Trombone Shorty's 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 soul — "Laveau Dirge No. 1," named after one of the city's most famous voodoo queens — shows off our host's roots before Parking Lot Symphony branches out wildly, wonderfully, funkily across 12 diverse cuts.
True to its title, this album contains multitudes of sound — from brass band blare and deep-groove funk, to bluesy beauty and hip-hop/pop swagger — and 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."
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The session band — guitarist Pete Murano, sax men Dan Oestreicher and BK Jackson, and drummer Joey Peebles with Dumpstaphunk's Tony Hall in for Orleans Avenue bassist Mike Bass-Bailey — were in the studio to lay down It Ain't 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 that's not unusual for a man raised in one of the Tremé's most musical families. Andrews got his name when he picked up his instrument at four ("My parents pushed me toward trombone because they didn't need another trumpet player," he laughs). By eight, he led his own band in parades, halls and even bars: "They'd have to lock the door so the police couldn't come in."
Promoters would try to hand money to his older cousins, but they'd kindly redirect them to the boy. In his teens, Andrews played shows abroad with the Neville Brothers. Fresh out of high school (New Orleans Centre 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 music — a phenomenon on fluid display with Parking Lot