Prior to his gig at Eric's, Troy “Trombone Shorty” Andrews Tweeted: “In rehearsals for Jools Holland show tonight. SO jetlagged”.
Well, if the jazz / funk / blues / soul / hip-hop brass meister was in any way fatigued during his debut in Liverpool, one of only two UK dates this year, it certainly didn’t show in the man’s performance.
Powering through ninety minutes of high octane music – and backed superbly by a six piece band of equal youth and vigour – the twenty-four year old from Treme orchestrated proceedings with a zest and guile that left many in the packed cauldron of Eric’s new live lounge shaking their heads in awe.
Showcasing tracks from his latest album, For True, and a whole plethora of back catalogue numbers and covers from greats such as Marvin Gaye, Shorty gave his all so it soon becomes evident that the days when his instrument of choice being, quite literally and hence the nickname, too big to handle, are well behind him. With what he defines as “Supafunk”, many of the pieces are instrumental, featuring dynamic call-and-response sections from those around him – including the audience – or choppy, single note riffs from Shorty added onto and layered still further by Pete Murano on guitar, Mike Ballard on Bass or, even more impressively, by the deliciously thumping rhythms provided by Joey Peebles behind the drums and Dwayne Williams on percussion.
Special mention, too, has to go to Tim McFatter on tenor sax whose crystal clear playing bodes well for what is sure to be a successful future.
But in truth it really is all about Shorty, as he cannot only play trombone to such high levels of proficiency and cheek busting power, but also the trumpet with a speed and fluency that is as beguiling as it is near perfect. All of which naturally provides an almost tangible electricity throughout which is accentuated still further by a voice that’s tone is reminiscent of the subtle, silky smoothness of a young Stevie Wonder’s mixed with just a hint of the raw edginess of James Brown in his heyday.
Indeed, with all this taking place, and if there is one tiny criticism, then it does all get a little too frenetic at times and so gives pause to consider that perhaps Andrews is trying to be a little too much of everything and so attempts to please everybody all the time. A noble sentiment to be sure, but nevertheless, perhaps, such an unfocussed methodology detracts from rather than enhances the overall execution, if only by a smidgen.
With this said, however, this remains one of the finest nights of high-energy, flamboyant music this city will have seen in a long, long time and it has to be hoped that its sooner rather than later that the little man from New Orleans graces us with his presence again.
9/10
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