Trombone Shorty & Orleans Avenue live at JazzBaltica 2011

Troy ‘Trombone Shorty‘ Andrews (tb, tp, voc)
Tim McFatter (sax)
Pete Murano (g)
Michael Ballard (b)
Joey Peebles (dr)

recorded live at Konzertscheune Salzau, July 1, 2011

1. Blackbird Special (Dirty Dozen Brass Band)
2. Right To Complain (Troy Andrews / PJ Norton)
3. Neph (Troy Andrews)
4. Let's Get It On (Topher Lafata)
5. On The Sunny Side Of The Street (Jimmy McHugh/ Dorothy Fields)
6. Feelin' Funky (Matata)
7. When The Saints Go Marching In (Trad.)

Troy 'Trombone Shorty' Andrews' is a rare artist who can draw both the unqualified respect of jazz legends and deliver a high-energy rock show capable of mesmerizing international rock stars and audiences alike. With such an unprecedented mix of rock, funk, jazz, hip-hop and soul, he had to create his own name to describe his signature sound: Supafunkrock! Andrews is the kind of player who comes along maybe once in a generation, and Backatown is the latest, clearest proof that his artistry is as singular as his raw talent.

Equally adept on trombone and trumpet, Andrews plays a variety of other instruments as well. He’s applied the same skill sets and fierce discipline to his vocal instrument, to soulful effect, as the album demonstrates. Surrounding Andrews is his band, Orleans Avenue—Mike Ballard on bass, Pete Murano on guitar, Joey Peebles on drums, Dwayne Williams on percussion and Dan Oestreicher on baritone sax—virtuosos every one.

“In our band we have people from different cultural backgrounds who listen to all kinds of different styles,” Andrews explains, “and when we get into our studio in New Orleans—we call it the Gumbo Room—we throw it all in and see how we can make it work as one thing, so that it’s not so left-field. We just try to make everything fit, you know, and I think that had a major effect on the record. We just banged a bunch of things out to see how they could work. We weren’t afraid to approach a bunch of different musical styles—rock music, R&B, whatever—just because there’s a horn in front. We just did what we do, and over time we developed something fresh. Making this record was a learning experience for us because, for the earlier records, we did them in like three days; this time we stayed in there for months in between tour dates, writing, picking things apart and reconstructing them. Ben knew what we needed to do, so we just followed his lead and he got it out of us.”