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Trombone Shorty makes the trombone cool again (Jazz Fest review)

If there have been ever any doubts as to the chilliness of the trombone, an instrument popularly associated with the timelessly unhappy caricature “womp, womp, womp” sound, Troy Andrews obliterated them on Sunday evening at Syracuse Jazz Fest.

Andrews, better often called “Trombone Shorty,” alongside with his band, Orleans Avenue, had a full crowd at OCC boogying frenetically to his powerful, horn-centric mix of jazz, funk, soul and rock ‘n roll.

The band opened with the aptly titled instrumental, “Slippery Lips,” through which Andrews, tenor saxophonist BK Jackson and baritone saxophonist Dan Oestreicher proved that a good horn line can percent as good a punch as any electrical guitar — However that’s on no account a knock on Orleans Avenue’s resident axe-man Pete Murano, who put his own shred-prepared chops on show from the get-go.

Andrews’ entrance on this number was a dramatic one, But smartly value it. The multi-instrumentalist appeared on stage in colorations, his iconic trombone in a single hand and his trumpet within the Other, totally equipped to soften some faces. Once he hit the mic, the crowd cheered wildly. It was clear that Syracuse was happy to have Trombone Shorty again (the brand new Orleans virtuoso had already rocked Jazz Fest Once Before in 2014).

And there wasn’t a single boring second within the band’s set, which clocked in at just under two hours. Andrews checked the crowd’s pulse during the Evening, regularly asking, “Are we partyin’?” to raucous shouts of assurance.

When he used to be no longer interesting along with his unimaginable trombone trills and lyrical trumpet-blowing, Andrews held his own as a singer and dancer, emulating James Brown and Michael Jackson while never As Soon As appearing like a novelty. All The Way Through his bandmates’ solos, Andrews gathered the rest of his crew into line formation and writhed round in celebration. Bassist Michael “Mike Bass” Ballard even did the limbo. It was once bonkers.

A spotlight of the evening used to be an adventurous rendition of Marvin Gaye’s “Let’s Get it On.” It’s a track that has historically been coated to demise — one which, when accomplished improper, seems like a gimmick. But Trombone Shorty & Orleans Avenue’s model of the famous swoon-inducing tune was an immense feat of musicianship.

The association was once tastefully unpredictable. Andrews sang the first verse, But took the melody of verse two on his trumpet, notice-for-word. The music then ended as a “remix,” in which Andrews channeled his inside hip-hop megastar, abruptly spitting the lyrics as Orleans Avenue grooved in the back of him.

Other shocking musical moments integrated a brief, seamless transition into Suzanne Vega’s “Tom’s Diner” During the Trombone Shorty original “Do to Me,” and a few dynamic bari sax noodling from Oestreicher at the exhibit’s end.

Earlier Than he exited the stage and successfully brought Syracuse Jazz Fest 2016 to an in depth, Troy Andrews thanked his applauding target audience and declared, “As Long As you want us to come back again, we’ll be Here each single time.”

Let’s dangle him to that. And in the intervening time, let’s all take some trombone classes.

The Setlist

“Slippery Lips”
“Sistamamalover” (Lenny Kravitz cover)
“Here Comes the girls”
“One Evening Most Effective (The March)”
“Lose My Thoughts/Make It Funky” (James Brown duvet)
“The Craziest Things”
“Do to Me”
“Let’s Get it On” (Marvin Gaye cover)
“Long Weekend”
“Typhoon Season”
Encore: Mardi Gras medley/”When The Saints Go Marching In”

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