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Joe Sample
Joe Sample
Joe Sample
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Key Information

Joseph Leslie Sample (February 1, 1939[1] – September 12, 2014)[2] was an American jazz keyboardist and composer. He was one of the founding members of The Jazz Crusaders in 1960, whose name was shortened to "The Crusaders" in 1971. He remained a part of the group until its final album in 1991, and also the 2003 reunion album Rural Renewal.

Beginning in the late 1960s, he saw a successful solo career and guested on several recordings by other acts, including Miles Davis, George Benson, Jimmy Witherspoon, Michael Franks, B. B. King, Eric Clapton, Steely Dan, Joni Mitchell, Anita Baker, Herb Alpert, and The Supremes. Sample incorporated gospel, blues, jazz, latin, and classical forms into his music.

Biography

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Sample was born in Houston, Texas,[1] the youngest son of Alexander Sample, a mail-carrier, and Agatha (née Osborne) Sample, a seamstress. Sample began to play the piano at the age of five. He was a student of the organist and pianist (Theodore or T.) Curtis Mayo.

In high school in the 1950s, Sample teamed up with friends saxophonist Wilton Felder and drummer "Stix" Hooper to form a group called the Swingsters. While studying piano at Texas Southern University, Sample met and added trombonist Wayne Henderson and several other players to the Swingsters, which became the Modern Jazz Sextet and then the Jazz Crusaders,[3] in emulation of one of the leading progressive jazz bands of the day, Art Blakey's Jazz Messengers. Sample never took a degree from the university; instead, in 1960, he and the Jazz Crusaders made the move from Houston to Los Angeles. He was a member of Phi Beta Sigma fraternity.

The group quickly found opportunities on the West Coast, making its first recording, Freedom Sound, in 1961 and releasing up to four albums a year over much of the 1960s. The Jazz Crusaders played at first in the dominant hard bop style of the day, standing out by virtue of their unusual front-line combination of saxophone (played by Wilton Felder) and Henderson's trombone. Another distinctive quality was the funky, rhythmically appealing acoustic piano playing of Sample, who helped steer the group's sound into a fusion between jazz and soul[4] in the late 1960s. The Jazz Crusaders became a strong concert draw during those years.

While Sample and his bandmates continued to work together, he and the other band members pursued individual work as well. In 1969, Sample made his first recording under his own name; Fancy Dance featured the pianist as part of a jazz trio.[3] In the 1970s, as the Jazz Crusaders became simply the Crusaders and branched out into popular sounds, Sample became known as a Los Angeles studio musician, appearing on recordings by Joni Mitchell, Marvin Gaye, Miles Davis, B. B. King, Randy Crawford, George Benson, Joe Cocker, Herb Alpert, Michael Franks, Anita Baker (1994) and Steely Dan.[5] Sample was a founding member of the L.A. Express, which was started as the backing band for Tom Scott; however, both Sample and fellow Crusader Larry Carlton left after that group's first album. In 1975, Sample went into the studio with bassist Ray Brown and drummer Shelly Manne to produce a then state-of-the-art recording direct to disc titled The Three. About this time, Blue Note Records reissued some of the early work by the Jazz Crusaders as The Young Rabbits. This was a compilation of their recordings produced between 1962 and 1968.

The electric keyboard was fairly new in the 1960s, and Sample became one of the instrument's pioneers. He began to use the electric piano while the group retained their original name, and the group hit a commercial high-water mark with the hit single "Street Life" and the album of the same name in 1979. He released Swing Street Café with R&B guitarist David T. Walker in 1981.

The Crusaders, after losing several key members, broke up after recording Life in the Modern World for the GRP label in 1987. Despite the disbanding of the Crusaders, the members would join each other to record periodically over the years, releasing Healing the Wounds in the early 1990s. Felder, Hooper, and Sample recorded their first album, called Rural Renewal, as the reunited Crusaders group in 2003 and played a concert in Japan in 2004.

After Sample's Fancy Dance (1969), he recorded several solo albums, including Sample This, produced by George Duke.

GRP also released Joe Sample Collection, and a three-disc Crusaders Collection, as testament to Sample's enduring legacy. Some of the pianist's recent recordings are The Song Lives On (1999), featuring duets with singer Lalah Hathaway, and The Pecan Tree (2002), a tribute to his hometown of Houston, where he relocated in 1994. His 2004 album on Verve, Soul Shadows, paid tribute to Duke Ellington and Jelly Roll Morton, and pre-jazz bandleader James Reese Europe. In 2007, he recorded Feeling Good with vocalist Randy Crawford. In the mid-1970s, the Crusaders added guitarist Larry Carlton.

