Album Review: Brad Dutz Quartet – Fashionably Impaired
Let’s get straight to it. If you’re into jazz that feels like a quirky conversation between instruments, Fashionably Impaired by the Brad Dutz Quartet is worth your time. Released back in 2011 (yeah, over a decade ago—time flies), this self-released gem dives deep into contemporary jazz with some wild twists. It’s not your typical sax-and-piano jazz vibe; instead, think marimbas, bass clarinets, cello, and even a cajón. Yeah, it’s as eclectic as it sounds.
The album kicks off with “Spies Vs. Actors Who Play Spies,” and honestly? It’s unforgettable. The track starts off with this sneaky little marimba riff from Brad Dutz that just pulls you in. Then, out of nowhere, the bass clarinet joins in, and suddenly you’re picturing some secret-agent-meets-art-house-film scenario. It’s playful but still has this underlying tension, like maybe the spies are arguing about who gets top billing or something. I don’t know—it’s weirdly cinematic, and that’s why it sticks with me.
Then there’s “Ruttabaga.” No, not rutabaga, though that would’ve been hilarious. This track is all about layers. Chris Votek’s cello adds this moody undertone while Paul Sherman’s oboe floats around like it’s lost in thought. And Brad Dutz? Dude’s vibraphone skills are on full display here. It’s got this dreamy, almost hypnotic quality, but halfway through, the percussion kicks in, and BAM—it’s like waking up from a nap to realize you’re late for work. It’s jarring, but in the best way possible.
One thing I gotta mention is how every instrument feels like it’s got its own personality. Jim Sullivan’s clarinet is smooth and cool, while the marimba vibes bring this tropical, laid-back energy. Even the cajón makes an appearance, adding these unexpected rhythmic punches. It’s like a musical version of hanging out with your weirdest friends—they might be unpredictable, but they keep things interesting.
Looking back, Fashionably Impaired isn’t just another jazz album. It’s more like a collection of instrumental short stories, each one with its own quirks and surprises. Sure, it might not appeal to everyone—some folks probably want their jazz straightforward—but if you’re into stuff that’s a little left-of-center, this one’s for you.
Final thought? Listening to this album feels like walking into a thrift store and finding a vintage jacket that doesn’t quite fit anyone else but somehow works for you. Weird analogy? Maybe. But hey, so is this album—and that’s exactly why it’s awesome.
