Shorty’s album rich collection of ‘funk’

‘Republique’ mesmerizing

T(Blue Note Records) Troy “Trombone Shorty” Andrews reinforces his commitment to New Orleans on “Parking Lot Symphony,” a rich, energetic collection of funk, R&B, and even dirges and pop. As is his calling card, Andrews broadens the city’s musical traditions without straying too far as his voice finds new hues and shades of expression.

Andrews tips his hat to the city’s legends by covering The Meters’ “It Ain’t No Use” with that band’s Leo Nocentelli on acoustic guitar. The sparking celebration of “Here Come the Girls,” Allen Toussaint by way of Ernie K-Doe, has Ivan Neville on piano.

Instrumentals like “Fanfare” and “Tripped Out Slim” also dig deep into Andrews’ NOLA roots and along with the dirges bookending the album — the first mournful, the closer hopeful — showcase his skills across an orchestra of instruments, from trumpet and keyboards to glockenspiel and vibraphone.

If “Where It At” sounds more than a bit like an ’N Sync production, it’s on purpose but still creepy, and if you’re reminded of Lenny Kravitz on “Dirty Water” or “No Good Time,” chalk it up to Andrews’ long-ago stint in his band.

Part of a large and prominent musical family, Andrews’ involvement in his native city — he’s from its Treme neighborhood, a cradle of jazz and brass bands — goes far beyond his allegiance to its musical styles. There’s his foundation and music academy, mentoring work as well as collaborations with a project to improve low-performing schools through arts programs.

Should they pave paradise to put up a “Parking Lot Symphony,” you won’t hear a peep out of me.

Shorty

By Pablo Gorondi

“Parking Lot Symphony”

“Republique Amazone” (Real World Records)

Grammy winner Angelique Kidjo and Mariam Doumbia, from Amadou & Mariam, are part of a supergroup of West African women whose CD “Republique Amazone” is a mesmerizing blend of female advocacy and dance rhythms.

Dubbed Les Amazones d’Afrique, they’re mainly from Mali and mostly write their own lyrics. Supported by Irish producer Liam Farrell, his electronics envelop more traditional sounds like kora, thumb piano, Mouneissa Tandina’s drums and Mamadou Diakite’s piercing electric guitar.

The Paris-based Farrell, known as Doctor L, deftly prevents the album from being a mere curiosity and the women’s participation should alleviate doubts about stylistic authenticity.

There’s little English on the album — which also includes songs in French, Mali’s Bambara, and Fon, spoken in Benin and Nigeria. But a little is plenty as when Nneka, a young singer from Nigeria, speaks volumes on “La dame et ses valises” (“The Lady and Her Suitcases”) — “You’ve been inside that darkness for too long, woman, don’t you know you’re a queen?”

Kidjo, from Benin, takes the spotlight on opener “Dombolo,” its cascading percussion runs a magnet for the dance floor. Mali’s Rokia Kone, a relative newcomer, nearly steals the spotlight on several tracks. Her vocal intensity is perfectly matched by Diakite’s guitar on “Mansa Soyari,” while she builds a splendid duet with Malian grand dame Kandia Kouyate on “Anisokoma.”

“I Play the Kora” has five lead singers and benefits the Panzi Foundation, helping tens of thousands of survivors of sexual violence in the Democratic Republic of Congo. “Men, do not ruin my life and do not put me aside and decide in my place,” its lyrics say. Whether statement, warning or plea, it’s clear in any language. Willie’s back, thank goodness. “… Problem Child” is Willie Nelson’s first CD of completely new material in three years, and his advanced age (Don’t look now, he turns 84 on April 29) hasn’t dulled his pen, his voice, or his simple, eloquent guitar.

Strip away the mythology, the rivalries, the battles with the IRS and the fondness for marijuana, and you’re left with the music, its powerful mood set by a soft, direct voice that seems to have grown more expressive over the years. This is a warm, mellow work, with few surprises but many moments to savor. It’s taken decades for Nelson to sound this comfortable and relaxed.

Seven of the songs are co-written with longtime producer Buddy Cannon. They include Nelson’s amused rebuttal of the frequent internet postings announcing his death — “Don’t bury me, I’ve got a show to play” — and his succinct analysis of America’s choice of Donald Trump: “We had a chance to be brilliant and we blew it again.”

There is a tang of mortality. The late Leon Russell, a close friend, is heard on the title cut in what is thought to be his last recording, and the final song on the CD is a heartfelt homage to the late Merle Haggard, who recorded with Nelson. Many of the greats from his era have fallen but Nelson’s incredible run is still going strong.

LOS ANGELES:

“… Problem Child”

Also:

(Legacy Recordings)

Blink-182, Dreamcar (the collaboration featuring AFI frontman Davey Havok and Tony Kanal, Adrian Young and Tom Dumont of No Doubt), De La Soul, and Vince Staples are four of the more than 70 bands that will be joining previously announced headliners Gorillaz at the Life Is Beautiful festival in Downtown Las Vegas Sept 22 to 24.

The full lineup is being announced via Facebook on Tuesday, April 25, at 9:45 a.m. PST in an elaborate video that features the colorful acrobatics of Cirque Du Soleil performers, Variety has learned.

Life Is Beautiful, which was recently named Festival Of The Year by Pollstar, and drew over 137,000 attendees in 2016, is among the fastest growing festivals in America. Organizers credit the event’s diversity in entertainment offerings, including comedy, food, art, and a speaker’s component known as the “Ideas Series.”

An eclectic mix of rock, electronic and hip-hop stars is represented in these four revealed acts, another calling card of the festival. Also worth noting: De La Soul and rising star Vince Staples both appear on the forthcoming Gorillaz album. (Agencies)