Sample appeared on stage at the Waterfront Hall in Belfast, Northern Ireland, on 28 May 2000, playing keyboard solo on George Benson's "Deeper Than You Think". This concert was recorded and a DVD entitled George Benson: Absolutely Live was subsequently released. A studio version of "Deeper Than You Think" was recorded featuring Joe Sample in New York in May 1999 during sessions for a Benson collection that took the title Absolute Benson.

Some of Sample's works were featured on The Weather Channel's "Local on the 8s" segments and his song "Rainbow Seeker" is included in their 2008 compilation release, The Weather Channel Presents: Smooth Jazz II. Nicole Kidman sang his song "One Day I'll Fly Away" in the Baz Luhrmann film Moulin Rouge! (2001). The popular "In All My Wildest Dreams", also from the 1978 album Rainbow Seeker, was sampled on Tupac's "Dear Mama", De La Soul's "WRMS's Dedication to the Bitty", Toni Braxton's "What's Good" and Arrested Development's "Africa's Inside Me".[citation needed]

Sample died of mesothelioma in Houston, Texas, at the age of 75. At the time of his death, Sample had been working on a project, "Quadroon," with singer-songwriter Jonatha Brooke.[6]

Personal life

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Joe Sample was Catholic, and supported Catholic charities and churches throughout his life.[7]

His son, bassist Nicklas Sample, was a member of the Coryell Auger Sample Trio featuring Julian Coryell and Karma Auger.[2][8][9][10]

Discography

[edit]
Sample performing in Paris, 1978

As leader

[edit]
Title Year Label
Fancy Dance [originally titled Try Us] 1969 Gazell
The Three (with Ray Brown, Shelly Manne) 1976 East Wind
Rainbow Seeker 1978 ABC/MCA; Blue Thumb
Carmel 1979 ABC/MCA; Blue Thumb
Voices in the Rain 1981 MCA Jazz
Swing Street Cafe (with David T. Walker) 1981 Crusaders; Verve
The Hunter 1983 MCA Jazz
Oasis 1985 MCA Jazz
Roles 1987 MCA Jazz
Spellbound 1989 Warner Bros.
Ashes to Ashes 1990 Warner Bros.
Invitation 1993 Warner Bros.
Did You Feel That? 1994 Warner Bros.
Old Places Old Faces 1996 Warner Bros.
Sample This 1997 Warner Bros.
The Song Lives On (with Lalah Hathaway) 1999 GRP
The Pecan Tree 2002 Verve
Soul Shadows 2004 Verve
Creole Love Call (with Nils Landgren) 2006 ACT
Feeling Good (with Randy Crawford & Steve Gadd) 2007 PRA
No Regrets (with Randy Crawford & Steve Gadd) 2009 PRA
Live (with Randy Crawford, Steve Gadd & Nicklas Sample) 2012 PRA
Children of the Sun (with NDR Big band & Steve Gadd) 2014 PRA
Christmas with Friends (with India Arie) 2015 Motown

With The (Jazz) Crusaders

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With CreoleJoe Band

  • CreoleJoe Band (PRA, 2013)

As songwriter

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  • Put It Where Yo Want It (1972)
  • Time Bomb (1974)
  • Street Life (1979)
  • Soul Shadows (1980)

As sideman

[edit]


