Tampa Calling

Here’s my review of Tropical Heatwave that will hit newsstands on Thursday. Anyone else attend the big ‘MNF bash? What did I miss/overlook?

Picture of Troy “Trombone Shorty” Andrews by Valerie Troyano.

WMNF Tropical Heatwave, Sat., May 12, Cuban Club and nearby venues, Ybor City.

The greasy stomp of AC/DC’s “Back in Black” grabbed the audience’s attention right from the start. Then a strapping young man wielding a trombone salted the hard-rock classic with a French Quarter flair. The result was a sound distinct and familiar, funky and rocking at the same time.
The crowd immediately dug it. The man with the horn was Troy “Trombone Shorty” Andrews, a wiry 21-year-old with more talent and charisma than any performer I’ve witnessed on stage in recent memory. Backed by an equally young and able band (dubbed Orleans Avenue) that included a saxophonist, keyboardist, bassist, drummer and guitarist, the New Orleans-based Shorty inspired a crowd of hundreds in the Cuban Club Courtyard to jump up and down and release howls of joy in near unison for practically the duration of his 60-minute set. It was a beautiful spectacle. The middle-aged couple behind me, the four teenage boys to my left — everybody was grinning, moving, losing themselves in the music.
Tropical Heatwave showcases acts that can’t find a niche on commercial radio. Trombone Shorty is a prime example. His blend of hip-hop (he actually beat-boxed during one song), funk, hard-rock, jazz and soul just won’t play on commercial stations. Plus, his band’s penchant for quoting familiar hits, by artists ranging from James Brown to Naughty By Nature, doesn’t make for easy copyrighting. But in a live context, Trombone Shorty is the man. He’s a capable singer, displayed impressive trombone chops, and even picked up the trumpet for a remarkable version of the Louis Armstrong/Crescent City standard “St. James Infirmary” and “When the Saints Go Marching In.”

Despite his musicianship — Andrews attended the prestigious New Orleans Center for the Creative Arts — he is above all a showman, willing to set down his horn and crowd-surf, then run back on stage and moonwalk while his drummer soloed.
Trombone Shorty wrapped around 10:15 p.m., so I had plenty of time to wander over to El Pasaje Plaza to have my spirits lifted by the Holmes Brothers, three elderly African-American fellows who performed like young men with something to prove. Drummer Popsy Dixon joined guitarist/keyboardist Wendell Holmes (whose idiosyncratic six-string work was mesmerizing) and bassist Sherman Holmes. The three men each sang lead, with Dixon delighting audiences with his angelic falsetto. The trio played deep soul music that recalled Stax in the 1960s, replete with the country influence. Whether performing the gospel standard “Amazing Grace” or a slowed-down rendition of the Cheap Trick hit “I Want You to Want Me,” the Holmes Brothers made each song their own, made it special, made it sound holy.
Tropical Heatwave featured 32 acts this year. Some were more impressive than others. From what I saw, though, Trombone Shorty and The Holmes brothers — two performers separated by a couple generations — left the largest footprints.

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