Pugsley Buzzard

Whoever says "they don't write 'em like they used to" should take a listen to Pugsley Buzzard. He not only writes 'em like they used to, he often writes 'em better...Showing off his renowned blues-jazz piano style and infectious raspy vocals on his latest album, Wooden Kimono, Buzzard transports you to the half dark of some old nightclub where you're surrounded by smoke rings, where every girl is a femme fatale and every guy is a dapper gangster...Buzzard's a bewitching songwriter and storyteller. often combining groove laden or playful tunes with dark lyrics, and his piano is really complimented on this album by a top band of horns and down and dirty guitar, which makes for hot listening. - Rhythms Magazine

Pugsley Buzzard

Ellington Jazz Club
25 January, 2013
The Ellington is a gem in the Perth music scene. In the tradition of New York jazz clubs, patrons book tables and sip on martinis in the intimate downstairs bar, paying heed to signs such as “if it were background music, it wouldn’t be on the stage right in front of you.” Should some Chatty McChatChat insist on talking, they will be asked to leave. Such is the level of respect for musicians as artists at The Ellington. And if anyone has earned the right to a respectful audience, it’s Pugsley Buzzard.

At first glance, Buzzard looks like a bluesy jazz man. Built like a barrel, sporting a jet-black goatee and moustache and a waistcoat with watch chain, Buzzard could have stepped straight out of the Deep South. Indeed, he has spent time in New Orleans and its surrounds, though he hails from Perth and now lives in Sydney. In this instance, first impressions turn out to be on the money because the moment Buzzard growls good evening and plinks the piano keys, we are in honkey tonk, gravelly jazz heaven.

Buzzard is equal parts pianist and vocalist, and it is hard to know which to be more awed by. Buzzard turned out jazz standards such as Dinah, which in boogie style was hardly recognizable compared to Dean Martin’s mellifluous rendition, and Fats Waller’s The Viper’s Drag. His own numbers however, and a couple he picked in the US recently, were Buzzard at his dirty, bluesy, rag-time best. Black Dog was a musical education in the underbelly of depression; a talking blues number called Rag-time Monkey elicited audience participation and was rollicking good fun; and in Bad Attitude, Buzzard’s snarling, petulant vocals declared he was in need of a double – one for him, and one for his bad attitude.

Mention must be made of Buzzard’s sensational supporting musicians; Phil Waldron and Angus Diggs, on double bass and drums respectively. It appears they got the memo on pre-requisite facial hair, as they also displayed rather impressive beards and moustaches. Buzzard was generous in creating space for Waldron and Diggs to get creative with solos, and they displayed the skill and intuitive ability of those whose life’s work is playing music. Buzzard and band’s improvisational abilities were also extremely impressive, and one had the distinct impression that these three never play a song the same way twice. Which means that Friday night at The Ellington was a one-night-only kind of special.

Written by Rebekah Barnett
- Drum Media WA

Pugsley Buzzard

Ellington Jazz Club
25 January, 2013
The Ellington is a gem in the Perth music scene. In the tradition of New York jazz clubs, patrons book tables and sip on martinis in the intimate downstairs bar, paying heed to signs such as “if it were background music, it wouldn’t be on the stage right in front of you.” Should some Chatty McChatChat insist on talking, they will be asked to leave. Such is the level of respect for musicians as artists at The Ellington. And if anyone has earned the right to a respectful audience, it’s Pugsley Buzzard.

At first glance, Buzzard looks like a bluesy jazz man. Built like a barrel, sporting a jet-black goatee and moustache and a waistcoat with watch chain, Buzzard could have stepped straight out of the Deep South. Indeed, he has spent time in New Orleans and its surrounds, though he hails from Perth and now lives in Sydney. In this instance, first impressions turn out to be on the money because the moment Buzzard growls good evening and plinks the piano keys, we are in honkey tonk, gravelly jazz heaven.

Buzzard is equal parts pianist and vocalist, and it is hard to know which to be more awed by. Buzzard turned out jazz standards such as Dinah, which in boogie style was hardly recognizable compared to Dean Martin’s mellifluous rendition, and Fats Waller’s The Viper’s Drag. His own numbers however, and a couple he picked in the US recently, were Buzzard at his dirty, bluesy, rag-time best. Black Dog was a musical education in the underbelly of depression; a talking blues number called Rag-time Monkey elicited audience participation and was rollicking good fun; and in Bad Attitude, Buzzard’s snarling, petulant vocals declared he was in need of a double – one for him, and one for his bad attitude.

