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 both The Jeff ‘Tain’ Watts Quartet and Jeff ‘Tain’ Watts’ ‘Blue 5’, is also the newest member of Joey DeFrancesco’s new quartet, ‘The People’, and is currently celebrating his 7threcord as a leader, Tales & Tones (Inner Circle Music).

“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

“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