The Rippingtons Albums Ranked -

Their first album for Peak Records, and it shows—clean to a fault. “St. Tropez” and “Paradise” are quintessential smooth jazz, but the risk-taking is minimal. Competent, enjoyable, and ultimately forgettable.

The Rippingtons never made a truly bad album—just some that coast on autopilot. Their best work remains the gold standard for instrumental pop-jazz. the rippingtons albums ranked

Here’s a thoughtful, fan-centric write-up ranking The Rippingtons’ albums, from essential listening to deep cuts. For over three decades, The Rippingtons—led by guitarist/composer Russ Freeman—have defined the smooth jazz genre. Their sound blends Latin rhythms, R&B grooves, and fusion spontaneity into a polished, instantly recognizable style. Ranking their discography is subjective, but some albums tower above the rest as essential, while others offer pleasant detours. Tier 1: The Essentials (5-star masterpieces) 1. Moonlighting (1986) The debut that started it all. Featuring Kenny G on sax (pre-mega-stardom), Moonlighting remains raw, energetic, and surprisingly adventurous. “She Likes to Watch” and “Miles Away” still crackle with youthful fusion energy. It’s the blueprint—less polished than later work, but with a live-wire feel they’d never quite replicate. Their first album for Peak Records, and it

A transitional album—less Latin, more urban R&B. Steve Reid’s percussion still sparkles, but the synths lean toward late-’90s smooth jazz radio. “Deep Powder” is a gem, and “True Companion” (with vocalist Patti Austin) works better than most of their vocal experiments. Tier 3: Enjoyable but Inconsistent (3.5-star middle ground) 7. Weekend in Monaco (1992) The band’s most “European” album—sleek, polished, almost yacht-rock adjacent. “Highroller” and “Monte Carlo” are fun, but the energy dips in the middle. A solid listen, but lacks the fire of their best. Competent, enjoyable, and ultimately forgettable

A late-career peak. After experimenting with vocal tracks in the ’90s, Freeman returned to instrumentals with renewed focus. “Club Paradiso” and “Be Cool” showcase tighter arrangements and cleaner production. It’s the sound of a band confident in its identity, neither repeating past glories nor chasing trends. Tier 2: Strong Contenders (4-star standouts) 4. Kilimanjaro (1988) The sophomore album that proved Moonlighting wasn’t a fluke. Darker and more fusion-oriented, with David Benoit on keys. “Journey’s End” and the title track have a cinematic scope. Slightly less accessible than Tourist , but deeper and more rewarding.