Trombone Shorty – Backawall
- September 4th, 2010
- By brian
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This is an album you can sink your teeth into. Though I’d never heard of Trombone Shorty until I saw him on Letterman’s show last week, I did a little snooping and found some stuff at YouTube and Wikipedia, and well, a lot of other places too. It seems he’s no new kid on the scene. He’s been around for a while, and is highly regarded in the music community.
The songs on Backawall go from bluesy to funky to rockin’ to jazzy, to a little Caribbean type of thing… He’s all over the spectrum in his influences and therefore his styles. He’s versatile. His band is tight and flows from instrumental to instrumental – some of which just happen to have a singer along for the ride. I mean a singer like Lenny Kravitz, Allen Toussaint or Marc Broussard.
The layers of music are complicated and sophisticated to my lightly trained ear. The horns and the drums and grinding guitars all play well with each other, but then they get an attitude and join up with tempo and get into a fight with the percussion, at least until Shorty takes over the whole thing with his trombone and everyone rocks together again.
Ultimately it’s a pretty overwhelming body of work on Backawall. I put the album on and went on reading the news, and well, Wikipedia and stuff. I didn’t really get into the news for more than a few seconds though because Backawall kept forcing me to pay attention to it. It’s been a long time since a band that’s new to me grabbed be by the ears and forced me to look it in the eye…
One highlight is the song “One Night Only (The March),” which happens to be the song the band did on Letterman. It’s afunky jazz sort of thing. Shorty sings with confidence and takes the spotlight with his smooth voice. His trombone though is powerful and strong, the other horns are perfectly complimentary, and it just has a great, funky feel that was perfect for late night tv.
“Quiet As Kept,” “Suburbia” and “Where Y’at?” are also a great instrumentals that capture your attention with their complete awesomeness. Perhaps the best song on the album is track 13, “The Cure.” It starts with a deep, low, grinding guitar and heavy drum beat, only to have a trombone explode from the murk and punch you in the gut with it’s starkness and raw power. It’s alone in front of the metal guitar and sledgehammer drums. It screams a few times, gets a little support from the horn section, then takes over again riding along with some saxophones, and trumpets and eventually fades with complete megattitude.
This is the kind of band that will blow away any audience, no matter the venue or crowd. They’re just that good. The blending of rock, funk, and jazz is so well done, the layering of instruments, times and tempos so awesome, you’ll be chair-dancing before you’re through song number one, “Hurricane Season.” Is this a tribute to Katrina perhaps? I don’t know, but I’ll keep reading. Still, the song will slap you upside your head and make you tap your toes and get your head rolling around on your shoulders in time with the music. You’ll love this band right from the start.
Highly recommended. I give it five asplosions out of five.

