1. Home
2. Blog
3. Interviews

An Interview with Candice Hoyes On "Far Away Star", Reimagining Ellington, and Music as a Vessel for Freedom

We caught up with Harlem-based vocalist and composer Candice Hoyes to discuss her new single "Far Away Star," her approach to interpreting jazz’s rich history, her experiences collaborating with some of today’s top musicians, the lessons she’s gathered along her creative journey and more.

By Eugenia RoditisMusicngear Editor

With a crystalline soprano and a fearless creative spirit, Candice Hoyes is reshaping the future of jazz while honoring its most profound traditions.

Her latest single, Far Away Star, reimagines Duke Ellington’s Serenade to Sweden with original lyrics that reflect on free expression and Black ancestral legacy in today's world.

In our conversation, Hoyes speaks about the inspiration behind this new release, the deep-rooted collaborations that brought it to life, and the role of music in advancing cultural and social justice. She reflects on the duality of working both solo and with her trio Nite Bjuti, the biggest lessons she has learned along her journey, and more.

Eugenia Roditis, Musicngear: “Far Away Star” reimagines Duke Ellington's Serenade to Sweden with your own original lyrics. What inspired you to revisit and reinterpret this particular piece?

Ι have been trying to tap into how this current moment, the head-spinning pace, suppression of free expression, figures into a bigger historical meaning.

I am also so captivated by the special collaboration of Duke Ellington and the musicians he recorded with in Sweden. I love the ways in which borders never constrained Ellington's creative impact.

Musicngear: This track features a stellar lineup, including Ted Nash, Vincent Gardner, and more. How did these collaborations come about, and what was the creative process like working with such a powerhouse ensemble?

I had the pleasure to meet all these artists years ago on a project we recorded, a double album titled "The Abyssinian Mass" composed by the great Wynton Marsalis.

This track is something I have been working on across the years, which makes sense to me because the music holds such import and sacred history.

Musicngear: You've said that "Far Away Star" is a tribute to Ellington and also to free expression and justice. How do you see the role of music in advancing social or cultural justice today?

I know that Black history and people are a luminous force across time, which has moved global culture forward across the dimension of civil rights, music, literature, social movements that have liberated people everywhere.

And so, I always acknowledge this is at the heart of the music that taught me, animated me and challenges me in the most substantial ways. I strive to keep that alive and pass it on through my music.

Musicngear: You're a member of the all-female trio Nite Bjuti, who've performed at some of the most respected venues in jazz. How does working in a collaborative trio differ from your solo projects, creatively and emotionally?

I love working in both formats so much. Val Jeanty and Mimi Jones are just so distinctive and powerful, and we truly appreciate every moment together.

I know that my solo projects allow me to follow the emotional and imaginative currents deep underground. My deep creative water sources. So for me, it is essential to feed both!

Musicngear: Looking back on your career so far, what has been the biggest obstacle you've had to overcome? What advice would you give to emerging artists facing similar challenges?

Learn somehow to do everyone's job because life in music necessitates so many changes, gains and losses, and detours.

Musicngear: You've performed at Jazz at Lincoln Center, Carnegie Hall, and La Petite Halle in Paris. Are there any venues or festivals you still dream of performing at?

Oh, for sure - I long to play the summer festivals and work with jazz orchestras!

In that vein, a dream came true this Spring when I was invited to join the artist roster of The Harlem Chamber Players after our performance at the Schomburg. So next, I play with them and the iconic Tania Léon. These moments are a treasure.

Musicngear: Are there any contemporary artists, within or outside jazz, you'd like to collaborate with in the future?

All the ones who invite me to make music, I am really open to collaborations.

Musicngear: Υour soprano tone in this arrangement has a crystalline quality. How do you approach vocal interpretation when working with a jazz repertoire, especially one so historically rich?

I always think of songs or even longer vocal works as both story and character-driven. Sometimes, you are partnered with a director or conductor, and their visions inform the story for sure, or the history or origin factors into how you interpret.

I always like to give myself vocal permission to do outlandish things in the practice room, too, so I stay open to where the story takes my voice.

Musicngear: You've earned praise from outlets like NPR, Vogue, and Jazz Times. How do you remain grounded in your creative vision while navigating that kind of critical recognition?

I love feeling grounded in my creative vision; that's a perfect description. I cannot think of any factor that would motivate me to leave that, or else how else can you be vulnerable as you play?

Part of being grounded is appreciating how many ways, written or not, the community has supported and inspired me as well.

Connect with Candice Hoyes
Facebook / Instagram / Bandcamp / Spotify / YouTube / Website

About Eugenia Roditis

Eugenia's passion for music was ignited from an early age as she grew up in a family of musicians. She loves attending concerts and festivals, while constantly seeking fresh and exciting new artists across diverse genres. Eugenia joined the MusicnGear team in 2012.

Contact Eugenia Roditis at eugenia.roditis@kinkl.com

LinkedInTwitterFacebook