| Jazz |
“Kinda Out West”: Aretha Tillotson’s Latest Album is a Masterclass in Contemporary Jazz Ingenuity
The roster of talented women reshaping the landscape of modern music, and most notably contemporary jazz, continues to expand with astonishing depth. At the forefront of this movement is Aretha Tillotson, who is poised to release her sophomore album, “Kinda Out West,” an intricate marvel of the genre, a work that confidently announces the arrival of a major compositional voice.
This is not an offering for the casual listener; rather, it is a demanding work designed for a discerning, initiated audience. The compositions here are meticulously constructed, their complex arrangements and multi-layered inspirations potentially bewildering those accustomed to more straightforward sonic narratives. Yet, precisely in its sophisticated architecture, both in its profound writing and its nuanced musical arrangements, this stands as one of the most surprising and genuinely inspiring works to have crossed my path this year.
Conceptual Depth and Sonorous Tribute
Following her critically acclaimed, Western Canadian Music Award-winning debut, “Introducing Aretha Tillotson,” this new endeavor functions as a heartfelt and sonorous tribute. It honors the rich, eclectic musical traditions of her native Alberta and the neighboring province of British Columbia—a region whose artists draw deep inspiration from the windswept prairies and high pastures, the vast ocean, and the towering mountains. The musicians featured on this album, whether by birthright or deliberate artistic choice, are intrinsically bound to this breathtaking Western Canadian landscape. This geographic and cultural affinity informs the album’s mood, suggesting that despite the comforts of modern life, the Western Canadian spirit retains the tenacious, independent ethos of preceding generations.
Crucially, the album’s conceptual framework, stemming from Tillotson’s Master’s thesis research into the experiences of women within arts institutions, lends the compositions a distinct intellectual heft. This context transforms the music into a dialogue on artistic survival and resilience. The resulting sound is a masterful blend of Post-Bop complexity and Modal lyricism. The rhythmic architecture echoes the layered metric schemes found in the work of composers like Steve Coleman, but Tillotson’s distinctive approach to harmony is characterized by open voicings and unexpected clusters, recalling the expansive orchestrations of artists such as Maria Schneider.
The Magic of the Collaborators
It is a delight to become thoroughly immersed in this musical universe, one that is by turns contemplative, whimsical, poetic, and turbulent, much like the nature of the territories themselves. In this context, the sheer readability and clarity of the musical writing is paramount. This composer and double bassist has clearly indulged her own creative passions, simultaneously gifting us a deeply successful album thanks to a stellar team of artists who share a genuine love for notes, sound, and intention. They expertly wield the historical gravitas of jazz while framing it within a resolutely contemporary writing style, allowing each listener to forge their own desired connections within the music’s foundation.
The ensemble features several breakout performances. Christene Jensen on saxophone is nothing short of sublime, setting a tone that is both assertive and fluid. Tillotson’s own bass work provides a foundation of unwavering rhythmic propulsion, employing a warm, woody tone that grounds the often-chromatic excursions of the horns. The same caliber of artistry is evident from Ingrid Jensen on trumpet. Both musicians, whom I confess to not having previously encountered, display an artistic vision of the highest, noblest order. On the track “High Plains Drift,” for instance, the dialogue between the Jensen sisters reaches a fever pitch, with Ingrid’s soaring trumpet lines spiraling above Christene’s tightly woven counter-melodies, illustrating the very turbulence Tillotson seeks to evoke.
A New Voice in Global Jazz
Tillotson’s background includes extensive performances across North America with notable figures such as Kris Davis, Walter Smith III, Francesca Remigi, Allan Chase, and Josh Rosen. Her 2024 debut, “Introducing Aretha Tillotson” (Bent River Records), earned her the Jazz Artist of the Year award at the Western Canadian Music Awards. The inclusion of the brilliant Allison Au further enriches the album’s texture and pedigree.
Undoubtedly, we are hearing some of the most impressive work that the young Canadian jazz scene has to offer. One can readily discern the foundational link to the classical music that shaped these artists, who came of age during a vibrant era when folk, pop, rock, jazz, and soul music were all deeply established. This magical quartet functions, in its own way, as an inspired descendant of all these traditions. One need only close their eyes, listen intently, and allow themselves to be carried away by these refined artistic propositions, the fruit of a group sharing a singular, qualitative vision for their art. The complicity of the musicians is palpable, resonating even through the most intricate musical lines. Indeed, jazz is a genre of varied expressions, and Canadian jazz is increasingly asserting itself as an indelible bridge between Europe and the North American continent. This album, “Kinda Out West,” is compelling proof of that proposition.
Thierry De Clemensat
Member at Jazz Journalists Association
USA correspondent for Paris-Move and ABS magazine
Editor in chief – Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, November 18th 2025
Follow PARIS-MOVE on X
::::::::::::::::::::::::
Musicians:
Ingrid Jensen – Trumpet
Christine Jensen – Alto Saxophone
Aretha Tillotson – Bass
Dave Laing – Drums
Track Listing:
Jill Of All
Kinda Out West
Cricklewood Lane
Lullaby To Those Before
Sphere Of Influence
35
Gauche Caviar
Sad Junie (To Highway Jake)
Kinda Out West (Alternate Take)