References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Joe Sample

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Joseph Leslie "Joe" Sample (February 1, 1939 – September 12, 2014) was an American jazz keyboardist, pianist, and composer, renowned for his pioneering role in jazz-funk fusion as a founding member of The Crusaders. Born in Houston, Texas, Sample began studying piano at age five and formed his first group, the Swingsters, during high school with longtime collaborators Wilton Felder and Nesbert "Stix" Hooper. Over a career spanning more than five decades, he blended hard bop, soul, and funk influences, contributing to over 50 albums with The Crusaders and releasing numerous solo works that showcased his versatile composing and performing style. Sample's early professional breakthrough came after relocating to in 1960, where his group—evolving from the Modern Jazz Sextet to The Jazz Crusaders—debuted with the album Freedom Sound on in 1961. By the early 1970s, the ensemble shortened its name to The Crusaders and embraced electric instrumentation, propelling them to mainstream success with fusion hits like the 1972 album Crusaders 1 on Blue Thumb Records and the iconic 1979 track "Street Life," featuring vocalist . As a , Sample lent his keyboard expertise to recordings by artists such as , , and , while his solo discography included innovative efforts like Fancy Dance (1969) and The Three (1975), which highlighted his roots in zydeco, blues, and traditional . Throughout his later years, Sample continued to explore diverse musical territories, collaborating with ensembles like the NDR Big Band and maintaining a presence in and performance until his death in at age 75. His enduring legacy lies in bridging acoustic traditions with contemporary fusion sounds, influencing generations of musicians and earning him recognition as a cornerstone of modern history.

Early Life and Education

Childhood and Musical Beginnings

Joseph Leslie Sample was born on February 1, 1939, in , , into a working-class family of Creole heritage with deep Southern roots tracing back to . Growing up in the vibrant, segregated Fifth Ward neighborhood known as Frenchtown, Sample was immersed in a rich cultural milieu that blended African American, Creole, and immigrant influences, fostering his early affinity for . His father, , a , played a pivotal role in establishing Our Mother of Mercy , a cornerstone of the community that exposed young Sample to sacred traditions. At the age of five, Sample began lessons, quickly drawn to the instrument after expressing his aspiration to play during a conversation with his at age six. His initial musical development was profoundly shaped by sounds of church services at Our Mother of Mercy and the eclectic local airwaves broadcasting zydeco precursors like "la la" music, , and early artists such as . These influences ignited his passion, leading to his debut performances in neighborhood churches and at community talent shows, where he interpreted rhythms and simple improvisations for appreciative audiences. By his high school years at in the mid-1950s, Sample had honed his skills enough to co-found the Swingsters, an instrumental group featuring saxophonist and drummer —future collaborators in the Jazz Crusaders. The Swingsters gigged locally, performing energetic sets and nascent numbers at events around , including pre-college appearances at gatherings, marking Sample's transition from solitary practice to ensemble playing.

Formal Education

In the late 1950s, Joe Sample enrolled at in , , where he studied as part of the music performance program. Having entered the university at age 16 after graduating from High School, Sample dedicated three years to his academic pursuits, immersing himself in formal musical training amid the vibrant cultural environment of . During his time at Texas Southern, Sample reconnected with high school collaborators saxophonist and drummer , and met trombonist Wayne Henderson, expanding their informal high school ensemble known as the Swingsters into a more structured group called the Modern Jazz Sextet. This evolution marked a shift toward a professional-oriented ensemble, with Sample contributing as and arranger while balancing coursework and rehearsals. The university's campus activities and Houston's thriving local music scene, including clubs and events, provided crucial exposure to diverse styles, influencing the group's sound and Sample's compositional approach. By 1960, Sample chose to forgo completing his degree, opting instead to pursue music professionally full-time by relocating to with the Modern Jazz Sextet, which soon rebranded as the Jazz Crusaders. This decision propelled his career forward, building directly on the foundational collaborations and skills honed during his university years.

Professional Career

Formation and Time with The Jazz Crusaders

In 1960, Joe Sample, along with fellow musicians , , and Wayne Henderson, relocated from Houston, Texas, to , California, seeking greater opportunities in the burgeoning scene. There, they renamed their group from the earlier Swingsters to The Jazz Crusaders, drawing inspiration from Art Blakey's , and expanded to a with various bassists. This move marked the beginning of their professional ascent, allowing them to immerse in the vibrant Los Angeles music community. The band quickly secured a with , releasing their debut album Freedom Sound in 1961, which featured Sample's composition of the title track—a piece infused with and elements that addressed racial injustice. Subsequent early albums, such as Lookin' Ahead (1961) and Double Takin' (1963), showcased their soulful style, gradually incorporating R&B grooves and shifting toward influences akin to and . This evolution reflected the group's adaptation to broader audiences while maintaining acoustic instrumentation led by Sample's piano. By the late 1960s, Sample pioneered the integration of , including the Fender Rhodes, into the band's sound, laying groundwork for by blending soulful grooves with rock and pop elements. This innovation was evident in albums like The Festival Album (1966, live) and Uh Huh! (1967), where Sample's electric textures added a modern edge to their foundation. In 1971, the group shortened their name to The Crusaders to signify this broader stylistic expansion beyond traditional confines. The Crusaders achieved commercial breakthrough in the 1970s with fusion-oriented releases on Blue Thumb Records, culminating in the 1979 album Street Life, whose title track featuring vocalist became a major hit, reaching No. 36 on the and No. 17 on the R&B chart, and introducing their sound to pop audiences through its infectious funk-jazz groove. The band toured extensively during this era, including European circuits in the mid-1970s and high-profile U.S. performances such as the 1974 Oakland Coliseum show, where they shared stages with acts like , energizing crowds with extended improvisations and Sample's dynamic keyboard work. Facing industry shifts and internal changes in the early , drummer departed in 1983, while Sample remained with the group into the late . The Crusaders continued with varying lineups, releasing albums such as Ghetto Blaster (1983), The Good and the Bad Times (1986), and Life in the Modern World (1988), before pausing major activities in the early , with sporadic reunions including live sets at the featuring Sample, Felder, and newer members, and a fuller reunion in the .

