Posts Tagged With: jazz

Peu De Mots – Marie-Claire Durand

Canadian Jazz musician Marie-Claire Durand offers up her latest album ‘Peu De Mots’. The new album sees Durand offering up a contemporary and relaxing jazz album experience, one where Durnad allows her own natural talents to flourish with effortless ease. Much of ‘Peu De Mots’ offers up a more gentle jazz experience, where pianos, drums and brass instruments calmly set the scene for Durand’s vocal style. Durand has a comfortable and lovely presence on her latest album, pushing everything along at a gentle and easing rate.

On ‘Peu De Mots’, Durand offers up a gentle jazz album experience, where everything floats along effortlessly, pushed along by Durand’s vocal style. At times, ‘Peu De Mots’ comes across as a typical jazz album experience, one where the roots are ingrained in the traditional side as opposed to the experimental side. Everything is comfortable and gentle, being a perfect accompaniment to an evening of just sitting back and relaxing. ‘Peu De Mots’ is for the most part a very confident album effort, showcasing some strong talent from Durand who commands her album with her own presence.

Though there’s some strong elements to ‘Peu De Mots’, it seems the album comes across as rather limited for the most part. There’s a lovely gentle and relaxing air to the album, but it all feels a little too safe, with Durand and her backing band coming across as doing everything by the numbers as opposed to being even a little adventurous. Many of the techniques and elements Durand pushes forward are certainly nice and enjoyable, but they’re mostly techniques and elements that we’ve heard before many times, and arguably under better circumstances.

‘Peu De Mots’ is certainly an enjoyable album, certain to please those who enjoy gentle and relaxing jazz music, though it seems not enough has been done to really push anything forward. Everything, from the instrumental elements of the album, to Durand’s vocal style, all feel very held back, never daring to propel themselves forward in any way or another. There’s certainly something nice being presented here, though it’s perhaps a little too safe and un-daring to result in anything exceptional.

Album Rating:

  • ★★★☆☆  3/5

Selected Songs:

  • Come Back
  • Quiet Fire
  • Va Et Vient

Marie-Claire Durand’s latest album ‘Peu De Mots’ is out now.

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Svin – Svin

Svin pave the way for their experimental music notions with the release of their self-titled third album. The new album ‘Svin’ sees the band offering up a phenomenal and unrelenting barrage of psychedelic experimental music, bordering the lines of post-rock and experimental jazz. There’s an incredible energy to ‘Svin’, one that showcases great talent, as well as a real creative streak in producing something just that little bit different. At times, ‘Svin’ might come across as a little aggressive, but it is one that justifies its aggressive elements through brilliant showmanship and creative elements.

On their latest album effort, Svin demonstrate incredible artistic promise. ‘Svin’ offers an Odyssey of musical movements and techniques, showcasing a great range of different styles, all comprised together into one coherent structure.  ‘Svin’ offers up a varied style of instrumental tracks, and whilst from an outsider’s perspective they might seem to be clashing techniques, Svin manage to work everything together into one album experience, where everything seems to warrant its place on the album, whilst keeping everything interesting and exciting. It’s an exciting and exhilarating musical journey, and one that shows the best techniques in experimental notions. There’s a nice variety of heavy tracks partnered with more slower and downbeat ones, keeping the whole album experience refreshing and interesting.

Svin’s option to fuse together different genres works incredibly well, though combined with its rather experimental techniques, it makes the album experience one that is somewhat inaccessible, and perhaps off-putting to die-hard fans of the varying individual genres. Fans of post-rock or math-rock might find the more jazz-orientated tracks on the album somewhat unappealing, or even vice-versa. Some might be put off by Svin’s juggling of various genres, though for the most part it works incredibly well on their self-titled release, showing some incredible creative talent. The only real problem with ‘Svin’ is that it’s an incredibly short album, and one that seems to end just as it gathers up enough momentum.

Svin demonstrate wonderful musical technique on their latest effort, one that excites and sometimes confounds in oddly enjoyable ways. The record is perhaps a little too short at times, though it does result in an album experience where there’s absolutely no dead weight, and each track contributes wonderfully to the album itself. It’s a strong effort that really showcases Svin’s talents as a band, showing their ability to both conform to genre’s, and shape and bend their conventions at will, bringing out new and exciting ideas that haven’t really been explored before by other bands.

Album Rating:

  • ★★★★☆ 4/5

Selected Songs:

  • Maharaja
  • Alt
  • Fuck John
  • Fede Piger

Svin’s latest album ‘Svin’ is out now.

