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“On his fourth studio effort and first for Blue Note Records, 2017's Parking Lot Symphony, New Orleans singer, songwriter, and brass wizard Troy Andrews (aka Trombone Shorty) fully embraces the organic '70s-style R&B he’s heretofore only touched on…

…for Parking Lot Symphony, Andrews dives into the sound full-force, paired with producer Chris Seefried (Fitz & the Tantrums, Haley Reinhart, Andra Day) on a set of songs that bring to mind the earthy, vinyl-laden vibe of '70s artists like New Orleans own the Meters. Heralding this vintage approach are several well-chosen covers, like the Meters' 1974 Santana-style groover "It Ain't No Use," and Toussaint's New Orleans funk jammer "Here Come the Girls" (originally recorded in 1970 by Ernie K. Doe). Andrews channels new life into both tunes with his vibrant jazz- and brass-infused arrangements -- ones that don't so much reimagine the originals as re-energize them with a live-in-the-studio vibe and a youthful zeal. Even his originals here, like the joyous, choir-backed title track and the yearning, organ-steeped ballad "No Good Time," find him working in the nuanced harmonic colors and hip-swaying lyricism of band's like Earth, Wind & Fire and Stevie Wonder.” – All Music

“The album opens with a solemn horn arrangement on the hymn-like “Laveau Dirge No. 1.” The song is entirely instrumental and features a mesmerizing trumpet solo that points straight back to Louis Armstrong’s warm, easygoing melodicism. That sets the tone for an album full of casual instrumental virtuosity, with playing that’s loose and limber but always tuneful…

…Every song is melodic and accessible, even as the arrangements are sophisticated and complex. The title track begins as a jaunty R&B tune and transforms into something that lives up to its name: down-to-earth but also sweeping in scope. There’s even a string section to complete the orchestral feel. “Familiar” is also heady and complex, opening with a boom-bap rhythm that’s borrowed from hip-hop but leaving room for a loose piano breakdown in the middle. Best of all is a cover of Allen Toussaint’s “Here Come the Girls,” which moves to a dynamite locomotive rhythm and is jam-packed with layered vocal hooks and horn arrangements.”– Slant Magazine 

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