Solo Career and Jazz Fusion

Joe Sample launched his solo recording career in 1969 with the album Fancy Dance, released on Gazell Records while he was still active with The Jazz Crusaders, marking his initial foray into leading projects beyond the group setting. This debut featured a blend of and emerging fusion elements, showcasing Sample's piano and compositional skills in a more intimate format. In the 1970s, Sample transitioned toward by incorporating electric keyboards and synthesizers, evident in his 1978 album Rainbow Seeker on Blue Thumb Records, which emphasized groovy, accessible fusion tracks with influences from and pop. This shift allowed him to explore broader commercial appeal while retaining roots, producing melodic compositions that highlighted his evolving keyboard techniques. Throughout the decade, he also engaged in production work and composed music for film and television soundtracks, contributing original scores that fused elements with cinematic needs. The 1980s and 1990s saw Sample solidify his solo presence with releases like Spellbound (1989, Warner Bros.), a smooth jazz-pop effort featuring tracks such as "Seven Years of Good Luck" and "Spellbound," which blended electric piano grooves with R&B sensibilities. Following closely, Ashes to Ashes (1990, Warner Bros.) continued this trajectory, offering introspective fusion pieces like "The Road Less Traveled" and "Mother's Eyes," recorded at Paisley Park Studios and emphasizing Sample's synthesizer-driven arrangements. In 1999, The Song Lives On (GRP Records) stood out as a tribute to jazz legends, reinterpreting classics like "In a Sentimental Mood" and "Round Midnight" with guest vocalists, underscoring Sample's reverence for the genre's history. During the and , Sample undertook extensive live solo tours, performing with varying ensembles that highlighted his keyboard prowess and compositional depth, including notable appearances at major festivals and venues worldwide. These tours often featured material from his recent albums, allowing him to connect directly with audiences through improvisational fusion sets. At the time of his death in 2014, Sample was developing the musical in collaboration with singer-songwriter , a project inspired by historical themes that remained unfinished, with readings held in earlier that year.

Collaborations and Sideman Appearances

Throughout his career, Joe Sample frequently served as a , lending his keyboard expertise to a diverse array of artists across , rock, and R&B genres. One notable contribution came on Steely Dan's 1977 album Aja, where he played on tracks including "Black Cow" and "I.G.Y.", adding a distinctive jazz-funk texture to the band's polished sound. Similarly, Sample collaborated with on her 1975 album , providing on "Edith and the Kingpin" and contributing to the record's fusion elements alongside musicians like . His work extended to through the 1997 Legends live album and tour, where Sample performed on piano alongside Clapton, , , and , delivering improvisational sets that blended , , and rock. Sample also guested on sessions for jazz icons, including Miles Davis's 1989 album Amandla, where he played keyboards on the title track, helping to infuse the record with contemporary fusion sensibilities during Davis's later electric phase. His partnerships with included keyboard work on Benson's 2000 album Absolute Benson, performing on tracks like "The ," which showcased Sample's rhythmic drive in a context. As a songwriter, Sample co-authored "Street Life" with lyricist in 1979, a track that became a global hit through its fusion of grooves and pop accessibility, later covered extensively and featured in films like . In the 1990s and 2000s, Sample participated in guest spots that bridged generations, notably with the Coryell Auger Sample Trio—formed in 2007 with his son Nicklas Sample on bass, Julian Coryell on guitar, and Karma Auger on drums—releasing the album Coolidge Returns in 2008, which paid homage to their parents' fusion legacy through energetic live performances. Sample's collaborative reach included film scores and production for R&B acts, as well as live tours. He toured with B.B. King in the 1990s, providing piano support on stage and in the studio for King's blues outings, including the 1991 album There Is Always One More Time, where Sample's sparkling piano enhanced King's standards interpretations.