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A Sound of a Wooden Fish – Artur Maćkowiak / Grzegorz Pleszynski

Experimental artists Artur Maćkowiak and Grzegorz Pleszynski offer up their latest album experience ‘A Sound of a Wooden Fish’. The new album sees Maćkowiak and Pleszynski combining their own respective talents into one highly experimental improvisational jazz album experience. ‘A Sound of a Wooden Fish’ offers up a rather unusual though very enjoyable album experience, featuring jazz stylings reminiscent of Canada’s Michel F Cote, Sam Shalabi and Alexandre St-Onge various projects within the genre. There’s an incredibly inaccessible element running throughout the entire album, though those who have a keen interest in experimental music will find ‘A Sound of a Wooden Fish’ to be a rather delightful and intriguing listening experience.

‘A Sound of a Wooden Fish’ sees both Maćkowiak and Pleszynski combining many of their own talents into one big album experience that sees the two musicians sharing the same vision, and striving to create that vision. The album is full of experimental notions and ideas, though there’s an incredibly coherent structure to the whole project, giving the semi-improvised music incredible life and energy. Ideas and notions seem to come out from nowhere, showing how well Maćkowiak and Pleszynski surrendered themselves to the music they sought to create. As odd as everything is, there’s something incredibly interesting about the music that seems to suck the listener into a new and unusual world.

As with anything experimental, there is a lot of elements to the music. The album is almost something of a workout for the ears, with the long track lengths being something listeners will have to surrender to. The album itself is highly unpredictable, taking unusual turns here and there, and entering odd and weird musical territories that might be a bit much for the average listener. These are hardly criticisms though, and more warnings for the average listener, that this is not an album to be taken lightly, and is more aimed at those who view music as art.

Maćkowiak and Pleszynski’s latest album effort combines together many artistic talents into one shared coherent album experience. Experimental Jazz music can at times be a little tedious, depending on where it’s coming from, but Maćkowiak and Pleszynski instead draw out much more than just a random process, and instead present experimental jazz music that is actually incredibly enjoyable within its own rights. ‘A Sound of a Wooden Fish’ might not be one of those albums you listen to over and over, though it’s definitely an album that’ll stick around in one’s mind after listening. Just like any strong piece of art would.

Album Rating:

  • ★★★★☆  4/5

Selected Songs:

  • Part One
  • Part Two
  • Part Three

Artur Maćkowiak & Grzegorz Pleszynski’s latest album effort ‘A Sound of a Wooden Fish’ is out now.

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Creole Continuum – Kaie Kellough

creole continuum

The latest release from Howl! Arts Collective offers the incredibly creative and highly experimental album ‘Creole Continuum’ by Kaie Kellough,  featuring a few musicians previously seen on Howl! Arts releases, including Brahja Waldman and Martin Heslop. On ‘Creole Continuum’, Kellough presents an incredible album demonstrating the construction and deconstruction of language, music, words and form. Building up from elements of traditional and non-traditional jazz music aesthetics, and then showered with incredibly creative and unique ideas that present Kellough’s key concepts and ideas, we’re offered an incredibly deep and interesting album experience, where thoughts are provoked without being intimidated.

 ‘Creole Continuum’ offers up a very diverse range of ideas, all coming from the source idea of what sound in all its form represents, and how the construction and deconstruction of these sounds can result in something new and interesting. At the very core of everything is this wonderful expression of truly creative and unique ideas, where music is built up from the barest of elements at times. There’s even a diverse range of ideas and musical structures being expressed on the album, which takes influence from a wide range of sources, resulting in an experimental music experience that shifts around a number of different ideas and structures, mostly based within the jazz music genre. Even within its incredibly experimental nature there’s something wonderful and highly enjoyable, where a bare and stripped form of music and language harmoniously come together in an experimental way to express something fascinating.

Kaie Kellough has created something wonderful here, and whilst many elements might be lost on a few listeners, where the experimental ideas are perhaps a little too broad to be understood, its still incredibly interesting and deserving of recognition within its own right. ‘Creole Continuum’ pushes the boundaries somewhat of not just how music is created, but how we as listeners approach this kind of material. Kellough’s latest album is an incredibly experimental and thus rather odd sounding musical experience, and yet everything is very loose sounding and comfortably structured, making it remarkably an easy-listening experience to some extents.

