Ulysses Owens Jr.
Biography Ulysses Owens Jr.
Ulysses Owens Jr.
Hailed by The New York Times as “a drummer who takes a back seat to no one” over a career spanning more than a decade and a half, Ulysses Owens Jr. has played pivotal roles in Grammy-winning projects, supporting vocalist Kurt Elling, bassist Christian McBride, and the Generation Gap Jazz Orchestra led by pianist Steven Feifke and trumpeter Bijon Watson. Owens was named Rising Star Jazz Drummer of the Year DownBeat’s 2025 critics poll, and Drumeo’s Drummer of the Year, adding to a list of accolades that already included Modern Drummer Magazine’s Jazz Drummer of the Year (2024) and Rising Star Large Ensemble of the Year in DownBeat (2022).
Prodigal Son - An original composition by Gen Y’s Tyler Bullock, the song is based on a Biblical passage about the prodigal son who leaves, and returns home after a tumultuous journey, signifying one can never venture too far from those they love. The hope is that there, for all of us, there could always be a place to call home.
Bebop & Confirmation - One of the key indicators of a jazz group especially in the hard bop context is their ability to play “Bebop.” A feat. In many ways, a trial by fire. It’s one of the true testaments of proficient jazz musicianship. A Gen Y live set staple is the song, “Bebop” which is combined here with “Confirmation,” a kind of mashup that not only showcases the virtuosity and technical prowess of Anthony Hervey and Erena Terakubo. It’s a sonic snapshot of the ensemble’s collective fire.
Espresso - Benny Benack has been a long-time collaborator of “Gen Y” and on one of our road trips, he argued that “Espresso,” Sabrina Carpenter’s chart-topping pop song would make for an interesting jazz adaptation. I listened to the melody and fell completely in love with it. I wondered, what happens when “Espresso” meets one of my favorite all-time jazz grooves: Ahmad Jamal’s “Poinciana” from Live at the Pershing.
Morning Prayer- Yasushi brought this composition to the band while we were on tour in Japan. We performed it several times over the course of four nights at The Cotton Club and Blue Note Tokyo. We noticed how it moved the audience into a contemplative space, and we fell in love with it.
Mo’ Betta Blues - Spike Lee’s Mo’ Betta Blues was one of the first films I saw about the jazz life. I was in college at Juilliard at the time, and the music, performed by Terence Blanchard and Branford Marsalis, along with their quintet, has been etched into my ethos ever since. It’s what I desire to create and perpetuate musically in the world. I’ve always wanted to record this tune. And it was the most challenging song of the session for us because we were trying to create something that was a full departure from the original version. We eventually caved in, opting to hedge close to the original version with some alterations. If it ain’t broke, don’t fix it.
New York - I first moved to NYC in 2001 to attend Juilliard. At the time, the school was bringing in so many incredible guest artists to the school. Donald Brown was one of the first visiting artists whose music we performed. When he introduced the song “New York,” I remember hearing it and thinking, “Man, that sounds like New York Jazz.” It apparently was one of the nightly selections of the Art Blakey and Jazz Messenger band in the 1980s. It’s quite a feat to play due to its technical complexity.
The Light that Grew Amongst Us- Mulgrew Miller was a second father to me, becoming my musical mentor in 2001 and until his untimely death. He was a guide to many, including a cadre of incredible young musicians that deeply admired him. This song was composed by Tim Green who also shared a beautiful relationship with Mulgrew. “Grew,” as he was known to those close to him, would sign off every email with the phrase: “With Light and Love.” This song stands as a tribute to the light that he was to all of us.
Little Girl Power- Erena Terakubo is one of the most dynamic alto saxophonists of her generation. A studied, talented, and true student of bebop sax, Terakubo’s “Girl Power” is exemplary of her nuanced personality within the band and our love for what she brings to the band. This song also introduces Nanami Haruta on trombone as a guest of Gen Y.
Stardust - Anthony Hervey is a musician that I have a deep affinity for as a human being. He’s also regarded as one of the most gifted and virtuosic trumpet players of his generation. A ballad is a true test of any jazz horn player. To play effortlessly on a tune like Stardust requires experience – you have to have lived some life to tell your story. Anthony tells a beautiful story, and pays tribute to this classic Hoagy Carmichael melody.
Road Life - When I played with him, Mulgrew would close every set with James Williams’ composition “Road Life.” Mulgrew, along with Donald Brown and James Williams, were known as the “Memphis Piano Trinity,” which meant they were incredible pianists that moved to NYC from Memphis and took over the jazz world performing in many ensembles and formed their own successful groups. I always seek to keep their legacy alive and well through my music.
I’m Not So Sure - In the many years I toured with Kurt Elling and Christian McBride, we were often simultaneously on the road with Roy Hargrove’s quintet. I remember seeing Roy and his band perform this classic Cedar Walton composition and it was like a church revival. That performance influenced our modified version of “I’m Not So Sure,” prompting us to add some of my Pentecostal flare to the end of the tune. We’ve since performed it all around the world. And, no matter where we are, the audience tends to go wild over this one.