Musical Style and Influences

Key Influences

Joe Sample's musical development was profoundly shaped by the rich cultural milieu of his native Houston, Texas, where he grew up immersed in gospel and blues traditions prevalent in local churches and community gatherings. From an early age, he absorbed the emotive call-and-response patterns and rhythmic drive of gospel music, which informed his soulful keyboard approach, while the raw expressiveness of Texas blues added a gritty, bluesy edge to his playing. These foundational elements were reinforced through formal piano lessons starting at age five under the renowned classical pianist and organist Curtis Mayo, who introduced Sample to European classical composers such as Brahms, Beethoven, and Bach, providing a structural and technical rigor that balanced his intuitive roots influences. As Sample's horizons expanded, he drew inspiration from jazz icons whose virtuosity and innovation resonated with his evolving style. Pianists like and influenced his technical prowess and harmonic sophistication, evident in his fluid, intricate improvisations, while Miles Davis's sensibilities and modal explorations encouraged a more contemplative, space-conscious approach to composition. The era, particularly the energetic drive of Art Blakey's , left a lasting imprint on Sample's early rhythmic concepts, fostering a propulsive swing that briefly surfaced in the Jazz Crusaders' formative sound. R&B and further colored Sample's palette, with serving as a pivotal figure whose blend of fervor and secular groove—especially his pioneering use of —captivated the young musician during mid-1950s television appearances. This was complemented by the vibrant local scenes, encompassing country-tinged and early R&B, which instilled a sense of regional authenticity and danceable vitality in his work. Upon relocating to in the 1960s, Sample encountered the city's diverse musical landscape, incorporating Latin rhythms and emerging grooves that added percussive flair and syncopated energy to his . His studies at earlier in the decade had already broadened his theoretical foundation, exposing him to advanced and orchestration principles that allowed him to synthesize these varied strands into a cohesive personal idiom.

Innovations and Contributions

Sample pioneered the integration of the Fender Rhodes into during the late 1960s and early 1970s, blending its resonant, bell-like tones with and rhythms to achieve broader crossover appeal beyond traditional audiences. Through his foundational role in The Crusaders, he became a seminal figure in shifting from predominantly acoustic ensembles to electronic instrumentation, enhancing the genre's sonic palette and accessibility. In his compositions, Sample innovated by fusing , , Latin, and classical elements into cohesive hybrids, rejecting rigid genre boundaries to create music that resonated across styles. This approach is evident in works like "Rainbow Seeker," where he layered rhythmic grooves with melodic sophistication drawn from diverse traditions, expanding 's expressive range. His genre-blending philosophy not only enriched but also influenced subsequent artists in exploring interdisciplinary sounds. Sample significantly contributed to the rise of and contemporary piano by popularizing through The Crusaders' recordings and his solo albums, emphasizing lyrical introspection and rhythmic drive that defined the subgenre. As a pioneer of this style, his highly rhythmic compositional method helped establish contemporary jazz as a commercial and artistic force in the 1970s and beyond. Technically, Sample advanced keyboard techniques in recordings by employing layering and split-keyboard setups to produce dense, textured arrangements that combined multiple timbres seamlessly. His influence extended to film scoring, with compositions like "One Day I'll Fly Away" featured in soundtracks for Moulin Rouge! (2001) and contributions to Thelma & Louise (1991), bridging jazz with cinematic narratives. Additionally, his R&B crossovers, such as co-writing the hit "Street Life" for Randy Crawford, facilitated jazz's integration into pop and soul markets, amplifying its reach.

