01. Say That To Say This (2:56)
02. You And I (Outta This Place) (3:51)
03. Get The Picture (2:44)
04. Vieux Carre (2:46)
05. Be My Lady (3:32)
06. Long Weekend (4:08)
07. Fire And Brimstone (3:27)
08. Sunrise (3:16)
09. Dream On (4:20)
10. Shortyville (4:23)

Troy Andrews (a.k.a. Trombone Shorty) 
& Orleans Avenue:
Art Neville – Keyboards
Leo Nocentelli – Guitar
George Porter Jr. – Bass
Joseph "Zigaboo" Modeliste – Drums

Troy "Trombone Shorty" Andrews' third Verve album, Say That to Say This, might be the one he should have cut first. Backatown and For True -- both produced by Galactic's Ben Ellman -- were as steeped in rock and hip-hop as they were jazz and funk; they were actually very experimental records yet both charted and were well-received internationally. This date, co-produced with Raphael Saadiq, is a much more R&B-oriented recording -- and proves a definite plus in a number of ways. Shorty's become much more disciplined, as revealed by this collection of groove-conscious soul and modern NOLA funk (and though it's more polished -- having been recorded almost wholly in Hollywood -- it is closer to what he does live). Things kick off with the title track, one of four instrumentals, led by Michael Ballard's whomping bassline. Though Shorty's horns were cut in NOLA, it feels like the band is playing live, with a Meters-esque groove. The call and response between his horns and Peter Murano's guitar is nasty. The Meters' trademark funk is at the heart of "Get the Picture," with Saadiq on backing vocals. The track is built on Murano's snaky guitar, Ballard's bubbling bassline, and Saadiq's vicious clavinet, with the vocal punch declaring its intention above Joey Peebles' knotty breaks. Speaking of the Meters, the original band appears here on record for the first time since 1978 with their ballad "Be My Lady." It's almost a carbon of the original that appeared on their New Directions album, with only modern production and the trombone solo adding new dimensions -- George Porter's bumping bassline and the gorgeous interplay of Shorty's and Cyril Neville's voices make it a highlight. The brief "Vieux Carre" weds a jazz chart to a Caribbean, Latin-tinged groove with Andrews playing not only horns but also drums with Saadiq on bass. The streetwise "Fire and Brimstone," introduced by Ballard and Murano, is a triumphant, militant anthem to survival and success amid the struggle of life in the Treme. Andrews' vocals and horns underscore the groove (his trombone solo highlights the transcendence in his lyrics), and Saadiq's wonky clavinet flavors it all. It's followed by the breezy jazz of "Sunrise," with Shorty's trumpet solo atop his trombone, his congas complementing Peebles' drums as Saadiq's bass and Murano's guitar sweeten the tune's vamp. "Dream On" is the brighter side of the rise-above-it-all sentiment expressed on "Fire and Brimstone" (though its lyrics are just as gritty) with beautifully arranged vocal harmonies. Say That to Say This closes with the punchy, harder-edged "Shortyville," an instrumental duet. Andrews plays all instruments save for a roiling, pocket-stretching bass played by Saadiq. Shorty's improvising is right out of the NOLA jazz heritage even though it occurs inside a modern funk number. Ultimately, with all of its confidence, production polish, and sophistication, this is the album that should break Trombone Shorty to a much wider, more diverse audience. --- Thom Jurek, Rovi

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1 	Buckjump 	
2 	Encore 	
3 	For True 	
4 	Do To Me 	
5 	Lagnaippe Pt 1 	
6 	The Craziest Thing 	
7 	Dumaine St. 	
8 	Mrs. Orleans 	
9 	Nervis 	
10 	Roses 	
11 	Big 12 	
12 	Unc 	
13 	Then There Was You 	
14 	Lagnaippe Pt 2

