Trombonist Troy Andrews stepped into the spotlight last year with the release of his Grammy-nominated album, “Backatown,” and over 180 sold-out shows performed across the country. The poster child for a new generation of New Orleans musicians, Andrews, known as ‘Trombone Shorty’ is bringing the music and history of his hometown to a national stage by infusing classical jazz sensibilities into his “supafunkrock” style.

Troy Andrews is making history … as the standard-bearer for modern jazz, with the ambition to capture “the defining moment of our sound.” Trained at the New Orleans Center for the Creative Arts as a teenager, Andrews’ informal training started much earlier with his family. His grandfather, Jessie Hill, wrote the R&B hit “Ooh Poo Pah Doo,” and his cousin Herlin Riley is jazz legend Wynton Marsalis’ drummer.

By the age of 7, Andrews was touring with his older brother’s to play in jazz festivals, and led his own band by the age of 9. At the unique intersection of individual innovation and his talented family’s musical history, Andrews has made him an unofficial ambassador of New Orleans, raising awareness about the city and its culture post-Katrina; he recently represented “supafunkrock” and his city on a national level by guest starring as himself on HBO’s series Treme.

What’s next for Troy?

The rising star continues to tour across the country to promote Backatown, and possibly make a quick stop in Los Angeles to collect a 2011 Grammy for Best Contemporary Jazz Album on February 13th.

In his own words …

“I’m inspired most by life itself and the city of New Orleans,” Andrews told theGrio. “This city embodies such strong heritage and culture and I have been privileged to grow up in such a place. It inspires me everyday to contribute and give back to such an important city that molded me to the person I am today.”

A favorite quote …

“Anyone who has never made a mistake has never tried anything new.” – Albert Einstein

A little-known fact …

According to an article in the Los Angeles Times, there are half as many performance opportunities for New Orleans musicians now as there were pre-Katrina, in 2005.

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