Personal Life

Family

Joe Sample was married to Yolanda Sample, with whom he shared a close amid his demanding musical career. The couple had one son, Nicklas Sample, a professional who pursued a career in and fusion music, including collaborations such as the Coryell Auger Sample Trio alongside Julian Coryell and Karma Auger. Nicklas occasionally performed with his father, reflecting the family's musical heritage and mutual encouragement in creative endeavors. Sample also embraced three stepsons—Jamerson III Berry, , and —as part of his immediate family, along with six grandchildren, fostering a blended household that emphasized strong relational ties. During his upbringing, his parents, Alexander Claude Sample Sr. and Agatha Louise Osborne Sample, provided essential support by immersing him in a culturally vibrant environment shaped by Creole influences from their Georgia and origins, which nurtured his early piano studies starting at age five. This familial foundation extended to his relocation to in 1960, where ongoing family connections helped sustain him through professional transitions while he maintained a private domestic life separate from his public persona. The Sample family's involvement in music extended beyond Joe, with Nicklas's pursuits highlighting intergenerational bonds, yet they prioritized privacy, gathering for personal events that underscored their enduring closeness and support system.

Philanthropy and Beliefs

Joe Sample was a devout Catholic throughout his life, having received his early at Our Mother of Mercy in 's Fifth Ward, where he credited the nuns with instilling a strong sense of discipline and learning. His faith profoundly shaped his personal values, leading him to support and churches, including serving as a witness for the canonization of Sister , founder of the Sisters of the , an order dedicated to educating and aiding African American communities in the . Sample often incorporated elements into his jazz compositions, drawing from the gospel-tinged blues and soul traditions of his upbringing in a region where intertwined with secular sounds. In his philanthropy, Sample focused on music education and community upliftment, particularly after returning to Houston in 1999, where he began organizing benefit concerts to fund improvements at local Catholic schools and churches. He founded the Joe Sample Youth Organization in 2005 as a 501(c)(3) nonprofit to raise money for inner-city schools in , emphasizing educational access for underserved children as a core legacy. Through annual events like the Legacy Concert, which he initiated and headlined, the organization raised over $250,000 in its first five years for facility upgrades at three Catholic parishes in the Third and Fifth Wards, including playgrounds, kitchens, and air-conditioning systems. Sample also donated time to annual fundraisers for his alma mater, High School, supporting and programs there. Sample viewed as a vehicle for social healing and unity, having used the piano as an escape from the segregation of his youth in , where it provided solace and a means to bridge cultural divides through shared expression. In the , his post-career commitments extended this belief into action, with benefit concerts like the 2013 Legacy Concert at the Grand 1894 in Galveston, which continued his advocacy for as a unifying force even as his health declined. He encapsulated this philosophy in a 2013 interview, stating, "I see my legacy, our legacy, as a to educate, educate, educate."

Death and Legacy

Illness and Death

In 2014, Joe Sample was diagnosed with , a rare form of cancer typically linked to prolonged exposure to or other environmental hazards. He sought treatment at the in , , where he had relocated years earlier to be closer to his roots and family. Throughout his career, Sample maintained privacy regarding his health challenges, including prior heart attacks in 1994 and 2009, focusing instead on his without public disclosure of personal medical details. Despite his illness, Sample remained active in his final months, continuing work on creative projects in Houston. He collaborated closely with singer-songwriter Jonatha Brooke on Quadroon, a musical exploring the life of Henriette Delille, a 19th-century Creole woman; the duo had been developing it for over a decade, with Sample contributing original music and lyrics during rehearsals at the Ensemble Theatre that summer. His return to Houston for care allowed him to balance treatment with these endeavors, supported by his wife, Yolanda, and son, Nicklas. Sample passed away on September 12, 2014, at the age of 75, at the in from complications related to . His manager, Patrick Rains, confirmed the publicly, while his family issued a statement expressing gratitude to fans and friends for their support during his illness. A wake and viewing open to the public was held on September 19, 2014, at Our Mother of Mercy Catholic Church in Houston's Fifth Ward, followed by a service at the same location. The event drew family, including his wife and son, as well as musical peers and community members, honoring Sample's deep ties to the city where he was born and raised.

