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      Trombone Shorty & Orleans Avenue in Port Chester

      • Trombone Shorty & Orleans Avenue Photo #1
      1 of 1
      December 31, 2019

      Tuesday   9:00 PM

      149 Westchester Ave
      Port Chester, New York 10573

      Trombone Shorty & Orleans Avenue

      with North Mississippi Allstars, Devon Gilfillian
      Trombone Shortys new album opens with a dirge, but if you think the beloved bandleader, singer, songwriter and horn-blower born Troy Andrews came here to mourn, you got it all wrong. That bit of beautiful New Orleans soulLaveau Dirge No. 1, named after one of the citys most famous voodoo queensshows off our hosts roots before Parking Lot Symphony branches out wildly, wonderfully, funkily across 12 diverse cuts. True to its title, this album contains multitudes of soundfrom brass band blare and deep-groove funk, to bluesy beauty and hip-hop/pop swaggerand plenty of emotion all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as Andrews says, Music brings unity.As for why its taken Andrews so long to follow 2013s Raphael Saadiq-produced Say That to Say This, the man simply says, I didnt realize so much time passed. Some artists dont work until they put a record out but I never stopped going. Truly. In the last four years, Andrews banked his fifth White House gig; backed Macklemore and Madonna at the Grammys; played on albums by She & Him, Zac Brown, Dierks Bentley, and Mark Ronson; opened tours for Daryl Hall & John Oates and Red Hot Chili Peppers; appeared in Foo Fighters Sonic Highways documentary series; voiced the iconic sound of the adult characters in The Peanuts Movie; inherited the esteemed annual fest-closing set at the New Orleans Jazz & Heritage Festival in the tradition of Crescent City greats like the Neville Brothers and Professor Longhair; and released Trombone Shorty, a childrens book about his life that was named a Caldecott Honor Book in 2016.Adding to that legacy, his Blue Note Records debut Parking Lot Symphony finds Andrews teamed with Grammy-nominated producer Chris Seefried (Andra Day, Fitz and the Tantrums) and an unexpected array of cowriters and players including members of Edward Sharpe & The Magnetic Zeros, The Meters, Better Than Ezra, and Dumpstaphunk. Considering Andrews relentless schedule, its all the more surprising that this LP began with him in a room, all alone, back in New Orleans.I had two weeks at home so I went to the studio and set up the playground,' he recalls. I had everything in a circle: tuba, trombone, trumpet, keyboard, Fender Rhodes, Wurly, B3 organ, guitar, bass, drumsand me buried in the middle. He recorded an albums worth of ideas and then, well, walked away for a year. Not because he was too busy, but because he wanted to hit the road and see how the music changed on him. When Andrews came back with a full band, the songs came to life.Take the albums two covers, a pair of NOLA deep cuts: theres Here Comes the Girls, a 1970 Allen Toussaint song originally recorded by Ernie K-Doe that here (with Ivan Neville on piano) sounds bawdy and regal, like something from a current Bruno Mars album; and The Meters lovesick It Aint No Use, which swirls a vintage R&B vibe with resonant choir vocals and upbeat guitar from The Meters Leo Nocentelli himself to transport the listener to the center of the jumpingest jazz-soul concert hall that never was.The story there is almost too good. The session bandguitarist Pete Murano, sax men Dan Oestreicher and BK Jackson, and drummer Joey Peebles with Dumpstaphunks Tony Hall in for Orleans Avenue bassist Mike Bass-Baileywere in the studio to lay down It Aint No Use. Hall even had the vintage acoustic he bought from Nocentelli years ago, which was used on the original Meters session. On the way to the bathroom, Andrews saw Nocentelli coming out of a different tracking room: it was meant to be.But thats not unusual for a man raised in one of the Trems most musical families. Andrews got his name when he picked up his instrument at four (My parents pushed me toward trombone because they didnt need another trumpet player, he laughs). By eight, he led his own band in parades, halls and even bars: Theyd have to lock the door so the police couldnt come in. Promoters would try to hand money to his older cousins, but theyd kindly redirect them to the boy. In his teens, Andrews played shows abroad with the Neville Brothers. Fresh out of high school (New Orleans Center for Creative Arts) he joined Lenny Kravitz band.Across that time, three Trombone Shorty albums and many collaborations since, Andrews nurtured a voracious appetite for all types of musica phenomenon on fluid display with Parking Lot Symphony. On Familiar, co-written by Aloe Blacc, they practically mint a new genre (trap-funk?) while Andrews channels his inner R. Kelly to spit game at an old flame. Meanwhile, the instrumental Tripped Out Slim (the nickname of a family friend who recently passed) bends echoes of the Pink Panther theme into something fit for James Brown to strut to. And if you listen closely to Where It At?, written with Better Than Ezras Kevin Griffin, you may even hear a little Y2K pop. I know it wasnt cool to listen to *NSYNC or Britney Spears in high school, says Andrews, but those bass lines and melodies are funky. They pair astonishingly well with all the Earth, Wind & Fire that bubbles beneath these songs.Its worth noting that Andrews vocals sound better than ever (he credits Seefried for that), because Parking Lot Symphony might be the mans most heartfelt offering yet. The breezy title track, which Andrews wrote with Alex Ebert (Edward Sharpe & The Magnetic Zeros), is as much about walking the Trem, being uplifted by the music that seems to seep from every surface, as it is about moving on from a broken heart. And the shuffling, bluesy No Good Time reminds us, with a world-weary smile, that nobody never learned nothin from no good time.But Andrews is clear that this isnt some kind of breakup record. Its a life record, he says, about prevailing no matter what type of roadblock is in front of you. That message is clearest on Dirty Water, where over an easy groove, Andrews adopts a soft falsetto to address just about anyone going through itpersonal, political, whatever. Theres a lot of hope turning to doubt, he coos. Ive got something to say to them / You dont know what youre talking about / When you believe in love, it all works out. Amen. Now let the horns play us out.

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