Trombone Shorty & Orleans Avenue (August 07, 2018)

With Galactic ,Preservation Hall Jazz Band and New Breed Brass Band w/ special guests Cyril Neville, Walter Wolfman Washington

07
Tue

Trombone Shorty & Orleans Avenue Get Tickets

ADVANCE
$45.00
DAY OF SHOW
$50.00



Show:7:00 PM
Doors:6:00 PM
Age:18+
General Admission Show
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Troy 'Trombone Shorty' Andrews has God-given talent, natural charisma and a relentless drive to bridge music's past and future. His third outing for Verve Records, Say That To Say This (Sept. 10), co-produced by Andrews and kindred spirit Raphael Saadiq, sounds like nothing else out there, as Andrews and his longtime band, Orleans Avenue - guitarist Pete Murano, bassist Mike Ballard and drummer Joey Peebles - continue their natural musical evolution. In a very real sense, the torch is passed from one great New Orleans band to another on the new album, which features the first new studio recording from the original members of the legendary Meters in 36 years, as they revisit their 1977 classic "Be My Lady," with Andrews singing lead and playing horns. 


The bandleader and multi-instrumentalist describes Say That To Say This as "really funky, like James Brown mixed with The Meters and Neville Brothers, with what I do on top, and we have a bit of R&B from Raphael's side. All the guys in my band are big, big fans of his, so this is a real dream come true for us. And he's a fan of New Orleans brass band music, which I didn't know beforehand. Just listening to his music and the direction he's going in now, I thought that he would be perfect to work with us. What drew me to him was his knowledge of what came before and his imagination of where the music can move forward to. That's the same way I think, so it worked out very well."  


Saadiq doesn't just co-produce, he becomes a member of the band, playing a variety of instruments and contributing backing vocals; he also had a hand in writing three songs. Says Andrews of Saadiq: "He's a great producer, but he's also a musician, so he was able to get in there, jam with us and take us to some different places. And we were able to take him to some different places too."  


"We felt a certain amount of pressure, because we knew we were working with one of the great young producers and musicians," Andrews acknowledges. "But it was good pressure, and Raphael being in the room with us inspired us to step up as writers and players. We spent an initial two or three weeks in the studio in L.A. working out the tracks, and I think having that stretch of uninterrupted time really played a big part in how creative we were able to get. On the last two records we were so busy touring that we would go in for three or four days and then go out for a week, so we had to switch on and off between the stage mentality and being creative in the studio. So this time, knowing we were gonna be in the studio for two or three weeks straight, we reached down deep and were able to do some things that we wouldn't have come up with if we'd been on a tight schedule. It allowed us to be very free."   


The first track laid down for the album, the pumping "Long Weekend," came together in a flash during Andrews' initial foray to L.A. to hang with Saadiq. "I went out there to see how we would jell," Troy recalls. "I met him and his band in the studio and they came up with that song for me, right in front of my face, and it was really fun to just sit back and watch it go down. It didn't take that long - they were killin' it. I put the horn parts on that same day. That track has a lot of energy; I love the way it feels."    


The next step was to see how Saadiq would jell with Trombone Shorty & Orleans Avenue. "The one where we really clicked for the first time was 'Get the Picture,'" Andrews says of this burner, which has Saadiq's fingerprints all over it, trading guitar licks with Murano and playing clavinet. "After that, he sat back and watched us work, and every once in a while he'd come in and make a suggestion," says Andrews of the recording sessions. "So he basically let us do what we do and fine-tuned it if it needed it, and if it didn't he just kept it the way we had it. And that was very inspiring, because if he thought it was cool, then we felt like we'd done what we needed to do on our end."


The opening title track emphatically sets the vibe, as Murano unleashes a barrage of power chords over a pummeling groove from Peebles and Ballard - but a blast of brass from Trombone Shorty instantly alters the feel, bringing a more elegant form of aggressiveness to the proceedings. The mood then shifts again to a deeply soulful section in the manner of Earth, Wind & Fire, before powering back into rocking mode. "That track is just a timeline of who we are and how we think," says Andrews.

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