Baritone Saxophone – Dan Oestreicher (tracks: 1, 2, 4 to 11, 13, 14)
Bass – Mike Ballard  (tracks: 1 to 4, 6, 7, 9 to 11, 13), Lenny Kravitz (track: 10)
Drums – Joey Peebles (tracks: 1 to 4, 6 to 11, 13), Stanton Moore (tracks: 5, 14)
Guitar – Pete Murano (tracks: 1 to 4, 6 to 11, 13)
Guitar, Soloist – Warren Haynes (track: 2), Jeff Beck (track: 4)
Harmonica – Ben Ellman (track: 11)
Percussion – Dwayne Williams (tracks: 1 to 4, 6 to 11, 13, 14)
Rebirth Brass Band (track: 1)
Tenor Saxophone – Tim McFatter (tracks: 2, 4, 6 to11, 13), Clarence Slaughter (track: 14)
Trumpet Solo – Mike Ballard (track: 13)
Vocals - 5th Ward Weebie (track: 1), Vocals – Cyril Neville (track: 9)
Vocals, Engineer [Kid Rock's Vocals] – Kid Rock (track: 8)
Vocals, Trombone, Trumpet, Organ, Drums, Piano, Keyboards, Bass, Percussion
 – Troy "Trombone Shorty" Andrews

New Orleans' Troy “Trombone Shorty” Andrews knows the music biz inside out. Hounded for years by friends and music business types to jump into the game, he understood the lessons of his lineage elders: too many had been been ripped off and discarded. He took his time, assembling, rehearsing, and touring Orleans Avenue, a band steeped in brass band history, jazz improv, funk, soul, rock, and hip hop. He finally signed to Verve Forecast and released Backatown in April of 2010. Entering at number one on the jazz charts, it stayed there for nine straight weeks, and was in the Top Ten for over six months. For True hits while Backatown is climbing again. Chock-full of cameos it is an extension, but sonically different. It's production is crisper, but the musical diversity more pushes further. In addition to trombone, Shorty plays trumpet, organ, piano, drums, synths, and, of course, sings. Orleans Avenue colors the rest. They are tighter, even more confident, and perhaps even more adventurous here. Though Shorty handles some tracks playing all the instruments himself, or with a guest or two, OA bear the lion's share with gravitas. “Buckjump” is the first clue that this is part two -- it could have been the closing track on Backatown. The Rebirth Brass Band guest and play a big funky horn chart as Shorty's big trombone solo greases the skids. NOLA's Weebie chants in tandem with the break-heavy rhythm track. "Encore" (written with Motown's Lamont Dozier) showcases some of Shorty's B-3 and soulful vocal skills, as Warren Haynes lends his trademark guitar sound. The title track, one of the album's brief musical interludes, features Shorty's solo with a killer trumpet break. “Do to Me” has a melody constructed around Shorty's smoking bone solo and a knife-edged guitar solo from Jeff Beck. "The Craziest Things" and "Dumaine Street" showcase Shorty's and Orleans Avenue's collective ability to create locking, complementary grooves; they play funky second-line rhythms countered by a jazz horn chart and improv in an R&B tune on the former, and a marching stepper on the latter. Ivan and Cyril Neville help with some fine vocal work on "Nervis," and Ledisi's stellar performance on the swinging rhythm & blues “Then There Was You” shines. "Mrs. Orleans" featuring Kid Rock's out-of-place, boisterous rap, could have been left off without the album suffering. The cut "Big 12," with producer Ben Ellman on blues harmonica, is titled for Shorty's older brother James' nickname, it kicks with big bass drums, hi-hat, and snares, locked on horns, rock guitar vamps, and a dubwise bassline. Ultimately, comparing For True to Backatown is pointless: they are of a piece, experimental records that show different sides of his identity besides the one for punchy homegrown R&B he's known for at home; two parts of a compelling, dynamic musical aesthetic firmly in and of the 21st centuryeven whenthey look back at history. ---Thom Jurek, AllMusic Review

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