We are excited to introduce you today to one of the brightest stars in the music world. We are honored to have none other than the wonderful Judith Owen grace the blog with her presence.

On April 24th, she celebrated yet another landmark event in her career as she released her latest studio album, “Suit Yourself.” This album features not only Judith but also her band, The Gentlemen Callers, along with the renowned JO Big Band. It also features many other distinguished guests like Joe Bonamassa, Davell Crawford, and Tonya Boyd-Cannon Choir. With such a talented line-up, this album promises to be a piece of art. This album is meant to be listened to, so let us take a look at it track by track

The album starts with “That’s why I love my baby,” beginning with a rhythmic drum riff that quickly falls into the walking bass and the swinging piano lines. This is a song about joyous infatuation and pure love, but not the type that is quiet and demure, it is raucous and chaotic. The underlying theme here is the attraction to the partner who people think may be difficult to deal with but gives that extra push that makes one’s life worth living. The character in the song makes sure to tell us that her baby makes her smile, plain and simple. Musically, the song presents an excellent example of jazz and blues fusion, with Judith Owen delivering the vocals with such energy and vigor that you can almost hear her singing live. She switches between guttural vocals and high-pitched ones, giving the whole tune a spontaneous feel.

Moving on to “Blue Skies,” this track opens with an alluring, creeping upright bass line and a gentle hi-hat and some mouth percussion sounds. While many covers of this old-time standard embrace the sheer joy and happiness of blue skies, Owen takes a more subdued approach, singing about blue skies after years of hardship. This character seems skeptical about how things are going well for her but, she welcomes it with open arms. It is the idea of being grateful for those blue skies, knowing how rare they are, and how important it is to enjoy them. Her voice is airy and delicate in the verses but blossoms into a full, warm sound in the chorus. The arrangement is still minimalistic and highly refined, creating a sense of spaciousness in the music that corresponds with the imagery in the song.

The song “To Your Door”, opens up with a rhythmic and percussive piano line which has an urgent, almost frantic tone to it. In essence, the song talks about the magnetic appeal of desire and the biological need for proximity to someone who is familiar and safe. It highlights the process involved when it comes to finding comfort in the presence of another individual. The character in the song admits that she will always find her way back to this person who makes them feel safe and familiar. What makes the track so powerful is Owen’s amazing sense of conviction in his vocals, which is accompanied by soulful and gritty singing skills that add to its mid-tempo charm. The addition of a soft yet soulful organ at the background gives the track a gospel twist and the sincerity of a “road-worn” voice.

A playful tone is adopted in “If I Were a Bell” with the song commencing with a few notes of tinkling guitar  keys that have a playful ring to them. This is not only a cover version of a song but a depiction of a personality in a state of mind when one gets infatuated and loses oneself in their love affair. In the song, the persona talking about how she’d react when she is with her lover. She gives various examples like how she would ring if she were a bell or light up if she were a lamp. We all desire a partner who is able to evoke such feelings and this song was cute and so relatable. In addition, Owen’s vocals are very spirited, replete with witty phrases and “stabbing” rhythms that exhibit perfect timing. The melody of the song is also quite effervescent, with drums serving as a strong rhythmic base to keep up with the beat.

“Today I Sing The Blues” starts off with a somber and heavy-sounding chord from the piano, after which a very slow, dragging blues  and gospel like rhythm can be heard. The topic is an unrefined and completely straightforward look at heartbreak and the process of employing the blues as a form of therapy. It talks about those moments when all we can do is not hide our sorrow and sing the blues.  Our character has turned to the blues because she’s feeling blue because of a recent heartbreak. All I can say is I can’t  blame this character for singing the blues, we all know how painful a breakup can be and if turning to blues will help, I fully support it. Owen delivers an extremely touching vocal performance, as she uses her voice’s vibrato to fully emphasize the sadness contained within the song’s melody. In terms of its instrumentation, the song is a completely conventional one, making use of a slow tempo and providing Owen ample opportunities to convey the emotions behind the lyrics.

The opening bass line of “Moanin’” is marked by the call-and-response pattern typical of funk music between the different instruments. The song addresses the universal sensation of restlessness and the burden of daily life, seeking an escape from the rut of difficulty. Let’s be real, sometimes, the hustle becomes repetitive and difficult and adulting, is even more difficult so, we meet a character who is complaining about her life and being stuck in this viscous cycle called life. Owen’s delivery is rugged and spiritual, reflecting the rawness of the brass instrumentation. The song is rooted in hard-bop style, featuring harsh and forceful horn lines and a driving rhythm section. It provides a release of energy for the audience, who experience the “moan” inside themselves translated through the musical medium.

The song “Shall We Dance?” opens with a remarkably soft yet classical piano intro that soon gives way to a jazz arrangement with a mid-tempo beat. The lyrics and the song can be looked at through two different lenses. The first is that the song is based on the notion of vulnerability, the dance floor being used as a metaphor for the complex nature of a newly formed relationship. The song poses the question whether the two can create harmony between them, despite their fear. The second explanation could also be just as simple as it seems, a woman or man, asking to dance with somebody. Owen’s vocals are rich and seductive as if his voice was a piece of velvet, effortlessly gliding along the song’s melody. The song is not overloaded with instruments; rather, there is a great deal of elegant brush strokes from the drum set and soaring strings.