Awards and Honors

Throughout his career, Joe Sample garnered recognition for his innovative work in , and R&B, earning multiple Grammy nominations as both a solo artist and a founding member of The Crusaders. These accolades highlighted his pivotal role in blending genres and composing influential tracks that bridged traditional with contemporary sounds. Sample's solo efforts were acknowledged at the in 2008, where he received a nomination for Best Traditional R&B Vocal Performance for "All Night Long," a soulful collaboration showcasing his keyboard prowess and compositional depth. With The Crusaders, Sample contributed to several Grammy-nominated projects in the , reflecting the group's groundbreaking fusion style. The following table summarizes key nominations tied to their albums:
YearCategoryWorkNotes
1973 (16th Annual)Best R&B Instrumental Performance2nd CrusadeAlbum featuring Sample's arrangements in a context.
1974 (17th Annual)Best R&B Instrumental PerformanceScratchHighlighted the band's rhythmic innovation and Sample's compositional input.
1976 (19th Annual)Best R&B Instrumental PerformanceKeep That Same Old FeelingRecognized the ensemble's emotive, groove-oriented .
2002 (45th Annual)Best Contemporary Jazz AlbumRural RenewalA later reunion effort underscoring Sample's enduring influence.
In addition to national honors, Sample was celebrated locally for his Houston origins and lifelong impact on the music scene. In 2013, he was inducted into the inaugural class of the Music Hall of Fame at the Houston Press Music Awards, an honor that affirmed his status as a hometown legend and pioneer in .

Posthumous Recognition

In 2018, a memorial headstone for Joe Sample was unveiled at Paradise North Cemetery in , designed as a seven-foot grand to honor his legacy as a jazz pianist and ; the monument includes from his composition "True to You," a quote from Sample, and references to his album The Pecan Tree, envisioned by his widow Yolanda Sample following a dream inspired by visits to composers' monuments in . Marking the 10-year anniversary of Sample's death in 2024, the Houston Orchestra presented "The Joe Sample Celebration" concert on May 30 at the Hobby Center in , featuring new and existing arrangements of Crusaders compositions co-written by Sample, alongside a live debut of an unreleased track "Stix and Joe's Gumbo Groove" performed with special guest and Crusaders drummer , the last surviving original member. On what would have been Sample's 86th birthday, February 1, 2025, the Joe Sample Soundstage at the , hosted "Harmony at the Crossroads," an event honoring singer with the presentation of the National Joe Sample Award, featuring live , a documentary presentation, and a curated art exhibition, including a special all-star tribute segment led by his Nicklas Sample to celebrate Sample's enduring influence. Posthumously, Sample's work with The Crusaders has seen renewed availability through reissues, such as the 2017 five-CD 5 Original Albums compiling key releases like and Street Life, and the January 2025 Blue Note Tone Poet Series vinyl edition of their 1961 debut Freedom Sound, highlighting his foundational role in blending with R&B and elements. Sample's innovations in continue to resonate in contemporary and revivals, with his keyboard techniques and compositional style cited in curricula at institutions like the University of Houston's program, where family initiatives such as the Joe Sample Soundstage preserve his contributions through ongoing performances and awards like the National Joe Sample Award presented to artists advancing genre-crossing traditions.

Discography

As Leader

Joe Sample launched his career as a bandleader with the release of his debut solo Fancy Dance in 1969 on , featuring him on piano in a trio setting with David "Fathead" Newman on and Eddie Gladden on . This early effort showcased his roots in and , marking his transition from group work to personal projects. In 1978, Sample achieved broader recognition with Rainbow Seeker on Blue Thumb Records, an that blended with pop sensibilities and peaked at No. 3 on the Jazz Albums chart. Featuring guest musicians like guitarist and vocalist , it highlighted Sample's compositional range, including the track "In All My Wildest Dreams," which later influenced hip-hop sampling. Sample's 1989 release Spellbound on GRP Records topped the Billboard Contemporary Jazz Albums chart for 12 weeks, underscoring his commercial peak in smooth jazz with lush arrangements and contributions from artists like . The title track became a signature piece, exemplifying his melodic piano style and crossover appeal. A notable later leadership project was the 1999 collaborative album The Song Lives On with vocalist on GRP Records, which paid tribute to classic songs through interpretations and reached No. 2 on the Albums chart. This work emphasized Sample's songwriting and arranging prowess, with the single "When Your Life Was Low" peaking at No. 20 on the chart. Subsequent solo efforts included The Pecan Tree (2002, Telarc), a reflective collection drawing on Southern influences, and Soul Shadows (2004, GRP), which explored funk-tinged grooves. Sample continued leading projects into his final years, culminating in Children of the Sun (2015, PRA), his final album released posthumously featuring original compositions with a focus on global rhythms. Compilations like The Best of Joe Sample (1993, Blue Thumb/GRP) anthologized his leadership highlights, reinforcing his enduring impact as a solo artist.

