Reflections on a Genre: ‘Jazz Is Far From Dead’ (Guest Column)

When people ask me about the state of jazz, I always tell them that from where I live in New Orleans, the view is great, thank you. N’Awlins isn’t a museum to jazz but a living, breathing gumbo of jazz, blues and everything else besides. And that’s what attracts musicians like me to experience a music scene that’s generous in encouraging young players to “sit in” with those who’ve been doing it for a lifetime. 

Given that New Orleans is the birthplace of jazz, work is plentiful in this tiny city overflowing with legacy. But it also vibrates with the new. It looks back whilst moving forward, and that’s what keeps America’s greatest art form vital.

Growing up in London, I was introduced to joyful, blues-based jazz — the pop music of its day — by my father, opera singer Handel Owen. In particular, he played the smile-enduring music of my first female idols: the unapologetically badass ladies of the ‘40s and ‘50s. They were killers at the piano: audacious, unafraid band leaders and self-styled performers who wrote, played and entertained with a wicked glint in their eyes. 

Nellie Lutcher was the first. She blew my tiny mind on “Fine Brown Frame,” with lyrics I couldn’t yet understand at age five but whose infectious and percussive piano/singing style exploded out of the speakers. (I once read that Alicia Keys had the same epiphany with another great: Hazel Scott.)

Next was Julia Lee, the Kansas City queen of double entendre, and writer of “My Man Stands Out” and “King Sized Papa.” Lutcher played with the Southern Rhythm Band. Lee had Her Boyfriends backing her. Both had hits; both are all but forgotten. These jazz pioneers were out front and in control in the very male-dominated world of jazz; at a time when women were kept in their place. Both artists made me dream of being my boldest, bravest self.

So during COVID, full of fear and end-of-the-world anxiety, I looked back to move forward. Like many artists, I took the opportunity to fulfill a back-burner dream. I needed to smile, so I celebrated these badass women who’d lifted my spirits when the clouds of depression came. And wouldn’t you know, it was the fork in the road for this late bloomer!  

Luxuriating in the glow of those delicious songs and the sexy grease of my band, The Gentlemen Callers, I moved front and center into the spotlight and became the entertainer those ladies made me want to be. I returned to the piano and my self-penned songs with a newfound abandon and flare.

COVID has been replaced by new chaos, and I’ve never felt more compelled to put a smile on my audiences’ faces — we all need it. I’m out on the road loving every moment on- and off-stage with these incredible musicians who utterly respect my artistry and laugh at my expense. I’m the boss and one of guys. My father always told me, “It’s the least glamorous job in the world, so you’d better love it!” He also reminded me that looks are a bonus, but talent is forever — a smart man.

In truth I’m not a jazz purist, having always blurred the lines as a singer-songwriter between jazz, blues, pop, rock and classical. I’ve learned that whatever the genre when you hit gold on a label, you’ll be expected to repeat the formula over and over again. It makes business sense, but that was never for me.

Happily, these days we’re seeing more exceptions to the rule. Think Jon Batiste’s Americana Grammy win. It’s exciting to do what you want, how you want; love it or leave it. New Orleans artists and bands are renowned for mixing traditional jazz with contemporary genres like funk, hip-hop and rock. There’s a renaissance of artists here blurring the lines like Batiste. 

Trombone Shorty, hip-hop jazzers Trumpet Mafia and buskers extraordinaire Tuba Skinney are just a few who are keeping it fresh. And if you’re talking young jazz voices, then there’s none more vital than 16-year-old piano prodigy River Eckert, who’s carrying New Orleans music into the future. Elsewhere, next-gen voices like Samara Joy and Laufey are sounding off as well through their unique creative perspectives.

And wouldn’t you know: Being authentic and mixing it up resonates with audiences. I’m thrilled to report that mine are getting younger and younger, especially among women. There are two post-show comments that I’m regularly hearing from new fans confirming that: (1) “I didn’t know I liked jazz” and (2) from young women, “I want to be fearless like you!” The latter makes me teary-eyed; a reminder of myself first hearing Nellie.

Both comments assure me that I’m passing the baton to eager up-and-comers — and that jazz is far from dead. From where I stand, I’d say it’s flourishing.

Judith Owen’s latest album is Suit Yourself. Recorded at New Orleans’ Esplanade Studios and newly released via her label Twanky Records. the set brims with a vibrant fusion of jazz, big band and blues. Owen and The Gentlemen Callers let loose on the project’s first single, her self-penned “That’s Why I Love My Baby,” and “Today I Sing the Blues,” a stirring duet with Crescent City star Davell Crawford. Owen also reimagines the Dinah Washington classic “Evil Gal Blues.” Additional information about Suit Yourself and Owen’s upcoming tour dates is available on her website.