Originally published in Jersey Jazz Magazine. Reprinted by permission of the New Jersey Jazz Society.
Bassist Endea Owens' 2023 debut album, Feel Good Music (Bass Bae Music), highlights her skills with tight arrangements, intricate compositions, and syncopated percussive elements that seamlessly interlock. The album's accessible, yet sophisticated, approach has made it a hit among casual listeners and discerning jazz critics.
In a recent Zoom interview while she was traveling on the road, Owens revealed that she is working on a recording with rapper Juicy J as well as a new project of her own. Speaking of the latter, she said, "I'm taking some risks groove-wise and harmonically. It’s a more mature sound, but still a dance album. I’m collaborating with some serious musicians to create something unique. The sound will be a fusion of different styles, but not your typical fusion. I’m aiming for a jazz and house music blend with a Cab Calloway vibe. It’s going to be something fresh and unexpected. The album is set to drop in August."
On Friday, April 18, Owens and her band, The Cookout, will perform at the South Orange Performing Arts Center. "I’ll be playing some of my favorite tracks from my first album," she said, "songs I love and could play all day. These pieces connect with the audience, and I think they'll resonate with everyone, especially those familiar with the Nubian sound. After that, I’ll be showcasing completely new material. I plan to bring a sextet for this show, or possibly a septet. Usually, I perform with two horns, a full rhythm section, and a vocalist, but for this performance, I might even have two vocalists to add an extra layer to the sound."
Owens’ deep connection to "groove-based" and jazz music comes as no surprise, considering her upbringing in Detroit, the home of Motown Records and the birthplace of celebrated jazz musicians such bassist Paul Chambers, guitarist Kenny Burrell, and the Jones Brothers (pianist Hank, trumpeter/bandleader Thad, and drummer Elvin). Reflecting on her roots, she recalled that, "Growing up in Detroit was amazing. It’s a soulful, special city with many major historical figures, like Malcolm X. There’s so much history. My friends and I grew up in a strong-minded community because strong-minded people raised us. We always had our compass set—north, onward, and upward."
Like many double bassists, Owens’ first instrument was not the bass. "My first instrument was the piano," she said. "I played by ear and performed at a lot of gradations. I can still play, but I’m not as good as I was back then. I can still back up a vocalist, but I’m not playing as I used to. My second instrument was the violin, and I was always the first chair. I still play it, and I competed in many national competitions as a kid and won them! That was a beautiful experience.
"After that, I picked up the bass and tried the tuba for a bit. My orchestral director needed a bass player for the orchestra. He heard me playing one of Mozart’s symphonies by ear, just looking at the bass parts, and I was like, 'Nobody’s playing this bass. I can do this.' So I played it, and he made me switch to bass. I wasn’t thrilled initially, especially since I was the first chair violinist, getting all the attention. But he told me, 'Either play the bass, or you’ll get an F for the class.' So, I played bass."
That moment led Owens to her first mentor, Marcus Belgrave, and her first gig at 15. She continued her education at Michigan State University and had her first official bass lesson with Rodney Whitaker.
Owens naturally transitioned to New York City to study and immerse herself in the larger music scene. "Before I moved to New York," she recalled, "I auditioned for Juilliard and the Manhattan School of Music. I made it to the final round at Juilliard but didn’t do well in ear training, so I went to Manhattan. It wasn’t the right fit, and I dropped out within three months. In November, while 'window shopping' for a new school, I saw Dr. Aaron Flagg (Juilliard Chair and Associate Director of Jazz Studies) and thanked him for the opportunity to audition. He told me the auditions were still open and encouraged me to apply again. I did, and I got in. It was a great experience that taught me to be even more serious about my craft. Juilliard is tough, but it’s a great catalyst for growth—if you go there with intention and focus, you become a better musician and artist."
One of the defining moments of Owens’ still-young career was her work with Jon Batiste’s Stay Human band, the house band for The Late Show with Stephen Colbert. She is also featured prominently on Batiste’s album We Are (Verve Records), which won Album of the Year at the 64th Annual Grammy Awards, earning Batiste nine nominations and five wins. Reflecting on her connection to Batiste, she said, "I met Jon Batiste through Joe Saylor, the drummer in his Stay Human band. Joe saw me playing at Smalls Jazz Club at 4 a.m. and later told Jon about me. A couple of months later, I got a call from an unknown number at the airport. It was Jon Batiste. We talked about music, life, and our views on humanity for about an hour without mentioning a gig. Two months later, I got a call to sub for The Late Show in August 2019. I gave it my all, and they asked me to stay for a few more months. Eventually, they offered me a contract, and it's been almost six years now.
"Being part of the band and the show is truly a blessing, and I’m very grateful for it. In the current climate of the music and TV industries, having a steady, long-lasting gig is rare. Even more amazing is being part of a team—everyone, from the boss to the staff, brings their best every day with high professionalism and no excuses. It’s taught me to be a more detailed musician and more serious about my craft. It’s been a great experience, and yes, Stephen Colbert sings sometimes!"
Beyond her musical endeavors, Owens is deeply involved in philanthropy. Her desire to help others led to the creation of Community Cookout, a project she started in July 2020. "I’ve always wanted to be involved in philanthropy" she explained, "it’s one of life’s greatest gifts to be able to give back. On July 4, 2020, I started the Community Cookout. My goal was to give out 125 meals, and we gave them away on 125th Street between Lexington and Park, an area known for its struggles with drugs, and where people often avoid eye contact. That day was special because we ran out of food, and I gave people money out of my pocket. Many people were moved, crying and hugging me, and it felt incredible. After that, I decided to continue the monthly cookouts for a while. I’ve since done cookouts at the Edinburgh Jazz Festival in Scotland, in Germany, and, most recently, in Tucson, Arizona, where I partnered with James Beard and award-winning chefs. We’ve fed thousands of people and played free concerts for the community. It’s been an amazing experience, and I’m truly grateful for the opportunity to give back."
The Endea Owens and The Cookout concert will be performed on Friday, April 18, 2025 at 7:30pm. The South Orange Performing Arts Center is located at One SOPAC Way in South Orange, NJ. For more information or to order tickets, log onto sopacnow.org or call (973) 313-2787
The New Jersey Jazz Society is a non-profit organization of business and professional people, musicians, teachers, students and listeners working together for the purpose of advancing jazz music. Their mission is to promote and preserve America’s original art form – jazz. The Society seeks to ensure continuity of the jazz art form through its commitment to nurture and champion local talent, along with showcasing outstanding national and international artists providing for the younger generation via arts education programs.
