He was a follower of the great tradition of the sazes of Southern Albania, especially of Përmet and Leskovik. His kaba is two-part: kaba and merry dance.

“Jonuz’s Kabaja”, called “Vome” according to the dialect of Përmet, is closer to the type of Kaba of Vangjel Leskovik and Medi Përmet. So it’s a lament kaba, but we also find in it pastoral notes related to the natural and cultural environment of Përmet, the melodic bed of which derives from the traditional melodies of the flute.

His preference to play in the lower and middle register of the clarinet is noticeable, unlike the masters like Selim Leskoviku or Bilbil Vlora, who preferred the upper register. This phenomenon appears almost as an essential element of the Përmet style in the gërnet kaba which was later emphasized in the master Laver Bariu’s Kaba-s.

The second part (the dance) from the thematic viewpoint is mainly constructed as Përmet men’s heavy paved dance.

The members of his Saze were Hysen Ibrahimi, Sabri Fehmiu, Sadik Azbiu (alias Çaçi) in violin and singer, Ali Myslymi (alias Mane Lela) in lutes.