Kellough’s latest album is certainly ambitious in many respects, though it seems everything Kellough has set out to do on ‘Creole Continuum’ has been achieved brilliantly. The experimental nature of how these songs have been composed and presented add a challenge to how we as listeners approach the music, though the extent to which Kellough has managed to make everything still sound incredibly comfortable is remarkable. ‘Creole Continuum’ is a true experimental record, though it is one where the experimental nature has worked well, not coming across as gimmicks for the sake of it, but a true expression of some truly unique ideas.

Album Rating:

  • ★★★★★ 5/5

Selected Songs:

  • Hausmann’s Ransom Note
  • AlphabetA
  • d-o-y-o-u-r-e-a-d-m-e
  • Tinnitus

Kaie Kellough’s latest album ‘Creole Continuum’ is out now. 

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Pодина – Stefan Christoff & Osama Shalabi

родина - album cover

Montreal-based pianist Stefan Christoff combines forces with Shalabi Effect & Land of Kush’ Osama ‘Sam’ Shalabi, to create their latest collaborative effort. The collaboration of both musicians results in their latest album effort titled ‘Pодина’ (Rodina). The album sees Christoff combining his own jazz-orientated style of piano with Shalabi’s playing of the Oud, to create a very intimate and incredibly creative album experience. Made up of two tracks, with two solo interludes from the two musicians, ‘Pодина’ is an incredibly rewarding album experience that seems to shake the boundaries of truly conventional music.

The combining forces of Christoff and Shalabi results in a perfect match of two musicians. Both Christoff and Shalabi offer an incredible amount on ‘Pодина’, with both performing their own individual instruments to perfection. The music present on the album is nothing short of beautiful, with the sheer talents of the two musicians coming through in phenomenal style. The album sees the two musicans collaborating on two different tracks that both span over ten minutes in length, giving both Christoff and Shalabi ample opportunity to express themselves, and the themes and ideals being presented by the music itself. Both the two compositions offer an incredible amount in terms of music and creativity, and both contribute towards the overall album brilliantly. The two solo compositions also offer a beautiful insight into Christoff and Shalabi’s own personal styles and nature. What’s wonderful is the partnership between the two musicians, who spend the whole album contributing towards the album’s experience, both working together, rather than for themselves.

If any criticisms are to be found on ‘Pодина’, it is arguably in the difficulty the album presents. The album is musically wonderful, though it’s at times, very hard to really understand what it is that Christoff and Shalabi are presenting when it comes to their music. It’s arguable that the two solo compositions are easier to understand, but even then, are we really understanding it at all? It gives ‘Pодина’ a very complex and deep nature that can be hard to penetrate, and the only real answer available is the ones that come from Christoff and Shalabi themselves.

‘Pодина’ is at times a complex album, though it is also one that can easily be appreciated in a musical sense. Although the album features very deep themes and natures that run throughout the album. There’s a wonderful personal nature being presented by Christoff and Shalabi that makes the album a very intimate yet enjoyable experience. It’s an album that is perhaps not the easiest one to get into, though it is one that delivers in many aspects. ‘Pодина’ is a brilliant combination of two incredibly talented musicians, and we can only hope that the two will one day partner up again and once again write more beautiful music.

Album Rating:

  • ★★★★★ 5/5

Selected Songs:

  • Vardar River Song
  • To Sophia
  • One Oud
  • Along Treska

Stefan Christoff & Sam Shalabi’s latest album ‘Pодина” is out now and can be purchased at:

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Coin Coin Chapter Two: Mississippi Moonchile – Matana Roberts

The second chapter in Matana Roberts Coin Coin series titled ‘Mississippi Moonchile’ sees the avante-garde jazz artist taking different directions than her first Coin Coin album. With the introduction to her story starting with ‘Coin Coin Chapter One: Gens De Couleur Libres’, Matana Roberts showcases a phenomenal style of avant-garde jazz music incorporating elements of classical music, improvisation and general experimentation. The whole effort was a phenomenal piece of artistic work, that set the groundwork for the rest of the Coin Coin series. On ‘Coin Coin Chapter Two: Mississippi Moonchile’, we see Matana Roberts introducing a phenomenal new chapter that is every bit as experimental as the first chapter, though one that is different in many ways.

