Stunt Records, 2017
"Rudy Smith and his instrument, the steel pan, were born at the same place and time, Trinidad in the 1940s, and if there are any other jazz virtuosi of the instrument, I have yet to encounter them."
the guardian (read more)

"Die Gelöstheit, die er dabei an den Tag legt, erinnert zuweilen sogar an Toots Thielmans - so entspannt, so relazt geht es auf"
Jazz thetik (read more)

"Gruppens udgave af Old Lady Walk a Mile and a Half" er et fint eksempel på den tæthed, der er resultatet af mange års samspil"
Jazz Special (read more)

"Når man lægger ører til hans nye album på danske Stunt Records hører man straks virtuositeten, men også inspirationskilderne: Milt Jackson, Bobby Hutcherson, Oscar Peterson og John Coltrane"
Ivan Rod (read more)

"Meist sind die Stücke im Jazzgewand mit viel Swing und Spielfreude, mit hervorragenden Solisten und ihren spannenden Improvisationen."
www.musikansich.de read more

Further reviews from bebop spoken here, jazznyt.blogspot.dk, www.jazzthing.de


Caprice Records, 2015
"Perhaps the most jaw-dropping aspect of this compilation album is how complete it is. For some artists, their compilation is merely a musical summation of their life’s work, which needs no explanation, depending on the artist’s popularity. But since steelpan artists aren’t as well known in the world as they deserve to be, having the narration booklet with historical photos as a guide to both Smith’s life and musical journey, supports the album perfectly for the listener"
Ted Goslin, Pan Magazine (read more)

"'There is a depth in them there drums' sagde Cecil Taylor-janitsharen Andrew Cyrille engang, da han optrådte med Rudy. Han kunne have sagt det samme om Rudy selv."
J-R. Keith Keller, Jazz Special

"Meines Wissens ist er der einzige Steeldrummer in der internationale Jazzszene, und was er aus seinem Instrument herausholt, lässt sich verstandesmässig kaum nachvollziehen."
Birseckerhoff Jazz, Basel, Switzerland (read more)

"Live in Toronto is a delight for both pan and jazz lovers. In fact, for those coming from the pan side of music, this album serves as a perfect introduction to mainstream jazz."
Tony McCutchen, Pan-Lime (read more)

"Smith lärde sig tidigt behärska dessa och får betraktas som en viktig kugge i musikens utveckling på Trinidad. Numera bor han i Danmark men återvänder ofta till Trinidad där han agerat huvudarrangör för den årliga stålbandstävlingen Panorama. Mycket jazz har det blivit genom åren, med alla från Bernt Rosengren och Ulf Adåker till Horace Parlan och Bebo Valdés. Smith har även medverkat på inspelningar med till exempel Bob Marley, Ahmadu Jarr och Eric Bibb."
Lira.se, Sweden (read more)

"Smith gives his twins drums fierce echoes of vibraphone and marimba, the ringing tones surprisingly effective"
Geoff Chapman, The Toronto Star, Canada (read more)

"Smith is a talented writer and novel arranger of jazz standards. He flits like a hummingbird from style to style, with clear references to Trinidad’s neighbours, in hints of Venezuelan tonada and one Afro-Cuban piece. There’s even flamenco-jazz, jazz samba and JS Bach plus R&B."
BBC Music Magzine, England (read more)

"What Pan Did for Me leaves behind the steel pan stereotypical and steeps the pan in versatility and durability and proves the sheer mastery and musical vision of Rudy Smith."
TJ NELSON , World Music Central, USA (read more)

"Steelpan Jazz at Lincoln Center (New York) a Success.
This night belonged to the Rudy Smith Quartet and the Caribbean All Stars, who captured the fancy of the audience. Rudy Smith gave each musician ample space and time to define and establish their own personal relationship with the audience within the confines of the quartet."
When Steel Talks(read more)

"With another breathtaking performance in Toronto, Rudy continues to make his mark [...] As the quartet wrapped up their second and final set for the night, the audience responded with a standing ovation and got the encore they craved."
The Caribbean Camera, Canada (read more)


Concert in Musketerfestival 2014

"The hollow tones of a Steelpan might seem a major disadvantage for the warm note-bending playing required in jazz soloing, but with a delicate style of improvisation and careful attention to each song's structure, Smith has defied convention and emerged as a sought-after player."
The Metro Word, Toronto (read more)

"I have been a secret fan of Rudy's for many years - from the moment i first heard him, I've been raving about his incredible musicianship, his impeccacble taste and soulful phrasing. He and Toots Thielemans, who both make you forget the unsurmountable technical defficulties of their respective instruments, belong in my personal gallery of heroes with Louis, Duke, Bird, Stuff, Stan, Dizzy and a few that you probably never heard of."
Svend Asmussen

"I just think it's marvelous album and Rudy is one of a kind. I have never heard a steel-drum player like him before in my life! I am very impressed with his compositions."
Ernie Wilkins

"It would be all too easy to make a fuss about the apparent novelty of the steel drum as a jazz instrument. The sound of the pan, after all, is the sound of calypso, not of bebop- or blues-note, at least, until Rudy Smith, a trinidadian musician traveling out of Copenhagen, strikes the first notes of a hip tune like John Coltrane's "Some Other Blues". Damned if it isn't perfectly natural."
Mark Miller, The Globe and Mail, Toronto

Foto: Johan Andersson
Concert in Nalen den 2/10, 2011

"Double alto pan player Rudy Smith has started a new phase in the story of pan. And not only in the story of the pan but in the story of Afro-American music. Rudy Smith has married the most important Afro-Carribian invention in the field of musical instruments, the steelpan, to the most important Afro-American musical tradition, the jazz. And more than that. He has developed a solo style of the steelpan which has not been heard before. His technique is dazzling. But it is not a question of empty virtuosity. Rudy Smith's playing is marked by the same astonishing inventiveness that has created the steelpan."
Krister Malm, Ph. D., musicologist, Sweden

"It may perhaps be rather natural (and easy) to consider the use of steel-drums in jazz as something of curiosity, but the way in which Rudy Smith handles his two 50 cm-wide metal things it is not difficult for him to convince us of thier legitimate use in jazz."
Thorbjoern Sjoegren, Berlingske Tidende, Denmark