, my respect for them goes up. They are lovely and nice. I remember my first show — you can get lost easily, and I didn’t know what was going on. Band members were showing me around. Everyone said, “Welcome to the SNL family!”
They treat me like an equal, like one of them. I don’t view it as a gender thing but as an age and experience thing. I’m young, but it’s pretty chill. Steve Turre [Born in 1948 and in the SNL band since 1985] will lean over and tell me stories. The environment is really warm and welcoming. You play so much together — some have been in the band for decades.
Lenny Pickett is a perfect example of what an amazing bandleader can be. I know he is a great example for me. He calls me once a week over the summer break to see how I’m doing.
On your new debut album, I can hear some of your influences (Sammy Nestico for arranging horns, some New Orleans vibes, classic quintet/sextet ensembles). For so many “jazz” musicians your age, there are competing musical passions: hip-hop or groove music, music that mixes New Music from the classical realm, and more “out” playing that used to be the downtown scene. How does music from after the tradition of 1965 fit into your sound?
Before I called Blue Engine, I submitted for a Laurie Frink grant that comes up every two years. [Laurie Frink was a female pioneer as a first-call trumpeter for big bands in New York who died in 2013.] There are lots of grant opportunities at Julliard, and it was a class assignment to submit a grant. I thought I had enough originals to make a record. I won the grant!
Then I thought, wow, I have to do this album now. I called trumpeter Sean Jones, Wynton Marsalis, and Bria Skonberg [a Canadian trumpeter and vocalist]. Sean has been an amazing mentor in my life. Wynton and I went over my originals and my desire to update them. He told me about the opportunity at Blue Engine Records. They took care of me.
I asked Sean to produce as we are on the same wavelength musically, mission-wise and bandleading-wise. I felt really comfortable around him. He was present during recording, giving ideas and feedback.
It was Sean who recommended Joey DeFrancesco for those two tracks, and that was incredible. I called him the week before the recording session and sent him the chart. He came into the session — it was the first and only time I met him — and I was so touched by the energy and effort he put into the album. I turned 21 on the last day of the recording session at the Power Station. Joey spent over an hour making sure the organ was perfect.
It was Wynton who called to tell me that Joey passed. He was really special.
Talk about the songs on the record. How far back do they go?
I wrote three of the tunes in 2018: “Tenderness Within”, “80 Tears of Joy”, and “JP Shuffle” were all written when I was still in high school and were very influenced by more traditional jazz. “JP Shuffle” has an Art Blakey vibe, and “80 Tears” has a gospel influence. What I was trying to do on the album was capture these individual people’s spirit. The song for my mom (“Tenderness Within”) came first, and then everyone in my family wanted a song. I wrote “80 Tears” for my grandma, “JP” for my dad and two other originals for my sisters. I also wanted to honor my band directors because they really provided an amazing foundation for me in more traditional jazz. That is naturally who I am, and I wanted to honor the people who gave me so much.
As a trumpeter, I always try to push myself — musically, technically, and compositionally. I am just so thankful. My teachers told me to play everything with the most emotion and soul possible. The technique can come later. Sean is also a huge advocate who teaches you to practice your fundamentals so you can play whatever comes into your head when you’re improvising.
Around 2018, I fell in love with Louis [Armstrong], the most incredible role model as both an artist and entertainer. Since then, I dove deeper into New Orleans jazz.
The version of “On the Sunny Side of the Street” sounds like a second-line horn section, with your open horn, muted trombone, and clarinet playing unaccompanied and collectively. Your fellow players are wonderful, with young and more experienced musicians. How did the band come together?
When I was in high school honor bands, I was told to keep in touch with the players because we would see each other for the rest of our careers. I met most of the players on the record in high school through the Grammy band [Grammy Jazz Camp Session]. Back then, you were paid to go to the Grammys and play at the after-party. I worked my butt off to make the band. Veronica [saxophonist Veronica Leahy] made it, too. We were the only two girls and roomed together. Estaban [Castro, pianist] and Varun [Das, drummer] were in the Grammy band too.
Then, when I got to New York, Estaban was at Julliard and the Manhattan School of Music, Veronica was at the Harvard/Berklee College of Music program, and Jeff (Miller, trombone) was still at Julliard. Raul [Reyes Bueno, bassist] would not be on the session, but I met him the year before at Julliard when he subbed for someone in an ensemble.