On ‘Coin Coin Chapter Two: Mississippi Moonchile’, Matana Roberts continues her story with new material, offering a somehow, more accessible jazz album. Roberts weaves together experimental ideas with conventional jazz techniques to create an album that is somehow very avant-garde though at the same time, accessible. Unlike Chapter One, Roberts opts for a much more gentle style, with more mellow melodies forming the basis for many of the songs. Also, unlike Chapter One, many of the songs on ‘Coin Coin Chapter Two: Mississippi Moonchile’ are split up into shorter tracks, ranging from one minute in length to four minutes in length. Spanning across 18 tracks, Roberts offers a nice range of various tracks, sometimes accompanied by scat vocals, operatic styled vocals, or Matana Robert’s spoken word style. Everything flows incredibly well, with each track offering well to the album’s shape, all of which presents Roberts’ continuing story in fine style.

There’s very little that’s wrong with ‘Coin Coin Chapter Two: Mississippi Moonchile’, which simply shows more of Roberts ever expanding creativity and style. One might find fault in how elements that were enjoyable on Chapter one are somewhat absent on Chapter two. Considering much of Robert’s style is about doing whatever works for the album, it makes sense that Chapter two should be different in some ways, but it would still have been enjoyable to have more elements, for instance, Robert’s spoken-word vocal style, in more of the songs. Unlike Chapter One, the album has to progress past seven or so tracks before we get to hear this wonderful style, and even when we do, it is in short supply. Considering there’s most likely more chapters in the Coin Coin series to come, we can easily dismiss this as being the main fault in the album, though it does mean there is one minor element of disappointment.

‘Coin Coin Chapter Two: Mississippi Moonchile’ is still a wonderful album, and a brilliant follow up to an incredibly exciting and enjoyable series of albums. Matana Roberts has a wonderful style of album presentation under her belt, and a wonderful talent in terms of musicianship. Much of what Roberts present is simply enjoyable, with ‘Coin Coin Chapter Two: Mississippi Moonchile’ being an incredibly enjoyable album experience. Whether or not it surpasses the previous chapter is up to fans of Roberts, though ‘Coin Coin Chapter Two: Mississippi Moonchile’ is at the very least on par. Considering how experimental, yet different, the latest chapter is in Robert’s Coin Coin series, it will certainly be interesting to see what directions Roberts’ takes her series in future.

Album Rating:

  • ★★★★☆  4/5

Selected Songs:

  • Amma Jerusalem School
  • Was The Sacred Day
  • Thanks Be You
  • Benediction

Matana Robert’s latest album ‘Coin Coin Chapter Two: Mississippi Moonchile’ is out now and can be purchased at:

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Childhood Places – Devin Roth

The gorgeous ‘Childhood Places’ by Devin Roth, performing as a sextet with some very find musicians, is a wonderful jazz story, feeling much like the journey through a number of vignettes related to what one might assume are Devin Roth’s personal memories (though two songs are written by band-member Steve Wilkinson). ‘Childhood Places’ demonstrates a wonderful understanding of the jazz genre, where piano, drums, bass and horn sections all combine harmoniously to create a wonderful listening experience. There’s a definite sense that a lot of work has gone into the album, whilst at the same time making everything seem natural and almost improvised, which gives it a lovely level of appeal and enjoyment.

‘Childhood Places’ utilities many of the strengths of the jazz genre, and is simply nothing more and nothing less. Each instrument plays a part on the album, acting almost as characters in a stage play, performing their own musical sections for the benefit of the overall album. Nothing seems to take the limelight at any given moment, as every instrument and it’s performer seem to just play to support each other. It gives off a sense of community between the members of the band, who all understand and strive for the same common goal when performing on the album. Musically, the album sounds wonderful, as it demonstrates not only a good understanding of the genre, but a wonderful array of different tracks. There’s some almost manic crazy jazz tracks, where everything seems to go into total organised chaos, and more gentle tracks where the instruments just slowly progress along their slow track. It’s a wonderful album that is easily very enjoyable.

I find my only faults with ‘Childhood Places’ is in the album’s first half, which seems somewhat weak when compared with the album’s second half. It seems to take a little bit of a while for Devin Roth (and his band)’s strengths to really come out. Despite the manic pace of the album’s opener, it seems to act almost a little sluggishly in terms of presenting the band’s strengths. It also seems that it’s only in the album’s later tracks do things really start to come together, where there’s no moments that seem a little dreary or sluggish. Once everything starts to come together, ‘Childhood Places’ comes across as a very strong album, that overshadows it’s own weaknesses with its many strengths.