With The Crusaders

Joe Sample served as the primary keyboardist and a key composer for The Jazz Crusaders, later shortened to The Crusaders, contributing to their evolution from to jazz-fusion across decades. The band's early albums in the established their soulful sound, with Sample's driving the rhythm section alongside Wilton on , Wayne Henderson on , and Stix on . Freedom Sound (1961, Pacific Jazz Records), the group's debut full-length release, featured Sample's compositions like "The Geek" and his prominent piano solos that blended bebop with emerging soul influences. This was followed by Lookin' Ahead (1962, Pacific Jazz Records), where Sample's keyboard work on tracks such as "Synergy" highlighted the band's tight interplay and forward-looking arrangements. Live recordings from this period, including At the Lighthouse (1962, Pacific Jazz Records), captured Sample's improvisational flair on piano during energetic performances at the famed Los Angeles venue. As the group transitioned to fusion in the 1970s, Sample incorporated electric keyboards like the , expanding their appeal to broader audiences. The seminal Street Life (1979, ) exemplified this shift, with Sample's layered keyboard textures underpinning the title track's hit collaboration with vocalist , achieving commercial success and crossover impact. Rhapsody and Blues (1980, ) further showcased Sample's compositional depth on keyboards, blending orchestral elements with funk grooves on pieces like "Soul Shadows." Later live albums, such as Live in Japan (1983, ), preserved the band's high-energy sets with Sample's dynamic and acoustic features. Following a hiatus in the late , the core members reunited for releases, where Sample continued to anchor the sound on keyboards. Happy Again (1994, Sin-Drome Records), a reunion effort billed under The Crusaders, featured Sample's and work on tracks evoking their classic style while incorporating modern production. Compilations tied to the group, like The Greatest Crusade (1995, ), drew from their catalog and underscored Sample's enduring keyboard legacy. Post-disbanding reissues of early Pacific material, such as expanded editions of Freedom Sound on Blue Note's Tone Poet series (2019), benefited from archival enhancements that preserved Sample's original contributions without his direct later involvement.

As Sideman and Songwriter

Joe Sample established himself as a versatile in the 1970s, contributing keyboards to high-profile rock and recordings that showcased his ability to blend with pop and rock sensibilities. On Steely Dan's landmark Aja (1977), he played on "Black Cow," providing a funky, rhythmic foundation that complemented the track's sophisticated groove, and on the title track "Aja," adding subtle textural layers to its intricate arrangement. His work on Joni Mitchell's experimental Don Juan's Reckless Daughter (1977) included a notable solo on "Dreamland," where his fluid, melodic phrasing enhanced the song's ethereal, jazz-inflected atmosphere. Sample also participated in live collaborations with during the 1997 Legends tour, performing on keyboards alongside Clapton, , , and , as documented on the live release Legends: Live at Montreux, where his work supported extended improvisational jams like "Put It Where You Want It." In the jazz realm, Sample's sideman appearances extended to iconic artists, underscoring his reputation as a go-to for fusion and straight-ahead projects. He contributed keyboards to Miles Davis's Amandla (1989), playing on the title track and infusing the album's African-inspired rhythms with his signature textures, which helped bridge Davis's late-career electric phase. On George Benson's Absolute Benson (2000), Sample handled keyboards across multiple tracks, including co-writing and arranging "The Changing World," where his piano arrangements provided a smooth, soulful backdrop to Benson's guitar and vocals. As a songwriter, Sample's credits often arose from his collaborative sessions, yielding enduring hits that transcended jazz boundaries. He co-wrote "Street Life" (1979) with lyricist for The Crusaders' album of the same name, crafting a sultry, urban-themed funk track featuring Randy Crawford's vocals that became a crossover smash, peaking at No. 7 on the R&B chart and earning widespread radio play. His compositional touch appeared on Anita Baker's Grammy-winning Rapture (1986), where he provided piano on the ballad "," contributing to the album's diamond certification. Earlier, Sample scored elements of the blaxploitation The (1973), composing that infused the soundtrack with gritty, soul-jazz grooves, including piano-driven cues that heightened the movie's streetwise tension. Throughout his career up to 2014, Sample's songwriter credits amassed in various compilations and sessions, including contributions to B.B. King's and film projects, reflecting his broad influence as a melodic craftsman whose works were licensed for numerous anthologies and covers.

References

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