The Rippingtons Albums Ranked May 2026

An attempt to inject modern pop production. The title track has an edgy, rockish guitar tone, but the album feels torn between radio-friendly smooth jazz and fusion. Highlights (“Big Sky”) are excellent; filler tracks drag. Tier 4: For Completists Only (3 stars or below) 10. Modern Art (2009) By this point, the formula had grown thin. Freeman’s playing remains flawless, but the songwriting feels automated. “Body Art” and “Gemini” recycle earlier ideas. Not bad, but no surprises.

A live album and greatest-hits collection. Great for newcomers, but not a proper studio effort. The live versions lack the studio polish that defines The Rippingtons’ sound. Final Verdict Start with Tourist in Paradise or Moonlighting . If you want pure, sun-drenched smooth jazz perfection, Tourist is unmatched. If you prefer fusion grit and history, Moonlighting is your entry. From there, explore Kilimanjaro and Life in the Tropics . Skip the 2010s albums unless you’re a superfan. the rippingtons albums ranked

A late-era album that tries to recapture the Tourist in Paradise vibe. The production is pristine, but the soul is missing. Listen to “King of Hearts” once, then return to the 1989 original of “Caribbean Breeze.” An attempt to inject modern pop production

The commercial breakthrough. This album perfected the “Rippingtons sound”: shimmering synths, steel drums, Latin percussion, and Freeman’s lyrical guitar. The title track and “Caribbean Breeze” are genre-defining. If you own one Rippingtons album, this is it—effortless, warm, and timeless. Tier 4: For Completists Only (3 stars or below) 10

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.

A pivot toward world music, with North African and Middle Eastern influences. The title track’s oud-like guitar lines and hypnotic groove are a bold risk that pays off. Jeff Kashiwa’s sax work is particularly inspired. Underrated in their catalog.

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.