I find there is a lot to enjoy on ‘Childhood Places’, which is simply a wonderful jazz album. Each performer on the album offers an incredible amount to the overall album, with nothing really sounding out of place or redundant. The wall of sound made up by each performer is just wonderful, and there’s a brilliant scope to the amount they can offer as well. I find the most enjoyable tracks to be the more slow tracks, where the instruments each have their own chance to sing out on the album, though the more pacy and manic tracks are equally enjoyable. It is a fine album by Devin Roth, who has managed to produce a wonderful jazz album that could easily be enjoyed by many.

Album Rating:

  • ★★★★☆  4/5

Selected Songs:

  • Longing
  • Losing A Winning Battle
  • Mountain Dream
  • Catharsis

Devin Roth’s new album ‘Childhood Places’ is out now and can be purchased at:

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For Being Apart – Emma Frank Quartet

Utilizing the gorgeous elements of slow jazz, Emma Frank and her quartet offer a sublime experience on their latest album ‘For Being Apart’. The slow instrumentals combined with Emma Franks gorgeous voice creates a beautifully relaxing experience that seems to just soothe the soul. On the EP, Emma Frank displays a great understanding of song-writing, with her whole team contributing to the album experience brilliantly. Wonderful piano melodies accompany Emma Frank’s voice to create a soothing and relaxing jazz experience. It’s all very polished and accomplished in such a wonderful way, with very little really managing to drag down the overall experience.

‘For Being Apart’ opens up with sublime instrumentals setting the scene. It conjures up a thousand images, all different to whoever is listening. Emma Frank’s voice then enters the fray, and settles itself down comfortably into the layers of piano, drums and bass. It’s slow moving for the most part, though it works well for the style Emma is going for. There’s an almost dreamlike element to the music, as it washes over in it’s gentle waves. It’s effective music, that certainly demonstrates many of the strengths of the genre itself. Musically, it seems to manage to do nearly everything right, which is refreshing and enjoyable to hear. The album’s only drawbacks are in the second half of the album, where a few of the songs don’t seem to have the same amount of impact as the album’s highlights. It’s not enough to ruin or affect the album in any real way, though it does raise the potential question of why they’re simply not as good as the others, when the talent to write good songs is clearly there. It’s perhaps a little pedantic to say so though, considering how the whole album seems to just work. The only true drawback of the album is the length. At just under a half hour, it is a rather short experience that leaves us yearning for more. In some ways though, this is preferable to an album that lasts too long.

Overall, the Emma Frank Quartet have created a wonderful and gorgeous album. It would be too much to say that it is an accomplishment of it’s genre, but it should be said that it works incredibly well in its genre. Each of the songs seems to have a place on the album, even though some are perhaps not as good as others. Everything contributes towards the presentation of what is a sublime and lovely experience. It is simply an enjoyable and relaxing jazz album, that manages to just tick many of the boxes. It certainly does a great job as well of showing the capabilities of this quartet, who clearly have a great understanding of what it is they can accomplish.

Album Rating:

  • ★★★★☆  4/5

Selected Songs:

  • Age Of Doubt
  • Home
  • I’m Gonna Love You
  • Life Flows In

Emma Frank Quartet’s new album ‘For Being Apart’ is out now, and can be purchased at:

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Cosmic Brahjas/Closer To The Tones – Brahja Waldman’s Quartet

The latest album by Brahja Waldman’s Quartet is a double-album experience, offering two different stylistic jazz experiences. ‘Cosmic Brahjas/Closer To The Tones’ is one of the latest releases to come from Howl! Arts Collective, who released Stefan Christoff’s debut release ‘Temps Libre’. Brahja Waldman’s Quartet demonstrate on their latest album a brilliant understanding of all the capabilities of the jazz genre, offering up an incredibly rich and vibrant experience. The two albums cover different grounds, both being very different jazz albums. It is an incredibly interesting jazz music experience, and one that is refreshing to hear in these modern times of music.

Both albums cover different grounds of music, whilst all encompassing the very elements of jazz music itself. On ‘Cosmic Brahjas’, we see the band delve straight into the heart and soul of instrumental jazz music, with the album utilizing the use of the piano in fine style (which is absent on ‘Closer To The Tones’). The result on the first disc is a wonderful array of jazz instrumentals, each weaving their own stories and emotions. There’s a wonderful sense of community in the music, with the idea of each musician coming together to create something that they are proud of. There’s some wonderful pumped up moments of brilliant jazz sections, with one brief inclusion of vocals, which helps to really stands out on the album. On the second disc, the piano is replaced with a tenor saxophone, which helps to draw a somewhat different style out of the genre, giving the whole experience some brilliant vibrancy and diversity. Both albums are incredibly enjoyable, and both rather different to each other in some respects.