Mention must be made of Buzzard’s sensational supporting musicians; Phil Waldron and Angus Diggs, on double bass and drums respectively. It appears they got the memo on pre-requisite facial hair, as they also displayed rather impressive beards and moustaches. Buzzard was generous in creating space for Waldron and Diggs to get creative with solos, and they displayed the skill and intuitive ability of those whose life’s work is playing music. Buzzard and band’s improvisational abilities were also extremely impressive, and one had the distinct impression that these three never play a song the same way twice. Which means that Friday night at The Ellington was a one-night-only kind of special.

Written by Rebekah Barnett
- Drum Media WA

Pugsley Buzzard

Ellington Jazz Club
25 January, 2013
The Ellington is a gem in the Perth music scene. In the tradition of New York jazz clubs, patrons book tables and sip on martinis in the intimate downstairs bar, paying heed to signs such as “if it were background music, it wouldn’t be on the stage right in front of you.” Should some Chatty McChatChat insist on talking, they will be asked to leave. Such is the level of respect for musicians as artists at The Ellington. And if anyone has earned the right to a respectful audience, it’s Pugsley Buzzard.

At first glance, Buzzard looks like a bluesy jazz man. Built like a barrel, sporting a jet-black goatee and moustache and a waistcoat with watch chain, Buzzard could have stepped straight out of the Deep South. Indeed, he has spent time in New Orleans and its surrounds, though he hails from Perth and now lives in Sydney. In this instance, first impressions turn out to be on the money because the moment Buzzard growls good evening and plinks the piano keys, we are in honkey tonk, gravelly jazz heaven.

Buzzard is equal parts pianist and vocalist, and it is hard to know which to be more awed by. Buzzard turned out jazz standards such as Dinah, which in boogie style was hardly recognizable compared to Dean Martin’s mellifluous rendition, and Fats Waller’s The Viper’s Drag. His own numbers however, and a couple he picked in the US recently, were Buzzard at his dirty, bluesy, rag-time best. Black Dog was a musical education in the underbelly of depression; a talking blues number called Rag-time Monkey elicited audience participation and was rollicking good fun; and in Bad Attitude, Buzzard’s snarling, petulant vocals declared he was in need of a double – one for him, and one for his bad attitude.

Mention must be made of Buzzard’s sensational supporting musicians; Phil Waldron and Angus Diggs, on double bass and drums respectively. It appears they got the memo on pre-requisite facial hair, as they also displayed rather impressive beards and moustaches. Buzzard was generous in creating space for Waldron and Diggs to get creative with solos, and they displayed the skill and intuitive ability of those whose life’s work is playing music. Buzzard and band’s improvisational abilities were also extremely impressive, and one had the distinct impression that these three never play a song the same way twice. Which means that Friday night at The Ellington was a one-night-only kind of special.

Written by Rebekah Barnett
- Drum Media WA

" If there is a sure - fire formula for musical success, leading to lots of regular work and critical acclaim, it has to be New Orleans style piano playing mixed in with boogie and blues, that is both hot and cool, sensuous and intimate, raw and loads of fun.
Think only of Fats Domino, Fats Waller, Dr. John, Jon Cleary, Tom Waits and our own home grown performer with the unforgettable name, Pugsley Buzzard.
His technique is simple: a voice with all the smoothness of a corrugated dirt road leads to effortless, raw honesty; an exceptionally good and rich backing band; a bunch of songs that range from " Aces and Eights" , lazy, piano based blues with a dash of soul, through " Chained", powerhouse New Orleans- style blues that wouldn`t be out of place in the repertoire of the late Howlin` Wolf to the dark, smoky menace of " Black Dog", with some wailing, fat baritone saxophone from Adam Simmons. The result is an album that is deeply rooted in African - American musical traditions and still sounds fresh and original.
The most impressive aspect of this very impressive album is that not for a moment do you feel that Buzzard is an imitator or an imposter. This is so authentic and persuasive that if you were told he arrived in the country last week after a residency in some steamy New Orleans club, you`d believe it. He is that good."
- Sydney Morning Herald

"Without doubt the most unique voice in Australia right now!"
Phil O'Neil (Ugly Phil) Announcer Triple M radio - Triple M Radio

"not quite blues, not quite jazz, not quite like anything you've heard before...Pugsley Buzzard piano player and singer with a distinctive sound plays funky New Orleans grooves, barrelhouse blues,
Harlem stride and modern stylings that feature loads of tantalising improvisation. - Focus