Troy Roberts

"I use an M9 Stompbox Modeler by Line 6.  Within this multi effects unit, I generally have 6 go-to settings: envelope filter, octave below, 4th below, 2nd above, digital delay, and chorus. I've found this pedal to be the best for what I need, and it tracks really well with my AMT Wireless Mini clip on microphone without the need for an additional pre-amp pedal. Adjusting the mix for varying venues is really easy too."

WEBSITE - www.troyroberts.com
FACEBOOK - www.facebook.com/TroyRobertsMusic
INSTAGRAM - www.instagram.com/mistertoyrobot


Bio


Gear

“I use an M9 Stompbox Modeler by Line 6.  Within this multi effects unit, I generally have 6 go-to settings: envelope filter, octave below, 4th below, 2nd above, digital delay, and chorus. I've found this pedal to be the best for what I need, and it tracks really well with my AMT Wireless Mini clip on microphone without the need for an additional pre-amp pedal. Adjusting the mix for varying venues is really easy too."


Sound Cloud

Hailing from the remote location of Perth, West Australia, saxophonist and composer Troy Roberts has received numerous awards including 3 consecutive DownBeat Jazz Soloist Awards, a Grammy Nomination medal, and was the only Australian semi-finalist in the 2008 Thelonious Monk International Jazz Saxophone Competition. Graduating with a Bachelor of Music at the young age of 19, he has performed around Europe and the US extensively with artists such as James Morrison, Aretha Franklin, Christian McBride, Sammy Figueroa, Dave Douglas, Orrin Evans and Kurt Elling to name a few, and also completed a Masters Degree at The University of Miami. In 2012, he shared the stage in an international septet comprised of jazz giants Wayne Shorter, Richard Bona, Vinnie Colaiuta and Zakir Hussein for Herbie Hancock’s launch of the first ever International Jazz Day at The UN, NYC. More recently he was also part of Hancock’s 2014 International Jazz Day held in Osaka, Japan performing with jazz luminaries such as Gregory Porter, Marcus Miller, Roy Hargrove, Esperanza Spaulding, Sheila E, John Scofield and Dee Dee Bridgewater. Troy is based in New York City and maintains a busy performance and recording schedule around the globe with some of the greatest jazz artists of today. He’s a regular member of The Jeff ‘Tain’ Watts Quartet, The Jeff ‘Tain’ Watts ‘Blue 5’, is also the newest member of Joey DeFrancesco’s new quartet, ‘The People’, and is currently celebrating his 7th record as a leader, Tales & Tones (Inner Circle Music).                                                                                                    

(Press Quotes)

Roberts’ sixth release as a leader, "Secret Rhymes" is confirmation that redefinition of familiarity is entirely possible, and this will long be considered a new standard for years to come. This project embodies the spirit of contemporary improvised music in its purest and most urgent state, while maintaining the characteristics of nurturing and delicacy that give it balance and scope.

- Greg Osby

“Whilst it’s not common to display virtuosity, it’s even rarer to be wonderfully creative while doing so. But the rarest of all gifts is to have a unique voice; a sound that is unmistakably your own, Troy Roberts has this gift. He amply demonstrates that it’s possible to pay homage to the great tenor players of jazz and still create a fresh approach that leaves the listener always in anticipation of what he’ll come up with next.”

- James Morrison 

“While jazz is so strongly identified as swing, it is nice to see the next gen carving out their sound and ideas. Roberts, along with his well-equipped ensemble, is certainly up to the task - creating a jazz record that employs great playing and abundant ideas. Roberts, though young in age, certainly has an arsenal of abilities under his belt, and has the makings and foundation of a lasting great saxophonist. Versatile in style, with a strong grasp of yesterday and today, he is a force to be reckoned with no matter the setting. He is more than one to watch, he is one to follow closely.”

- JazzTimes Magazine