If any weaknesses are to be found, it is arguably in the album’s second disc ‘Closer To The Tones’. Musically, the whole album is brilliant, though when compared to the album’s first disc ‘Cosmic Brahjas’, it seems to pale in comparison. Many of the elements on the disc work incredibly well, though it seems that it never quite manages to reach the heights that the first disc manages to hit. It doesn’t ruin the whole overall album experience though, and in some ways, it is refreshing that the second disc of music on this double-album experience is in some ways different to the first disc. It helps to keep things moving along, and also prevents certain elements from getting stale or boring.

Overall, ‘Cosmic Brahjas/Closer To The Tones’ is one of the most enjoyable jazz album releases to have come out in recent years. What is present on this album is a quartet who clearly have a great understanding of all the strengths of jazz music, but rather than just churn out all the same old jazz music that is often heard, they add in their own heart and soul to the music. There seems to be a great sense that each of the musicians on the album are enjoying what it is they are doing, which helps to make the whole album experience an incredibly vibrant and enjoyable one.

Album Rating:

  • ★★★★☆  4/5

Selected Songs:

  • Wise Love
  • My Heart Is A Real Thing
  • Cosmic Dance
  • Lonely Glory

Brahja Waldman’s Quartet’s latest double-album ‘Cosmic Brahjas/Closer To The Tones’ is out now, and can be purchased at:

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We Partyin’ Traditional Style! – Kermit Ruffins

Kermit Ruffin’s latest album is a fun-filled roughly-hour long jazz-filled experience. Covering some fairly well known jazz compositions, and adding his own original slant to a few of them, Kermit Ruffins’ offers up a complete indulgence of jazz music, that pretty much covers the ground on everything great about jazz music itself. ‘We Partyin’ Traditional Style’ is exactly what it says on the tin, a brilliant fun sounding album that calls up the old style jazz music that seems to have gone missing over the years. Kermit Ruffins’ himself performs brilliantly on the album, crooning into the microphone and blasting his trumpet at varying intervals.

‘We Partyin’ Traditional Style!’ lives up to its name, by providing an incredibly fun and rousing experience of jazz music. What is lovely is how on the album, everything combines together, and it is easy to tell that everyone involved on the album is having fun. It is a very pleasant thing to hear on an album, and I feel it that it can’t help but make you smile sometimes. Considering the title of the album, and the presentation of the music as well, it feels like this is Kermit Ruffins’ intention. If it is, it has come across in brilliant style, and if it isn’t, then it is just a pleasant and lovely bonus to what is a fun album. All the blasts of brass instruments, and drum-solos and crooning vocals just make up the classic essence of traditional jazz-styled music. It is a wonderful throwback to the great jazz musicians of our time, and one that is to some extent, surprising to hear in this day and age.

It can’t be denied that ‘We Partin’ Traditional Style’ is a fun album, and even though it is incredibly enjoyable, I can’t help but feel that it is full of material that we’ve heard before. Obviously, the album is filled with covers, but what I mean is that the presentation of the music itself is to some extent, exactly what we’ve heard before from traditional and older jazz musicians. I find this to be somewhat disappointing, as certain tracks show Kermit Ruffins’ presenting the tracks in his own style, adding his own flairs here and there to give it a bit more vibrancy. It’d certainly be more enjoyable if Ruffins’ presented the whole album with his own artists flairs, giving it a shape that is Ruffins’, and not the shadows of those who have walked before him.

Whilst I might find the album lacking in a few places, it still cannot be denied that it is an incredibly happy and fun album that is just enjoyable in many respects. Musically, the album is brilliant, and Ruffins’ certainly has a brilliant understanding of what elements of jazz music work. Whilst I myself might enjoy more of Ruffins’ and less of everyone else from older times, I still find myself smiling and enjoying each track as it progresses along. ‘We Partyin’ Traditional Style’ lives up to the expectations that the title implies, with the music itself not only being a brilliant accompaniment to a party, but also sounding like its own between friends who enjoy playing music together.

Album Rating:

  • ★★★☆☆  3/5

Selected Songs:

  • Chinatown, My Chinatown
  • When It’s Sleepy Time Down South
  • Marie
  • When The Saints Go Marching In

Kermit Ruffins’ latest album ‘We Partyin’ Traditional Style’ is set for release on 10th June 2013.


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