Hailing from the remote location of Perth, West Australia, saxophonist Troy Roberts has received numerous accolades including 3 DownBeat Jazz Soloist Awards, 3 Grammy Nominations, 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 Jeff ‘Tain’ Watts, Joey DeFrancesco, James Morrison, Aretha Franklin, Van Morrison, 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 International Jazz Day at The UN, NYC. 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, Esperanza Spaulding, John Scofield and Dee Dee Bridgewater. Troy is based in New York City, maintains a busy performance and recording schedule around the globe with some of the greatest jazz artists of today, and is currently celebrating his 12th release as a leader, 'Stuff I Heard' (Toy Robot Music).		
					
visit www.TroyRoberts.com

"Tales & Tones" is abound with impeccable delivery and inspired performances within a very melodious and challenging group environment. Tenor and soprano saxophonist Troy Roberts possesses a robust flexibility and dexterity that serves as a very convincing sonic calling card. He has successfully managed to forge a stunning and a most personal approach on every selection and is propelled even deeper into the soul of the compositions by a relentless and driven sense of purpose. This project summarizes Troy's potential with a stunning projection of all that is possible, given a proper supporting cast and a clear artistic vision.  
- Greg Osby

“Roberts is a boisterous and effusive player, conversant but not busy. ‘Secret Rhymes’ has a bounce to it and Roberts excels here as a leader, with an awesomely arranged album with just a touch more arch than one can legally call straight-ahead.”
- DownBeat Magazine 

“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

“…Substance and style will triumph over pretentiousness and ego every time. Roberts has a resume that will certainly make one sit up and take notice having shared the stage with such luminaries as Nicholas Payton, Orrin Evans and John Clayton. Nu-Jive 5 is Roberts fifth release as a leader and is brimming with vitality and that certain pop of originality that separates the "artist" from the "musician…" 
- Critical Jazz

PAXRECORDS ;is a private collection of recordings spanning over 30 years.....some are live, others from studio archives. most feature myself on saxophones or bass clarinet, occasionally keyboard........

     I had just bought my first tenor, (a brand new Yamaha for $400.00) discovered Coltrane and was already obsessed with the saxophone when Roland Kirk brought something else to me; a new, more powerful musical experience, totally. Sydney Town Hall on a Sunday night in 1971 or ‘72, and another aspect of  improvised music became apparent. (I would observe this again in Art Pepper and Mal Waldron, Freddie Hubbard, Bernie McGann, Roger Frampton and Dizzy; the art had transcended the person, or the person had transcended the art.) Rhassan was led onto the stage almost blind and recovering from a stroke, yet so powerful beyond the man, a vehicle for raw expression. (What is human spirit without art?) He played three saxophones at once yeh, but his stringent sound and focus was amazing, his presence so powerful, full of joy and passion with a huge personality. Rhassan was playing for other reasons, spiritual reasons. He gave me the clear message that to be an improvising musician was a great honour; beyond playing the horn, he was expressing human on another level. I heard the essence of humanity. There was no question in my mind now, I wanted to play...

Lucian McGuiness is a musician. I try and make musical things happen, mostly around Sydney, Australia and Amsterdam, the Netherlands.

Aron Ottignon captures the essence of sound as a means to unite through diversity. Miles away from genre-bound restrictions and transitory trends, merging an endless scope of musical tropes with his piano wizardry.

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