When people would ask Troy “Trombone Shorty” Andrews what genre of music he wanted to play, his answer, he said in a 2004 interview, was: “I really can’t decide because every day I hear something new.”
These two distinctly different albums represent, in part at least, the 19-year-old trombonist/trumpeter and vocalist’s current interests and past influences. While his technical ability, imagination and spirit prevail on both releases, the quintet album finds him among veteran musicians and reveals his comfort in a sophisticated setting. With his Orleans Avenue crew, he’s messing around with his very capable peers taking the music of the day to the streets and hangouts. The diversity of the styles demanded separate discs for musical consideration as well as to satisfy Andrews’ wide-range of fans. Real Shorty enthusiasts, of course, will appreciate both.
End of the Beginning unfolds much like a solid set at a modern jazz club. The band gets things warmed with a signature opening tune, “Twisted.” Andrews and his long-time musical partner and fellow New Orleans Center for the Creative Arts graduate, saxophonist James Martin, take the head with conviction and both provide ear-opening solos. Veterans make up the rhythm section with pianist Michael Pellera, bassist Bill Huntington and drummer Jason Marsalis. “Softly as in a Morning Sunrise” doesn’t dawn gently. Instead Marsalis’ drums beckon a fast-paced, powerful morn. Ellis Marsalis takes over the piano and follows Andrews’ confident trumpet flight with energy and a complex statement of his own. Kermit Ruffins steps up on the bandstand, to smilingly sing “On the Sunny Side of the Street” and later pairs his trumpet with Andrews’ trombone. The arrangement of “Summertime” boosts the somewhat over-performed tune and offers a good taste of Andrews’ technical abilities and imaginative trombone work. Ballads often become an instrumentalist’s proving ground and Shorty passes the test blowing sweet trombone on “Skylark” with John Boutté in on vocals. When Andrews and trumpeter Irvin Mayfield go head-to-head on “Two Trumpet Blues” it isn’t on the expected battlefield but on more subtle turf.
Andrews’ link with the brass band tradition in which he grew up looms on the opening, title cut of Orleans & Claiborne. Pal Martin is again by Andrews’ side as the two lead the parade. The huge talent of Jonathan Batiste—on electric keys for the cut—jumps off the recording and impresses throughout. Andrews and Martin trade vocal duties on a grooving cover of “Frontin’.” Fans undoubtedly recognize Andrews’ street-wise “Get Down” for the line “I can’t stop my leg now.” Here the leader hits it with the mighty ReBirth Brass Band. Funk, sway and groove are amply represented and dug into by the energized core band including bassist Michael Ballard and drummer Joey Peebles. Totally danceable is the hip-hop of “Act Bad With It” with guests 6th Ward Weebie and Cheeky Blakk. “We Gonna Make You” is another number often recognized by its lyrics—“Left right, show me what you’re workin’ with”—sung by the strong vocal team of Shorty and Karen Grant. Latin styles and rhythm and blues round out the album that ends back on the street but now with the Mardi Gras Indian rhythms and chants on “Got To Get Ready.”
“It’s always good to listen to all types of music because you never know who’s going to call you,” said Andrews in that 2004 interview. As heard on these albums, Shorty is definitely ready for anything and was prepared when he recently got a call to join Lenny Kravitz’s band. He is presently touring with the pop star.