The recognizable and memorable opening of “Spooky” begins with a cool, relaxed drumbeat followed by an enigmatic guitar melody. This song represents the kind of relationships where you don’t know what is going to happen next. One minute the person will say or do one thing and the next, the do something different. Sometimes it’s good to not anyone know your next move but, in a relationship, it is quite a dampener because we all want a reliable partner. Initially, it might seem exciting but, with time, it’ll move from exciting to annoying and finally, frustrating. Owen brings her own, unique, feminine touch to the song, adding a flirtatious “wink and nod” attitude through her vocal performance. The music has excellent “tightness,” and the drums and bass are perfectly synchronized. Additional instrumentation, including flute or synth sounds in the background, creates an atmosphere of mystery, giving the audience the feeling of a covert flirtation.

“HAVE A GOOD LIFE” starts with an uplifting piano riff that sounds as though it marks a clean start. The song itself is the epitome of a moving on song, essentially sending out good wishes and telling the situation or person in question to take a hike and not interfere with personal growth anymore. This character in the song might be the biggest person I know because, who wishes their exes well?, definitely not me. It’s refreshing to meet a person who is not bitter at the end of a relationship but rather, cuts her losses and wishes this person luck and love on his way out. The singer’s vocal delivery is confident and clear without a hint of resentment, which makes it even more impressive. The musicality of the song is positive and uplifting, with a full instrumental backing that can be equated with relief from a burdened soul.

A laid-back piano chord and a gentle “shuffe” rhythm kick off “Mind Is On Vacation,” a song that epitomizes the concept of brain exhaustion and the necessity of disengaging from all the world’s commotion. It is a humorous and realistic portrayal of today’s existence, which can be described as “checked out” because the harsh truth of life is simply too much for the brain to take. Simply put, the song is asking you to put your money where your mouth is and keep promises that you make. Owen’s vocal performance is understated and clever, her lyrics reflecting the slothfulness of a brain that has taken a vacation at the seaside. Her musical arrangements are laid-back and breezy, setting the ideal stage for lyrical cynicism.

“Evil Gal Blues” begins with an assertive, gruff horn melody and a powerful, stomping rhythm that gives the impression of a threat. This piece takes on the theme of the acceptance of one’s imperfections, temper, and freedom as the “evil gal.” The character in the song admits that she’s a man eater and it was so empowering. It is about time that we reclaimed that word and made it ours and Owen definitely points us in the right direction. One can tell that Owen is enjoying herself in this track; her voice radiates with assertiveness and power, with an incredible array of bluesy lines. The musicality is assertive and powerful, making for one hell of a performance that has a massive effect on the audience.

“Since I fell for you,” is one of the tracks that have a sense of coming back to the emotional essence of the entire album. The topic is the bitter-sweet discovery of the fact that an individual will now be dependent on someone else because their happiness depends so much on that person. The persona in this song lists the many things that happened since she fell for this man and none of them are good. We have all fallen for a person who isn’t into us as much as we are and this song is a prime example of this situation. This is all about being emotionally vulnerable to someone. The performance by Owen is highly tender, showing the artist’s amazing talent in creating the image of an “aching” voice with the help of dynamic changes. The instruments used in the track are very lush and traditional, but they support the voice rather than distract from it.

The album ends with “Inside Out,” a song which opens with a clean and sincere melody created by an acoustic piano, which sounds very raw and personal. The topic of the track is about standing up for yourself and start living your life. Unfortunately parents and people around us cannot live our life for us, that, we need to do for ourselves. This is an appropriate ending for an album called Suit Yourself, because it is the epitome of being content with oneself. Owen’s voice is at its most sincere and innocent here, without any of the “performer” flair. The music is minimalistic, emphasizing only the lyrics and the sound of the piano, giving the impression of extreme intimacy.

“Suit Yourself” represents nothing more than the ultimate expression of what a Judith Owen album should be—a magnificent tapestry created with the absolute finest elements of her creativity. “Suit Yourself” is like a lap around the victory ring, combining the sheer fun and energy of her well-loved track “Come On and Get It” along with the electrifying brass and high-energy sounds of her 2024 big band extravaganza, “Judith Owen Swings Christmas.” However, by incorporating the pure excitement and emotion of her “Comes Alive” concerts and songwriting skills, Owen has done something truly special. Though the album displays mastery in combining jazz, blues, and big band sounds effortlessly, it is the unique persona of Owen that drives it home by bringing together thirteen separate tales into one incredible work of art. Everything about it just feels right, from the arrangements to the notes that come straight from the heart. Hearing this album is akin to rediscovering the art of music making because this one is really outstanding in every way possible. It has made me realize how much I still have left to explore in your impressive repertoire. CONGRATULATIONS, Judith!

Stream the “Suit Yourself” album on Spotify

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